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Home > Arts > FRINGE FILE #11: INTERVIEW – Paul Andrew Willis, Jr. and <em>The Importance of Being Eternal</em>

FRINGE FILE #11: INTERVIEW – Paul Andrew Willis, Jr. and The Importance of Being Eternal

by Basil Considine -

Script pages for The Importance of Being Eternal, a literary parody that Little Apple Theatre Company brings to the Minnesota Fringe Festival August 8-15.

The Importance of Being Earnest, an 1895 play by Oscar Wilde, has been the subject of innumerable productions, classes, and adaptations. Its script is filled with highly quotable lines, and its scenes are part of many high school literature classes. It is part of the cultural zeitgeist – and, because of that, perfect material for a Fringe parody. This, indeed, is the object of The Importance of Being Eternal, which takes the overarching story in a decidedly vampiric direction.

In an intriguing spin on normal events, Little Apple Theatre Company’s production of this parody of Wilde’s classic work comes directly on the heels of a queer-lensed production of the original play at the Historic Mounds Theater in St. Paul, which runs through August 2. As they say, the parody comes from a place of love.

Director Paul Andrew Willis, Jr. spoke with the Arts Reader’s Basil Considine about unearthing coffins for the Minnesota Fringe Festival.

Official Show Description

A vampire take on The Importance of Being Earnest, that swaps cucumber sandwiches for a 1750 vintage Bellini Rosso Tavola Torciglioni. There’s blood; everyone’s horny. An Immortal Comedy for Lifeless People.

Paul Andrew Willis, Jr. is both director and co-producer for The Importance of Being Eternal.

What are some of the things that you do as an artist?

Most of my art is devoted to the theatre. I am a director first, but I also occasionally perform as an actor, and I am also a writer. Outside of theatre, I have also directed several short film projects, I was part of an improv team that hosted a biweekly variety show in Chicago, and I am a professional photographer.

Have you previously participated in the Minnesota Fringe Festival?

This will be my first time participating in Fringe! However, others on the team and in the cast have participated in the Fringe multiple times.

A rehearsal photo from Little Apple Theater Company’s production of The Importance of Being Eternal.

What’s a favorite piece of non-Fringe theater that you experiences in the last year, and why?

The best non-Fringe theatre experience I had this past year was seeing Passion at Theatre Latte Da. They put up a masterclass in musical theatre interpretation, in my opinion, and the performances from the entire cast were absolutely stellar. Some of the visuals of their production will stick with me for the rest of my theatrical career. I will mention distinctly the set design for the opening of the show which placed the action behind and around a set of floor-to-ceiling sheer curtains lit in a soft pink glow. The effect was truly magical and lush.

What is your role in bringing The Importance of Being Eternal to the stage?

I am acting as the show’s director, and I am one of the show’s producers! The rest of the team includes Grace Barnstead, Karina Hunt, Victoria Jones, Ian Olson, Caulden Parkel, Adam Rider, and Tinka.

What kinds of things will the audience experience at your show? What is its general aesthetic?

Eternal is both an abridged and modified version of The Importance of Being Earnest, but the script is Wildely [sic] different. We sat down and took the general plot beats of Earnest but made almost all of the characters vampires. We re-wrote a lot of the dialogue, added an elaborate and impractical blood ritual, and shortened the runtime to under an hour. Audiences should expect a high camp, vampire-filled romp!

A show collage for the director Paul Andrew Willis, Jr. alternates between director and actor hats.

What’s a favorite moment in this show, and why?

My favorite moment in the show thus far has to be the scene between Alucard von Zarovich (Algernon) and Bellamina Swanker (Cecily) as they first meet. The camp is absolutely through the roof, and the scene just sparkles…but not as much as a vampire in the sun, of course.

If I’m being extremely specific, I cackle every time I watch Adam Rider (Alucard) put nearly his entire hand into his mouth during that scene (rehearsal capture attached, of course). That said, it’s very hard to pick a favorite moment, because the show moves so fast and everyone is absolutely hysterical in it.

What are two other Fringe shows that you are interested in seeing, and why?

I am most interested in seeing The Lousiest Werewolves: Mania in the Moonlight and A Dark Gotham Knight’s Dream.
Both of these shows involve performers and producers I have worked with or know from the community, and whose work I think is fun and well made! I’m looking forward to seeing their work at Fringe this year.
Rob Ward, who is involved with The Lousiest Werewolves has had a series of shows that have been highly rated at The Fringe, and a bunch of my friends in the theatre community recommend seeing any show he’s involved with!
Big Blue Theater, who is putting on A Dark Gotham Knight’s Dream, is a theatre company run by some very ambitious young theatre makers, and I want to support them because I support their community-focused mission.

What’s up for you next, creatively?

Once we wrap up Fringe, Little Apple is producing a devised performance of the short story Yellow Wallpaper this fall. It will be an original adaptation, and we are very excited about it!

A collage of Paul Andrew Willis, Jr.’s directing work.
Basil Considine
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