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Chrysalis - Welcome
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The Boy in the Chrysalis acknowledges the changing landscape of both Canadian culture and the social expectations of the queer people navigating it. Of course, there are darker things hiding within this chrysalis, and the play does not provide any answers—much like life. There is almost no presentation of the Drag Queen that the synopsis promises, but its absence feels intentionally conspicuous as the story unfolds. Witty, tender, and fabulous, this one-man show takes flight.
The past sections are written in the present tense, while the present-day section is written in the past tense; this seems counter intuitive at first. Why not use the past tense for the past and the present tense for the present? HT: I decided to use the present tense for the past scenes in two primary reasons. First, I wanted the historical sections to feel timeless, and to me, the present tense conveyed that better.
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Second, I am intrigued by the idea that history and art resonate in our everyday lives, in ways of which we may be unaware, and it seemed as though the present tense could bring the historical scenes forward in time to further that concept. Q: Is Johannes Miereveld a composite figure? What went into your literary portrait of this fictional artist, and what led you to set this part of the novel in seventeenth-century Holland? HT: Johannes Miereveld is a fictional character, though my reading on the education, painting techniques, marketing and selling practices, and living habits of seventeenth-century Dutch painters in general lent elements to his character and life.
Certainly the biographical details of the incomparable Johannes Vermeer were of particular interest given his Catholicism, though it impacted him very differently than it impacted my fictional Miereveld.
The decision to set this story line in seventeenth-century Holland derived mainly from my reverence for the artwork of that time period: the quality of the light, the near-photographic attention to detail, and, most of all, the layers of symbols. Q: What about the painting itself, The Chrysalis?
HT: I wish the painting existed! I needed a painting with multifaceted symbolism—of a personal nature and a religious one as well—to drive the plot and move the painting through history in a particular way. I looked and looked, but while some paintings had relevant elements or symbols, no existing painting told each of the stories I hoped to share. So I had to create The Chrysalis.
Q: Are you a painter yourself? HT: No, I have never done any painting myself. Q: What kind of surprises did you encounter in your research into the trade in artwork stolen by the Nazis? Is the fictional situation of Hilda Baum an unusual one? The Nazi machine targeted the art collections of many families, leaving survivors to track down and recover the looted artwork on their own with limited means and resources.
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Just like Hilda Baum. Q: In your research, did you get the sense that the art world today is doing a better job in policing itself and avoiding the kind of trafficking in stolen art that occurred during and after World War II?
HT: Absolutely. In the years since I started writing The Chrysalis , the issue of plundered artwork during wartime has become headline news, particularly when looted art turned up in the collections of world-class museums. Subsequently, the art world— museums, auction houses, and art-focused organizations, among other institutions—has begun to put protective measures in place to police itself and to better engage in the restitution process regarding questionable artwork already in their collections. Q: Talk about adding insult to injury: I was shocked to learn that U.
How did that come about? And has there been any attempt to change what certainly seems like a grossly unfair law? HT: Families of Holocaust victims filing civil suits deal with some of the issues faced by Hilda Baum, largely because the pertinent case law did not anticipate the horrors of the Holocaust. As with the art world, however, some courts and legislatures are making efforts to rectify the inequities in the law.
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That said, I did streamline the issues, fictionalize the legal precedent, and heighten the difference between the relevant American and European law both for dramatic tension and to make the legal questions more interesting and accessible.