Let’s kick off our 2010 Edinburgh Fringe interviews with Kathleen Ann Thompson whose show See Me! Hear Me! deals with the very tragic issue of Human Trafficking.

With the developed world apparently on its knees, we are encouraged into the current media mania for entrepreneurship.  The revelation that entrepreneurship is perhaps a tainted issue is not altogether apparent.  Perhaps this is why this issue is never tackled by our political or business classes.  As George Orwell so profoundly said:  “Political language is designed to make lies sound truthful and murder sound respectable, and to give an appearance of solidarity to pure wind”. Three cheers to Kathleen who brings this sad indictment of political and business incompetence to the fore in this most commendable of plays.

1.    What inspired you to become an actress and activist?

My desire to become an actress began to build in me when I was at the University of Michigan where a brilliant repertory company,  APA, directed by Elis Rabb were artists in residence. I was lastingly impressed by the depth of emotional transparency and the intimate communicative effect they could have on me and as well as the whole audience.  I wanted communication and relationship to be bigger and more dominant in my life.  Learning to be on the stage in an authentic way gave me so much pleasure.   I felt I could talk to people and share meaningful things in a way that was actually very intimate. This inspired in me a greater recognition of  value in myself and a growing openness to others. Still, today, I  write and perform about my deepest heart concerns and observations and am addicted to the live audience response. If it weren’t for the stage, I might have become a hermit.

2.    What’s your show about and where are you taking your show after the Edinburgh Fringe?

The production, ‘See Me!  Hear Me!’ concerns Human  Trafficking and the whole subject of Global Slavery.  Human Trafficking is the second largest crime industry in the world. The sociological ramifications of it in some countries like India and Moldova is cataclysmic. It is a crime that few want to really look at closely because the horror of it is overwhelming to us.   We are, generally, paralyzed emotionally and unable to act (a little like standing in front of an elephant and being asked to now eat it), or we move into a denial phase due to the atrociousness of the crime.  I experienced a human trafficking situation in Poland in 1999 that left me scarred with a sense of deep responsibility to try to do something for the voiceless victims of this crime…some, as young as five years old.

My production is designed to bring to people the awareness they need to motivate them to engage in the fight to stop it. It is an engaging story that hooks people into the facts without it becoming a  lecture.  I collaborate with NGOs such as Anti-Slavery International after each performance to give the audience an opportunity to engage.

‘See Me!  Hear Me!’ will continue to tour in the U.S. and Europe.  In September/October we will be in the U.S.   We will continue the effort as long as we have an audience.

3.    What are you most proud of?

I am not often using this word in reference to myself.  I would rather say that I am extremely grateful for the ability to accomplish some things theatrically. Namely, I learned to be a very self-disciplined, fast learner.  This was primarily because I had very little support to take a huge amount of expensive training.   If I desired to learn to be the very best in my craft, I knew it would mandate learning fast from the few opportunities I could afford to take on and that I would need to develop self-discipline in making the knowledge I acquired on my own.  I am pleased that those skills are imprinted in me. They have allowed me to move so independently in a profession that is very inter-dependent…and, not always in a positive way.

4.    If you had a chance to work with anyone of your choosing, who would it be?

Elis Rabb (he is now deceased) was the director of APA  (Associating Producing Artists) in the U.S. and one of the most brilliant and skillful classical and style directors I ever experienced.  I used to cut my classes and sneak into the auditorium and hide under the seats with the gum on the dirty floor just to listen to him direct. I would have given anything to have acted a season under him.

5.    What kind of questions do you most like to be asked about your work and why?

I liked to be asked psychological questions about the characters and the argument of the play.  Also, I like being asked technical questions about the acting or directing.

I suppose I like to be asked these questions because I have spent so much time preparing these things and do know in-depth answers to the questions.    Also, it  assures me that I have gained the inquirer’s attention and engaged them enough in the play that they are interested in the question and  can define a query.  If an actor or director is unclear on the stage,  the audience doesn’t care about the psychological journey a  character is taking and can’t really form a coherent question about the argument.

6.    Do the reviewers of Fringe shows do a good job?

I think, for the most part, they do.  However, the mere quantity of events to critique obviously puts a great strain on having enough man power that really understands the genre they are reviewing.  This can definitely be a problem in the genres of dance and physical theatre where you have fewer reviewers who are versed adequately in these techniques.

7.    What do you feel about the current state of Arts funding available?

I have no knowledge of the U.K. situation regarding arts funding.  In the U.S., the situation is really bad.  We do not fund Art with the same verve as Europe.  The funding agencies in the U.S. such as the NEA (National Endowment for the Arts) is completely a political and often ideological institution. I have so much respect for the Fringe Festival because it offers a leveling ground for anyone to TRY.  So often young or inexperience talent simply has no chance to TRY.

8.    Which three famous people would you invite to dinner and why [dead celebrities included]?  And what tasty treat would you prepare?

Arvo Pärt (Estonian minimalist sacred composer),  Leonard Berstein, the Apostle Paul…this would be highly informative and inspiring.

I would serve Russian borscht with cream,  potato latkes with homemade apple compote, crudities, red wine (Shirzah),  Arabic expresso coffee and Greek baklavah.

9.    What do you do to relax?

I like to play one of my musical instruments, listen to audio books, walk in nature and train in classical dance (for my own enjoyment).

10.    What would be your dream come true?

I have many dreams. However, artistically, I have always coveted a  chance to act in a production at the National Theatre in London or direct an opera.