The Fenwick Review is grateful to publish this interview. The views expressed therein are not necessarily the views of the Fenwick Review or its writers and staff. It should also not be assumed that the interviewee shares or agrees with the views or mission of the Fenwick Review.
In addition to reviewing Mania, I had the opportunity to interview the show’s creator, writer and student Blake Sheridan. This transcript was edited for clarity and length.
Emma: Thank you so much for being here, Blake!
Blake: It’s my pleasure. Thank you for reaching out!
Emma: What was it like to create a musical and see it to production?
Blake: The story started in a very internal space. I was in my room right when Covid was happening, and it was a very personal thing I experienced within myself. Then it was a question of, “How do I communicate this idea so other people understand and experience it in the same way?” I’ve been writing Mania for four years, but that’s a misleading claim because it sounds as if I was writing nonstop for four years [laughs], which is not very true. There were months when I didn’t think about it at all. Every time I revisited it, I had to ask, “Does this impact me in the same way? Does it say what it did when I looked last? If not, how do I edit it to make more sense?”
Emma: Once ACT accepted the script, did it evolve much with their input?
Blake: The heart of the show has not changed since it was written, but the directing team and I did make some changes. Rachel Golden was a big help; she made the script a lot more concise and applicable to ACT. But so many people were involved: Maggie Baum, Wesley Smith, Vincent Sekafetz, Adele Feldberg… So yes, there was a process the script had to undergo. We learned a lot going forward about how to account for that process, because this was the first time we had done an original musical. It was a great learning experience.
Emma: Do you think ACT’s likely to do other original musicals now?
Blake: I think this experience will make ACT more prepared in the future, but I don’t think it will increase the possibility of doing an original musical again. This was a very unique endeavor where a lot of things had to align, and I don’t know if that’s likely to happen again. Although I do hope people feel inspired to write now. I hope they feel they can really explore, and put their work out, and submit it to ACT.
Emma: I read Mania as an exploration of the absence and presence of God. Does that surprise you? Can you give your own treatment of the themes you wanted to explore?
Blake: That brings such a big smile to my face. It’s weird, I wouldn’t say that was a theme I had gone in planning to talk about. But as I created these characters and lived in their world, it was something I found myself thinking a lot about, so I’m very glad those themes came through. In the show there’s no clear representation of God, and there’s not a clear representation of Satan, either, but there is an agent of Satan and there isn’t really an agent of God anywhere. That dynamic’s there; what it means, I don’t know. [Laughs.] But I think it relates to a way the world can be seen. There’s a lot of distractions around us, a lot of agents of chaos, and when we look to agents of God, maybe we don’t necessarily see them visually in front of us. But we have to look inwardly and see if we can become that ourselves. I don’t know how much you can gather that from the show, but that’s one way to look at it!
Emma: If it were only about the absence of God, I’d expect the agents of evil to not appear in explicitly religious terms. But the referee often cants his lines like he’s at a religious service.
Blake: One of the referee’s things is that he’s very outwardly charming. He has showmanship, and he tends to mock religious tropes. Some of his lines are pure puns on popular Christian phrases. This is not something that started with me; in Paradise Lost, there’s the idea of Satan mocking the good, or pointing fun at the good, or trying to shine brighter than the good. That’s definitely part of the referee’s character. He tries to make himself seem like he’s above it, or can make fun of it, or sees it as a joke. It’s one of the really annoying parts of his character because it’s funny, it’s charming, but there’s something malicious behind it.
Emma: Near the end, Lucy tells him, “You’re not going to get away with this.” I felt we were meant to take that somewhat seriously, not see the end solely as a triumph of evil, but it’s ultimately ambiguous. You spoke over email about not wanting to impose interpretations, but I’m dying to know what the ending means to you!
Blake: I’ll try not to give an interpretation, but an observation. Throughout the show, we see this split between parents and children. That’s a very simple reduction, but there’s a gang that gets swept up in the intensity of the plot, and there’s a gang that’s off in their own world. At first it’s very humorous. Then it takes a turn and starts to affect people’s lives. In Act II, there’s a group of Dinosaur and Meteor parents together, and they say, “And the kids, they’re better off posthumous.” It’s this moment of, “I don’t care, I’m only focused on what’s going on right now.” The observation I would make about the end is that we see Lucy over her son, and she’s kind of… giving all she has to him. And she’s, in a way, making a statement to the referee about what she values and what’s important to her now.
Emma: What’s your philosophy of art criticism? The “death of the author” seems somewhat in line with what you’ve communicated about authorial intent.
Blake: It’s very tricky. “Is there subjective or objective truth, which one’s the real truth, who has the power…” These questions have been asked for ages. I don’t know the exact number of people who saw Mania, but that’s how many truths there are of the experience of Mania. Then there’s my truth of Mania, which is how it came to be. I don’t really want to place value on which means more or is worth more objectively. There’s that saying, “Everything in the universe happens for a reason.” Whatever experience you had, that was what was meant to happen for you. I don’t know if some deity gave it to you, or just the spontaneity of random events, but now you have that, and you don’t necessarily need mine, if that makes sense. Unless you want it! You can also look for it and compare. That’s part of the game of humanity, we compare and we discuss and we share.
I have to add something, though. If I’m writing a line, I can be thinking of a play in which I saw that line done, and it means something specific to me, and I’m referencing it or turning it into something new. That reference is a big piece of art. Then let’s say there’s Bob. If Bob has watched none of the media I’ve watched, and Bob sees Mania, he might have one experience. But if Bob watches everything I’ve watched, it might make complete sense. It might be like, “Oh, this is exactly what he was trying to do!” Understanding someone’s history is just as important. If you want to understand what someone’s doing with art, you have to look at their history, and what they’ve learned, and what they’ve experienced.
Emma: What should readers look at to understand Mania?
Blake: Little League games, for one. [Laughs.] Then there’s two references I’ve always cited. Kicking and Screaming is a sitcom from the 2000s starring Will Ferrell. And Black Friday is a dark comedy musical by StarKid. It criticizes — not criticizes, but investigates — consumerism and capitalism. Those are the main references, but there’s plenty more out there.
Emma: Do you plan to get Mania performed again, or published?
Blake: When I started writing Mania, I didn’t know ACT was going to do it. I didn’t even have a conception I would bring it to Holy Cross. That’s important, because if I had written it for ACT, I don’t know if it would have been what it was. There’s something unique about doing it for the sake of doing it. When I first created Mania, I was creating it for the sake of creating it, in a way for God — you know, for what my understanding of God is. There’s something valuable in people creating things in that space and then offering it to the world, because, when expectation comes into play, it can really get in the way. So, in terms of next steps, taking it one step at a time, and just trying to keep finding that space where I can be in communication with my creativity.