Interview with Kacie Rogers, actor, writer, producer and co-founder of Bottle Tree Theatre Company

"Essentially, the ideas I would bring to her would be full chunks of marble and little by little, bit by bit, she would help me chisel those blocks down and find the art that always wanted to exist underneath."

Interview with Kacie Rogers, actor, writer, producer and co-founder of Bottle Tree Theatre Company

Could you first introduce yourself to the reader?

My name is Kacie Rogers and I'm an actor/writer/producer from Houston who's lived in LA for the past decade. I also have the good fortune of being a co-founder of Bottle Tree Theatre Company and the writer/performer of I Sell Windows. I'm a lover of art in many forms – from graphic novels to modern dance and everything in between and I feel uniquely blessed to be chosen by God to be an artist. 

How would you describe your show?

I Sell Windows is a young Black woman’s journey through a sudden loss, navigating the intricate interplay of grief, identity, purpose and the existential crisis of being a window salesman 

What is your favourite part of your show?

My favourite part of the show is the breakthrough my character has about how her past is affecting her present. She finds and explores her younger self in a way that teaches me something new every time I perform it. 

If your show had a theme song, what would it be and why?

A mashup between Big Feelings by Willow and Intrusive Thoughts by Lola Young

Are there any particular themes or messages you hope the audience takes away from your performance?

You are worthy of everything good in this life. Everything. 

Yes, you. Yes, worthy. Yes, everything. 

Also - life is super funny when you cut to the wide shot. Don't forget to laugh. 

Why do you want to perform at Edinburgh Festival Fringe? What differentiates it from other festivals?

Outside of the absolute gift it will be to perform I Sell Windows for an international audience, performing in the Edinburgh Fringe Festival has always been on my bucket list. It is the largest (and I believe oldest?) theatre festival in existence and that is every theatre nerd's dream. I am excited to be among the thousands of performers who come together to paint the city with art of varying sorts this summer. It's a gathering that would make Dionysus proud. 

What do you hope to learn or achieve from your first Fringe experience, and how do you plan to apply it to your future work?

I've never performed this many times in succession and I am excited to build my stamina and learn to approach my art with all of me. I think coming out of the festival, I will be a stronger, deeper, artist than when I came in. I also can't wait to carry all of the lessons I'm certain I will learn from the work I see at the festival with me forever. 

What would you say has been (potentially) the most useful piece of advice you’ve been given about taking a show to Edinburgh Fringe?

Make peace with the fact that you can't see everything. The FOMO is a part of the experience. Which I haven't accepted yet... but I'm trying to. 

How do you plan to balance performing and exploring the vast array of other shows and events happening at the Fringe?

With the support of a director and producing team that is not afraid to tell me when to go lay down. I will always try to do IT ALL – but my team does a fantastic job of helping me create healthy boundaries. I'm certain they will help me find a healthy balance of seeing all that I can while also maintaining my own instrument for the show. 

How has your background, upbringing and education had an impact on your artistic career?

I was blessed with parents who wanted to expose me to as many activities and arts as possible. They helped me pursue any artistic endeavour I was curious about and I think that gave me the courage and exposure I needed to become the artist I am now. I was encouraged to follow my curiosities and I am still doing so today. 

Can you describe your creative process and how you develop your ideas into a full-fledged performance?

My creative process for this show was very collaborative. My director, Jaquita Ta'le, joined me very early in the process of developing the show and her input has made it what it is today. I would write the scariest things I could think of, and she would guide me in what needed deeper exploration, more context, more honesty, less words, etc. Essentially, the ideas I would bring to her would be full chunks of marble and little by little, bit by bit, she would help me chisel those blocks down and find the art that always wanted to exist underneath. 

What is your favourite thing about performing for a live audience?

That we're creating something new together every night. Each show I find that because of the different energies in the room, the difference in breathing pattern and shared laughter, the show is a different journey. Live theatre is a living breathing creation and that is pure magic. 

What is the strangest thing that has ever happened to you while performing?

During a show I was in a few years ago, two people got into a physical fight in the audience when I was at the climax of my performance. I was playing a woman who was working her way back into being able to use her legs after being partially paralysed by a car accident. In this moment of the show my character, in her frustration, is about to fling her body out of her hospital bed toward the person she is talking to in the room. It's very dramatic and emotional. I'm just about to fling my body when I hear people start shouting and a scuffle breaks out. I'm in full blown hysterical tears for the scene when the house lights come up and me and my castmate just had to stay frozen in the moment while people broke up the fight and ushers eventually escorted the two people out of the theatre. Then we had to start again...from the same spot. 

What's the most challenging or unconventional venue you've ever performed in, and how did it impact the overall experience?

I performed in the Hollyhock House which is essentially an art piece and museum in Los Angeles. It was designed by Frank Lloyd Wright originally as a residence for oil heiress Aline Barnsdall. It was a gorgeous place to perform but it was also quite difficult as we couldn't touch most of what was inside the house since it is a museum, but we had to make it look like we were living in the house. Overall, it sharpened my ability to work super specifically and highly technically while also maintaining a grounded emotional performance. 

Who are some of your artistic influences, and how have they shaped your work?

Some of my most prevalent artistic influences are Maya Angelou, Brandon Jacobs-Jenkins, and Shakespeare. My work is poetic social commentary at its root and all three of those artists are masters of language as well as masters at using that language to comment on the era in which they were/are living. My prayer is that my work operates in a similar vein. 

Is there a piece of feedback you've received from an audience member or critic after a performance that’s stuck with you? 

A friend of my producer's watched one of the live stream performances of the show with her husband. She was immediately very moved. She said that when it ended, her husband walked away and when he came back to her 10 minutes later, he said: 

"Damn. That was kind of deep." 

This remains my favourite review. On the one hand, it made me laugh. On the other, it shows that the show sticks with people… it lands and keeps landing even after it’s over. Which is a high compliment that I don't take for granted one bit. 

Is there a show you’re excited to see when you’re up there?

How I Learned to Swim by Somebody Jones! I don't know if I personally will get to see the show because we perform at similar times, but Somebody is a brilliant writer and her work NEEDS to be seen. 

When and where can people see your show?

Assembly Studio 4 at 4pm EVERYDAY....except the two that we have off :) ( August 7th and 13th) 

And where can people find you online?


I Sell Windows will be performed at 4pm in Assembly George Square Studios (Studio Four)from1st – 25th August (Not 7th, or 13th)

Booking link: https://assemblyfestival.com/whats-on/540-i-sell-windows

Header Image Credit: JJ Hawkins

Author

Tom Inniss

Tom Inniss Voice Team

Tom is the Editor of Voice. He is a politics graduate and holds a masters in journalism, with particular interest in youth political engagement and technology. He is also a mentor to our Voice Contributors, and champions our festivals programme, including the reporter team at the Edinburgh Festival Fringe.

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