"FLEX" playwright Candrice Jones: "I saw how those worlds—poetry, basketball, and play structure—collided."
The play “FLEX” traveled directly from playwright Candrice Jones’ heart to the page: It was inspired by her own experiences as an adolescent growing up in Dermott, Arkansas. She says she’s wanted to write this story for years now but had to wait for the right time.
“I had to find the correct form to write it in,” she explains. “When I was going through my poetry phase, I couldn't bring myself to write a basketball poem. But, when I committed to telling the story through narrated performance—a play—I saw how those worlds—poetry, basketball, and play structure—collided.”
The result is a funny, heart-wrenching story of five young women, all but one of whom have known each other since childhood, for whom basketball isn’t just a sport—it’s a potential escape from the small town in which they’ve lived their whole lives. The Lady Train team members are leaving the last vestiges of childhood behind and stepping into adulthood, and the path is anything but smooth. Jones’ play is a beautiful testament to female friendship, and her dialogue is one of the truest, most honest theatrical representations of what actual teenagers sound like.
And then there’s the onstage basketball: Under the tutelage of former Razorback basketball player Katrina Nesby, the cast has been spending around six hours a week in the gym, training to play like a team that is state championships-bound.
There’s a lot going on inside this play, and every bit of it is galvanizing.
Jones answered some questions for us about writing “FLEX”, seeing one of her own shows on stage for the first time, and what’s next for her in the world of theater.
(Purchase tickets for FLEX here—only 20 performances in the run!)
Q: What's the writing process like for you?
A: I have to work on several projects because it’s my job. Mainly, I research, work hard on an outline and let that guide me. I repeat that process over and over until I have a likeable draft. Then, I try to find a space for workshopping.
Q: You have an incredible facility for writing fascinating, entertaining plays about some of the most topical current events of the day. Are your plays topical because that's what inspires and interests you or because it's important for your work to cover the most critical issues of the tumultuous times we find ourselves in -- or both?
A: My plays are connected to my life. I just think my experiences happen to mirror parts of society that are very relatable.
Q: You workshopped “FLEX” at T2’s Arkansas New Play Festival—can you talk a little bit about that, how it helped to shape “FLEX”, and why events like this one are important for working playwrights?
A: I was invited to the ANPF by Dexter and Bob, who are amazing for shepherding new work in the state of Arkansas. New play development is absolutely important since it provides a multitude of opportunities for, not only playwrights, but directors, actors, designers, and producers. Each group of individuals I've listed gain professional maturity in the new play development process. Getting a new play into the world takes the work of a very large village, that ranges anywhere from the West to the Midwest to the East coast. I don't think that there will ever be a period again, in which one voice (say Shakespeare) dominates each and every corner of theater again. I love a lot of Shakespeare's works, so I don't think his or other dead playwrights' works are disposable. I do think that just as Shakespeare once existed and produced on a major scale, so have other playwrights in each generation since. However, if there are no theaters and programs that push new work, then those voices, the playwrights and all others I listed, will not get heard.
Q: This will be the first time you’ve seen the play in a fully realized production. How has the process been for you? What’s it like, seeing it up on the stage?
It’s an extremely rewarding process. The humanity the actors bring to each role and the energy that comes alive in crucial moments of the narrative is awe inspiring. I know these are my words, but I’ve released them to Delicia (the director) and the cast. I have zero regrets after seeing what they have given me in return. The performances of Erica Matthew, Naswanna Moon, Arielle Widemon-Siler, Alaina Kai-Chester, Halili Knox, and Sydney Lolita Cusie are going to astound everyone. These women are stars and deserve to be rewarded and celebrated.
The cast of T2’s “FLEX”, photographed by Wesley Hitt.
Q: Are you excited about having folks from your hometown of Dermott see this play?
I’m most excited about efforts to bring individuals from my hometown of Dermott to see the play. You never know how well the world of a play will fit on a stage, but Kim Powers and Delicia have done a great job of planning and the scene shop have done a wonderful job of translating the world of Southeast AR onto the stage.
Q: As of last week, “FLEX” became even more relevant, based on the recent Supreme Court striking down Roe v. Wade. Can you talk a little bit about how it could contribute to the conversation around the current crisis we face as a country when it comes to abortion access?
There is a character in “FLEX”, April, who is pregnant. She goes down the rabbit hole that many young girls who make that discovery go down. During my high school years, abstinence was preached. The late 90s were the heyday of the "born again virgin". As with many communities in which abstinence or purity was stressed, teenagers did have sex often. And, young men and women were faced with the decision of whether to bring a child into the world or not. Although Roe v. Wade is never mentioned in the play, there is a moment that the complexities of ideas surrounding Roe v. Wade are very clear. These teenage girls deal with that in their own very teenage girl ways.
Q: If you could address audience members before a production of "FLEX," what would you say to them, standing there on the stage?
A: When I started writing “FLEX”, I simply wanted to write about my high school basketball experience. The more I dove into the stories, I found myself understanding my hometown and the issues that live in it more deeply. As writer who lives in Arkansas, others often expect me to write about my experiences from a place of sorrow or disdain. “FLEX” is not that. It's celebrates the silliness, fun, and immaturity of girlhood in the American South. So, regardless of the flaws the characters may have in the play, I want folks to know this show is a celebration of Black women and girls in the American South.
Q: Your beautiful baby Zora turned one while you’ve been working on this project! We feel lucky to have had her spending time at the T2 building. What has it been like traveling and working with her along?
A: She’s been so involved. She’s been watching me do theater since she was born. She interacts (babbles) with everyone on set. I love being able to have her with me.
Q: Who or what inspires you right now?
A: Right now, I'm at UCSB working with actress and director, Shirley Jo Finney on another play, A Medusa Thread. I'm inspired by her. She's smart and creative, simply brilliant. She's so brilliant, I'm afraid that my play doesn't live up to her direction. She's a badass living legend that I've known for a year, and I'm just lucky to be in the same room with her.
Q: Is it difficult working on two project simultaneously -- i.e., leaving the world of one behind to focus on the world of the other?
A: There was a preview production of “A Medusa Thread” at UC Santa Barbara for their Launchpad Series. This week, New York Classical Theater will be doing a read of it. That play is getting a lot of positive attention. I’m excited to get back to revising it as soon as I can.
To read more about Candrice Jones, check out this fantastic profile by Becca Martin-Brown.