Quick Chats: Alicia Storin on An Iliad

Welcome to our Quick Chat series where we'll dive into the lives and minds of some of APT's best. Each interview will supply insights ranging from the obviously relevant to the vaguely insane. Sounds fun, right? Today, we're chatting with Alicia Storin who performs as the Muse in An Iliad.

This is not Alicia's first time at the Iliad rodeo (or actor Jim Devita's and director John Lang's for that matter). In fact, the whole gang just produced the play at the Milwaukee Reparatory Theatre in the spring of 2014. Back together to play in the woods, An Iliad has been reimagined for APT's intimate 200-seat Touchstone Theatre. An Iliad distills Homer's epic tale into the voice of the Poet (Jim DeVita, dressed as your favorite college professor) and takes audiences on a powerful and tumultuous journey through the Trojan War, with intermittent and poignant reminders that warfare and humanity have seen little evolution since. Storin, as the Muse, speaks through the haunting personification of her cello's musical arrangement. This wordless communication guides the Poet through his story; the Muse determined to have it told in full. An Iliad is breathtaking, devastating, transformative (I know you weren't looking for a theatre review here...) and Alicia Storin plays a subtle and essential role in its impact. With that, a quick chat!

APT: I dare say you play APT's most mysterious character this season. How do you understand the role of 'the Muse' in An Iliad?
Alicia Storin: For me, the Muse has one mission - to get the story ofAn Iliad told. Within that context, she has many other roles, all stemming from her relationship with the Poet. Overall, I think she is there for support, so the Poet does not have to travel down this road again alone. She often pushes him in the right direction, either by bringing up a part of the story he might have missed, coaxing him into a more personal interpretation, or even rebuking him when he gets off point. Sometimes she decides where the story turns next, which the Poet at times finds helpful, and at times finds highly irritating. In the end, even though she cares deeply for the Poet and has a great concern for his wellbeing, her drive to get the story told dictates her every move.

APT: The Langs-DeVita-Storin collaboration is no stranger to this play - how does your time at Milwaukee Rep compare to the production here at APT's Touchstone Theatre?
AS: The Rep version was very operatic, grand, and stunning for the senses. The APT version is incredibly personal, both for the audience, and for the Poet-Muse relationship. Last time I was up on a 10 foot platform, behind a scrim, and invisible for much of the play, whereas this time, once I am on stage, I'm there for the duration. This gave us the opportunity to really deeply explore the Poet-Muse relationship and decide the arc of that line. This concept was initially a bit terrifying for me because this time I have to perform as an actual character - I'm not going to say 'acting' because I do not have the requisite skills for that, but that's what I'm going for! Fortunately both Jimmy and John were so supportive in the early weeks of rehearsal, and already having worked with them before took much of the fear away. This time around I also had a much better idea of what the theater world was all about. Last time I was jumping into murky waters head first, and my lovely stage manager (for both productions!) Becca, can attest to that based on the constant stream of my many, many questions back in Milwaukee.

APT: From orchestral ensembles to theatrical and dance collaborations, teaching and more, you've seen great success through your talents. Do you have a favorite project? (We won't be offended if you don't say APT!).
AS: My favorite project is the collaborative music and dance ensemble in which I play called Cadance Collective. The group consists of myself on cello, Emma Koi - a professional flutist, teacher, and very accomplished dancer, and Christal Wagner - a professional dancer, choreographer, and teacher. The three of us create pieces in a highly collaborative atmosphere, where music informs dance and dance informs music. I think I can safely say that all three of us consider this our most favorite project, among many, and I think it stems from the complete freedom to create whatever we want. It feeds our souls. You can view some of our work on our website: www.cadancecollective.com

APT: What do you love?
AS: Such a broad question! I feel like I could go on for pages answering this one. But I won't. I love: long walks on the beach, candlelit dinners, romantic comedies - oh wait sorry that list is for something else. Ahem. I love food - both good and so-bad-it's-good (I'm talking to you, instant ramen), My Little Ponies, gardening and obnoxiously identifying every plant I see during walks, baking ridiculous desserts, reading while I should be doing other things (i.e. all the time), rehearsals with my piano quartet in which we only work about 12% of the time and go get croissants 56% of the time, visiting and recording for my friend (and brilliant composer) Sean in Pittsburgh, singing horribly out of tune along with basically anything I hear with my husband (also a professional musician), all movies and TV shows created by Marvel, almost every animal ever (and secretly planning the raddest animal sanctuary the world has ever seen, in my back yard, of course), Agatha Christie's Poirot, Milwaukee, hosting my supper club, learning new music, and so many other wonderful things.

APT: Would you rather have to wear a hat all day every day for the rest of your life or drink only tomato juice for one year (barring any health related issues that may accompany the tomato juice option)?
AS: As much as I love hats that just wouldn't fly in an orchestral setting so I'll have to go with the tomato juice.