There’s a new show in town and it packs a lot of crunch, introducing Chip On Her Shoulder, now showing at Melbourne Fringe. We sit down with the writer and director Jen McAuliffe and star of the show Vanessa Buckley for a chat!
Congratulations on your show Chip On Her Shoulder! You’re premiering this work at Theatre Works and in partnership with! Tell us how that came to be? Coming from a background in TV and film writing, I’ve always held a deep passion for theatre, though I hadn’t written for the stage until now. Taking a leap, I submitted my first play to TW Fringe, and I’m thrilled it was selected.
The show is described as an Aussie chasing the dream in New York while pulling shifts as a nurse during the day. Jen, where did the inspiration come from for the show?
The show draws on elements of me, the hustle of the entertainment world, and my time in New York, where so many Aussies are chasing their dream. It also reflects parts of my friends, women I’ve known, and strangers I’ve observed in conversations about not doing what they love, how they might get there, and how they cope along the journey.
And you have been mentored by Steve Leff (Curb Your Enthusiasm, Two and a Half Men), does that mean we can expect some Seinfeld style comedy?
Jen: Absolutely. I grew up watching those shows, and all those characters carry chips on their shoulders. Elaine Benes is my spiritual animal. Steve and I share a similar sense of humour — and even snacking habits — so he was a great mentor and an invaluable sounding board.
Vanessa, knowing Jen has been mentored by one of the greats, how does that affect your performance and storytelling? Do you for example channel an Elaine or even Jerry!
Vanessa: For years I have fallen asleep to Seinfeld. It is my comfort blanket. I am a terrible sleeper. Larry David is my spirit animal and I am often told I am Elaine, so this feels very full circle. From the sidelines I would say Jen is the same when it comes to that honest, raw, ridiculous, sometimes offensive humour we both call home. I can see how working with Steve has sharpened the script, but more than that it has given Jen the confidence to fully own her unique unfiltered voice that is brave, funny, raw and painfully human. Having the backbone of such an experienced comedic writer gives us both trust in the material and a sharper sense of our own intuition. From there, I just throw myself in. The story is so beautifully constructed, it creeps up on your emotions in the most authentic, human way and there is no acting required.
Vanessa, this is a one woman show, which feels like it would take a lot of energy, can you tell us a little about your process of preparing for a work like this and how you get through multiple performances?
Vanessa: Lots of chips, ha! I hyper analyse but fortunately or unfortunately thought of nothing but bringing this story to life when I signed on. By not thinking ahead the physical emotional and mental demand of this show just crept up on me so I guess you could say I built stamina and I leave the stage completely spent. I prepare by sitting with every moment and every line. every rehearsal any time it doesn’t feel rooted in truth, it feels performative I stop .. go back and find it. Thats the horrifying blessing of having the writer as your director. It has been this beautiful discovery for me as a performer. I won’t say anything if it doesn’t feel true because her story is not a performance it’s a human being coming to life. Exploring Kate with my whole body, and being playful with how you physically express and feel. What a gift! The scary part is the unknown – the nerves come when the audience arrives, but once we all buckle up we’re on the ride together.
Jen, can you tell us a little bit about your process in terms of combining the roles of writer, producer and director?
For me the roles overlap more than they clash. As a writer I’m building the world and characters, as a producer I’m keeping the vision practical and achievable, and as a director I’m shaping how it all comes alive on stage. Wearing all three hats means I’m constantly shifting between big-picture and detail, but it also gives me a real sense of ownership and cohesion in the work. Vanessa has also been involved in the process and helped tremendously, with her insights adding real depth along the way
And, how does it feel to be working with Vanessa?
We actually worked together years ago at Fremantle Media, though in different teams. Coming back together on this has been a great creative collaboration, and it feels really natural to bounce ideas and build the show alongside her. We laughed, we snacked we had toilet chats and she brings all the magic to life!
And same question for you Vanessa, how does it feel to be working with Jen?
We met years ago at FremantleMedia, having these long chats in the kitchen, and I remember being adamant I wanted to make her my friend.. or less aggressive version being I really just liked her energy. I was right to follow that instinct. She is fearless, generous, and willing to go to the most vulnerable places while also being wonderfully direct. Having her as both the writer and director has been a dream. It is rare to find someone who matches me in honesty and instinct, and it has been one of the most fulfilling creative experiences I have had.
How did the two of you come to work together?
Jen: We worked together at Fremantle but never really had the chance to collaborate directly. This project was the first time the timing lined up and we found something where our skills could truly align. I asked and was thrilled she said yes! It’s not work it’s play !
Vanessa: When friends share they’re working on a project I (maybe to my detriment after this experience) have never acted on it. If it’s not for you and you don’t connect with it. how uncomfortable or if they don’t want you. Awkward but for some reason when I saw Jen put up the show she was doing I knew immediately I wanted to be part of it. Her voice is funny, raw and authentic, and it resonated with me deeply. Working together has been joyful from the very first rehearsal and messy in the best way.
Vanessa, you’ve performend with Buckley Shakespeare’s Globe and The Royal Theatre, how does that kind of experience differ to working on a one woman play?
Vanessa: Weirdly, I would say this experience is not dissimilar to training and performing at Shakespeare’s Globe. (Cue headline: Jen McAuliffe, the next Shakespeare.) The Globe was one of the most formative experiences of my life. To be in that space, bringing those scripts to life where they were meant to be performed, and learning from experts who live and breathe the text, demystifies the work and gives it context. It is not just about the meaning of the words, but how they live in the body, in the voice, in the shared breath with the audience which is exactly as they were designed. I have since learned that not many people ever attempt a one-person show, and if I had thought about it too much, I probably would have been one of them. But for me it was never about “doing a one-woman play.” It started with the story, the connection Jen and I had, and my passion for Kate. That is what made it possible. The more Jen and I shared, the more the piece grew into what it is now.
That is where the Globe and this show meet for me: in the truth of the story and the honesty of the exchange with the audience. Both are terrifying and freeing in equal measure. The stamina required is huge, but the intimacy and connection are unlike anything else.
The show sounds like quite the rollercoaster of emotions, can you tell us what audiences can expect? They can expect to be thrown by the unexpected, to feel seen by the honesty of it, and to have the emotional hit creep up on them when they least expect it. And they might remember or maybe for the first time consciously realise the role chips play in our lives, both metaphorically and literally. The show is funny, messy and brutally honest. Kate is a character who says the things most of us only think. My hope is that people see themselves in her, flaws and all, and leave the theatre feeling just a little less hard on themselves.
And Jen, in terms of a messy life, can you tell us a little bit more about the writing and where you drew from to get to the nitty gritty of this?
I wanted the writing to feel raw and honest, so I drew from the messiness we all live through, juggling work, relationships, ambition, and self-doubt. As someone who is pretty structured and highly organised, it always makes me laugh
Vanessa, you describe the show as a love letter to the mess. Can you explain a little more about this theme?
Vanessa: Life rarely looks neat. We all have heartbreak, shame, rejection, and those moments when we feel like we are not enough. Kate embodies all of that but with humour, resilience and hope. For me the mess is where the humanity is, and this show is about embracing that, rather than hiding it.
Jen: life insists on being messy and chaotic, no matter how much I try to control it. I was also curious about the ways I cope with that and the habits I fall back on, the excuses and narratives we create around them – while observing the same patterns in others.
And I couldn’t not ask you both, what are your favorite chips! And will chips be provided on the night?
Jen: Salt and vinegar and cheddar and sour cream ruffles for me (Jen) and yes a special chip on her shoulder snack chip will be available! For me (Jen) it’s salt and vinegar and cheddar and sour cream Ruffles. And yes — a special ‘chip on her shoulder’ snack chip will be available
Vanessa: Salt and vinegar, always. Kettle because my Dad would bring them home on a Friday night (with roses for mum – come on!) Or when we were having people over for State of Origin – Queenslander. I’m a nostalgic kinda gal but also love a bit of heat so chilli chips as I’ve ‘matured’. And yes, chips will definitely be part of the experience. It wouldn’t be Chip on Her Shoulder without them.
You can catch Chip On Her Shoulder at Theatre Works Explosives Factory until October 11. Book tix here.
