An Interview with Candrice Jones

When did you write your first play? What was it about & how do you feel about it now?

The very first play that “counts” would be Crackbaby. It is a satire that critiques the public school system as well as the War on Drugs during the Reagan era. I still love that play. It’s precious to me because it was the first time I really feel like I used a form that allowed my goofy, empathetic , and critical energies to really flow.

Snippets of stories about people around me. I’ve always been fascinated by real-life narrative and local conversation. The question of how universal themes and/or the effects of pop cultural/politics affect small towns. Music/musicality often influences my work.

Do you have an established writing process or do you approach each project differently?

Sometimes, if I can’t start a play, I write a poem and see where that takes the language.

What do you consider the major milestones of your artistic career?

BAPF. LOL. I think I have two, so far. Getting accepted to VONA definitely began a stream of events that have not stopped. Another was moving back home to Arkansas after grad school. I did not want to go back, but I feel as though going back to Arkansas made me more aware of my artistic roots and maturation.

What has been your most ambitious undertaking as an artist?

I’m working on that. When I was writing Crackbaby, it was Crackbaby. While writing FLEX, it is FLEX. I think the most ambitious thing at this point will be getting a main stage production since I’ve not yet had one.

Which other playwrights have inspired you?

Kim Euell my dramaturge and mentor. Suzan Lori Parks, Lynn Nottage, and August Wilson with Wilson probably being the most influential. Lately, I’ve been giving some attention to Sam Shepherd.

What is your favorite play written by another playwright?

Joe Turner’s Come and Gone by August Wilson and Lynn Nottage’s Fabulation are two plays I often study.

Where does your interest in real-life stories come from?

I find myself attracted to stories that reveal a subversive side of human nature. Growing up, I was given such a moral grounding regarding what made people “good” people. Those attributes were often celebrated/showcased. But, there always seemed to be a whisper in the crowd. The town gossips, “the mouths of the South” who always had other stories to tell. It could also be the other way around. Possibly the town bum/drunk/vagrant had a past that proved that at some point in their lives, they were golden/had hearts of gold. Like many writers, I like to explore those dichotomies.

Which of your plays would you most like to see produced?

Right now, either of them. But, I feel as though FLEX is the most polished.

What was your catalyst for writing FLEX?

I wanted to write a play that put girls’ basketball and Arkansas on the stage. I played basketball for many years. My experiences from playing basketball were so rich. I don’t think my career trajectory as a playwright would be complete without that play.

What are you hoping to learn from Flex appearing in BAPF 2019?

I hope to see how my cognizance of the Arkansas Delta’s geography brings life to the play. I think the most previous draft lacked that metaphor.

What do you want audiences to take away from your work?

I can say what I’ve taken from the experience of writing the play.

Which of your plays would you most like to revisit?

Crackbaby probably.

What’s next?

A play inspired by the Medusa strand.

What themes or ideas do you like to engage with?

Kanye West’s idea that “slavery was a choice” and Black social media’s response to it.

What’s a favorite memory of your time in theatre?

Last year during Ground Floor is possibly my favorite memory so far. I was so focused on getting that story right and the people around cared so much about it. Even while I was alone writing in my room, I did not feel alone.