“THE STRANGER DISEASE”
WHAT: Goat in the Road Productions partners with the Louisiana State Museum and Friends of the Cabildo for its latest work, an immersive and historical look at yellow-fever in 19th century New Orleans.
WHEN: March 23-April 15; Thurs.-Sat., 6 p.m. & 8 p.m.; Sun., 3 p.m.
WHERE: Madame John’s Legacy (632 Dumaine St.)
MORE: Visit the website
(Editor’s note: As we resurrect PopSmart NOLA, we do so with more intention of making this a forum for the creative people of New Orleans. The inspiration came from, of all places, a sports-related website. (Read more about that soon.) This means more content generated BY the artists and entertainers of New Orleans who explain their craft, their performances, their intentions, their challenges, you name it, as a way of making PopSmart NOLA a forum and a safe space for dialogue and engagement. Here Chris Kaminstein of Goat in the Road Productions kicks off the “Artist Statement” series as he discusses the creative process at work in their latest work, “The Stranger Disease.”)
Ian likes to creep out tourists out the second floor window. Here’s what he does: He stands with his face in one of the panes of glass and stares out at Dumaine Street. When a passing tour group sees him — some member of the group, the person particularly attuned to the hauntedness of the French Quarter — yells out, “It’s a ghost!” Ian waves, then fades away from the pane. Fun game.
I’m talking about “The Stranger Disease,” an immersive performance that Goat in the Road Productions — the theater company I help lead — is producing at Madame John’s Legacy (632 Dumaine St.) in collaboration with the Louisiana State Museum and Friends of the Cabildo. The show is about yellow fever and the rapidly changing “color line” in 1878 New Orleans. It’s immersive because the audience can follow multiple story lines and characters at their leisure. That’s the spiel.
A piece of theater is like a magic show. When it works well, it is effortless looking, surprising, as smooth as a cresting wave. The actors move in tandem, entrances happen at precisely the right moment, monologues are recited, feelings are felt, applause is exerted. Yet for all the complication of putting on live performance, one of the most common questions that actors seem to get from non-performance folks is, “How did you learn all those lines?”
Ask this to an actor and they will roll their eyes; learning lines is the basic price of admission for acting. Not knowing your lines is like a baseball player trying to take their at-bat without a bat.