Actor Timothy Edward Kane
Faceless

Faceless, written by playwright Selina Fillinger, is a new play set to premiere on our stage beginning January 26. In the play, Eighteen-year-old Susie Glenn is on trial for conspiring to commit acts of terrorism, and a Muslim lawyer is the face of the prosecution. We sit down with Timothy Edward Kane to get an inside look at what it’s like getting a new play up on its feet.

YOU’VE DONE LOTS OF WORK WITH CLASSICAL PLAYS AND IN DEALING WITH PUBLISHED TEXTS, WHAT’S IT LIKE WORKING ON A NEW PIECE?

I’m more accustomed to working with “set” material – working to master it and then squeeze as much out of it as possible or conversely, jamming as much into it as I can. The text is the boss. Playwrights spend so much more time than actors working on building their worlds, examining it from every vantage – who am I to ask “why should I say it this way? Can I change it to…?” So, I’m apprehensive, unless I’m asked directly, about suggesting a line change. Selina has been open and collaborative with the cast  – firm in her commitment to her voice, but amenable to questions when they’re appropriately asked. The challenge is the same as it is with all playwrights’ work – how do I, the actor, avoid messing it up? I just want to do my job as well as I can and let the play speak for itself – and in well-written plays, like Faceless, it’s very easy to take this point of view.

LET’S TALK ABOUT THE PLAY. WHAT ABOUT IT SPEAKS TO YOU?

One compelling theme that I appreciate is that of identity – who are we in the world? How do I fit? Will I stand out? Is that a good thing? I think my character, Scott Bader, is frequently driven by those questions. He answers them convincingly by working to be the best federal prosecutor, by serving the law, and by standing out while doing it. He’s the oncoming train that Susie has to face. That point of view makes for a fun character to explore, but perhaps a hard person to live with.

CONSIDERING RECENT EVENTS, WE FEEL THIS PLAY IS AS PERTINENT AS EVER. CAN YOU TELL US WHAT’S IMPORTANT ABOUT FACELESS?

This question makes me nervous. What I think is remarkable or “important” about Selina’s play is that it takes a very thoughtful look at our contemporary world, shines light on how we see each other and asks very compelling questions without answering them – that’s not easy, but she’s done it. The play isn’t a didactic look at Islamophobia or terrorism or U.S. policy. It’s a good play that asks good questions.