DCist Interview: Neelam Patel
Neelam Patel ... and Neelam Patel |
Local actress/poet/dancer Neelam Patel’s first foray into the arts was through the world of dance, training and performing in the classical Indian styles of Bharatanatyam and Odissi. An injury forced her to take a hiatus from dancing and in order to feed her creative hunger, she began taking acting classes at Studio Theater, Dody Desanto's movement-based classes at The Center, as well as classes in New York. Patel also became a regular at the numerous open mics that take place throughout the city, at venues such as Bar Nun and Bohemian Caverns. These experiences led to performances in The Vagina Monologues, a television pilot, and several short films.
Patel then decided to put her multi-disciplinary artistry to use in her first solo performance piece, Sensual Reflections. Premiering at the inaugural Capital Fringe Festival, the well-received piece explored themes of personal identity and feminine sexuality through a combination of spoken word and dance. She continues her exploration of the feminine South Asian-American experience through poetry, dance, and music in Stripping Borders, which premieres this Thursday at Arlington’s Theatre on the Run.
Neelam Patel took time out of her busy rehearsal schedule to discuss Stripping Borders and her budding acting career with DCist.
What was the original inspiration/concept for Stripping Borders and what was the development process like? How did the piece evolve as you were writing it?
The process has been an organic experience. After my first show, I wanted to do a piece focused on personal identity as a form of self empowerment. The underlying question I'm hoping the audience will ask themselves after the show is, "What pieces of myself do I need to claim?"
I chose to focus the cultural aspects of identity since that area, especially spiritual elements, call to me the most strongly these days. I met a talented dramaturge who helped me massage my series of existing poems into a script for theater, which is a creative challenge in its own right. She was quickly able to recognize a story line and guided my writing by advising which new poems were needed and, which existing poems need to be reworked for the storyline to gel. It took a leap of faith to see my poetry being adjusted, but was an important and intense growing process to let go of my words in order to have the freedom to play with them. The piece evolved into a storyline showing the progression of the character in order to make sense for the theater.
You have done solo performance in the past. How does this piece differ from your prior experience?
Stripping Borders is different in a lot of ways. First, I have the support of an Arlington County grant which gives me the gift of rehearsal space and use of the theater space prior to the show, which allows for a more intense and professional execution. Also, I now have a team of talented professionals with many years of experience. Finally, the most dramatic difference is that I have now included a live musician, Debu Nayak, and a dancer to add variety to the program.
How did you assemble the creative team that is mounting this production? What did they bring to the table to make the work better?
I met the director/dramaturge, Professor Vera Katz, through a friend from acting class who is an acting student of hers. Vera has a long history of successful productions and was able to add considerable value to the show immediately. As well, I knew I needed a musician and a dancer, and preferred Indian to help with the theme of the show. It was a tough search since I needed a combination of classical and improvisational artist to work with. Debu Nayak is of course skilled in both styles.
The issues of self-identity and the clash of cultures comes up a lot in South Asian American art. Some would argue that it's played out and that the conversation needs to move on to something else. How do you respond to this sentiment?
I can see that some people would have that feeling. I think the search for identity is a lifetime process and the cultural aspects are of course interesting to those who are living the reality of sorting that piece out. I do think that live theater is a more intimate setting for presenting art, and have not seen enough South Asian representation, about identity or otherwise, in that medium. If the poetry I write and the acting I present speaks to universal truths, then the question of identity moves beyond South Asian context, and those outside of the culture can relate as well, and that is my ultimate hope.
What lies in store for Stripping Borders? Any plans to take it to different cities or other performance venues?
I am hoping to develop it before moving forward. When I do, my first goal is to run it in D.C. for some time.
What ambitions do you have for your own artistic development? In what areas are you looking to grow?
I hope to continue this life long process of digging into myself to see what areas I need to explore, and share. I have two ideas for scripts that are in the works, and also would love to learn more about the experience of soldiers returning home and how to incorporate that into theater in a unique way. All of these works require some amount of research and interviewing so there will be in an investigative phase, which I'm looking forward to. Another branch I am considering pursuing is holding workshops for writing and presenting self-written pieces. There's a certain power in both the writing and performing. I would love to share that experience with others.
Stripping Borders will be showing at Theatre on the Run, located at 3700 South Four Mile Run Dr., Arlington, VA, with performances this Thursday through Saturday at 8 p.m., and Sunday at 3 p.m. Tickets are $15. Due to mature themes and language, no one under the age of 18 will be admitted.