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This classical text that you’re adapting from is based on Ali Baba – but the title focuses on Marjana, can you tell us more about that and what the process has been like?
OK… SO first, there is no “Classical Text” called “Ali Baba” or “Ali Baba and the Forty Thieves”. In its form as we have come to know it in the west, which is its own very complicated story that we also get into, the title did focus on Marjana. We are simply honoring that original intention and title. It becomes very clear why it was originally named for Marjana when you hear the story.
In Pay No Attention to the Girl, you told multiple stories, but in ‘MARJANA’ you’re now telling one story. How has this experience been different? What expectations did you have going into the production?
Well… we really aren’t telling one story, in my opinion. It’s more like we are telling the story of one story but that still involves quite a few stories. Imagine telling the story of your first kiss. There is the story about the party you were at when it happened, but there is also the story of how you met that person and the story of how that person came to be there and the story of the place the party was happening in and the story of the friend who you told everything too and the story of how you tell the story all those years later! Stories inside of stories, or as we like to think of it… “Storyception”
We saw elements of dance and music in Pay No Attention to the Girl, can we expect the same in Marjana?
ABSO-freaking-LUTELY!!! This is Target Margin baby! That’s how we get down! We have some amazingly beautiful music and some SUPER fun dances coming at you!
As an artist, what do you find most fulfilling about this production?
That is sucha hard question. In a basic way I suppose I am fulfilled by getting to continue to work on the text of The One Thousand and One Nights. It is very rare that an artist gets to dig into more work with a different text. From time to time you get to go back to a text you have worked on before but one rarely gets a chance to dig further into NEW text from the same source. You don’t get to do “Hamlet 2 Electric Boogaloo.” But I am also so fulfilled by this cast, to be honest. Of the five “Phisicalestees” (actors) only two of us are returning. Three of us are very young and it has been amazing to watch what they bring to the table. Their talent and perspective make this show unlike anything else. Amazingly talented crew! It makes me happy just to be around for their growth. Theater is in good hands.
What’s next for you after MARJANA AND THE FORTY THIEVES?
Is this not enough?! After this, I will be going to the Spoleto Festival with Target Margin and Pay No Attention to the Girl. Then right after I’ll be working with Epic Theatre Ensemble with their Epic Next program.
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Anthony Vaughn Merchant is an Actor, Director and Fight Choreographer. Anthony has become recognized for his work in regards to classical plays. He has been nominated for an Adelco award for his role in The Tempest. Also a proud member of Epic Theatre Ensemble, Classical Theatre of Harlem, Less Than Rent and Shakespeare in the Square. Most recently he appeared in Antigone with Classical Theatre of Harlem which recently transferred to Lincoln Center. Anthony can also be seen on screen, having worked on several shows including Vinyl, Luke Cage and Mr. Robot as well as playing Horatio in the Award-winning film Hamlet in the Golden Vale.