“It takes compromise before you get the prize. When you throw out your net, sometimes you must get wet.”
Such is the premise behind Little House on the Ferry, the new immersive queer musical re-igniting the Duplex Cabaret Theater now through January 2025, as part of a series of sultry attractions celebrating the West Village venue’s grand return.
Taking place in June 2011, in the hours leading up to and beyond the historic passing of the Marriage Equality Act, legalizing same-sex nuptials in New York, the action follows a gaggle of guys as they gear up for a weekend on the titular Fire Island location. It’s all games and giggles until a blogger with a secret arrives and inevitably shakes things up, proving “we’ll see you at the shore / discover what’s in store” to have a little more meaning than just a simple clever lyric might. Through mismatched lovers, mistaken identities, and the tiniest bit of drug-induced hallucination, the crew fights through passion, politics, and plenty of Planter’s Punch to prove we all have the courage to take the leap and #jumpthatfence, whatever it may be… and whatever may be waiting for us on the other side.
And it’s all thanks, in part, to director Victoria Rae Sook.
Sook comes to Little House as the two-time Drama Desk Award-nominated Artistic Director and Founder of Food of Love Productions, an environmental theater company – based in Shakespeare’s work, natch – which uses food as one of its points of immersion. (Ever multifaceted, of the company’s four shows so far, she’s played director, choreographer, dramaturg, producer and actor between them all). In addition to her work with Food of Love, she’s recently directed Next to Normal at the Scranton Shakespeare Festival and Seussical for the Institute for American Musical Theatre, among many others throughout her varied career. Sook is next embarking on an immersive production of A Christmas Carol with nonprofit theatre company No. 11 Productions, of which she’s also an ensemble member.
Below, the much-involved theatre artist talks career beginnings, re-opening the famed West Village cabaret, and spills the “tea” on her vision for this new production, and why now is the right time to board the (train to the van to the) ferry to Fire Island.
Can you talk a little bit about your history as a director? How did you get your start?
I [initially] moved to New York City to be a musical theater star! And then I realized that I had more to give to this industry than just my performances — I have so many stories to tell. After a short stint playing Elle Woods at a regional theater in Texas, I realized that I wouldn’t be truly happy until I was creating the productions. I directed a small show called Envoy for the [now defunct] Midtown International Theatre Festival in 2013, and I haven’t looked back since.
Was there a specific “aha” moment for you that you can pinpoint?
At one point in one of my shows, my brain shifted from focusing on [my] one character to focusing on every character in the show and I found I just couldn’t do that. I began to see shows on a larger scale than I ever thought possible. And because I’ve acted so much, I feel like I know what I need to do to help an actor get to the place they need to be with their character. It’s really special.
What’s your approach to interpreting a piece beyond the page?
I always dream big. Of course, choices need to be motivated by the text, first and foremost, but I think of the text [as] more of a blueprint and [how] it’s my job to build the house. I’ll study the script for months and then shape my vision before rehearsals even start. Then, after auditions, once I have it all cast, the puzzle pieces start falling into place. And they can change or be adjusted at any time… and often do once that cast is in the room. For example, with this show, I knew that I wanted the song “Match for Me,” [blogger Jake’s woeful musical yearning for a mate], to be an underwater dream sequence, but it wasn’t until seeing it [in the auditions] that I knew I had the ability to make it a tap number.
Can you talk about collaborating and working with book writer/lyricist, composer and others on the creative team for this show and in general?) How do they inform your work (and you theirs)? What is your process in terms of inserting yourself into the mix and adding your own touch?
The best of creating new work is collaborating with so many brilliant minds. For this show, Rob Gould wrote a lovely script to begin with and then we collaborated on necessary cuts for this specific production. Then, I heard how our music director Quenton Ellis mixed the songs (and was blown away, at that!) and I knew the only correct choreographer I had to choose was Michael McCrary. And with the full team in place, the show came alive! We all bounce ideas off one another and shape the piece to be the best it can be. It’s been awesome!
What draws you to immersive theater pieces? Why do you find them appealing? Why is it important for audiences to explore this form and other different types of theater like this? And with that said, why is it important to construct this show as an immersive piece? Why does it work?
Depending on the show or the style, theatre can feel so far removed or unattainable, at times….but [with immersive work], when the show is happening all around you with sights, smells, and tastes, I feel like it’s easier to connect to the story and the characters.
Similarly, this show needed to be immersive to pull the audience in from every direction. People party and drink on Fire Island and I wanted the audience to party and drink with us and feel like that are a part of the celebration.
What drew you to this piece specifically? Why was this one “the one” to do?
The songs “We’ve Got Our Rights” [celebrating the passage of the Marriage Equality Act], and “You Can Face It” [a song sung by Little House owner Donnie, offering friendship and encouragement to partygoer Randall, when the latter is faced with a predicament] really are the heart of this show to me, and the [spark] that fuels my passion for this project. I’m so proud to be working on a show about queer rights when queer (and quite frankly all human) rights are in jeopardy. I hope this show opens minds as people head to the polls in November.
And how do you feel about re-opening the Duplex? Like the support of immersive theater, as downtown theatre artists, what does it mean to you? Why is it important?
The first performance I was in when I moved to New York was a cabaret at the Duplex. This space is iconic – launching the careers of performers like Justin Elizabeth Sayre, Amy Jo Jackson, and [current Oh, Mary! headliner] Cole Escola – and New York City was certainly a little bit dimmer after the [roof] fire took it out [in 2022]. I’m thrilled to be the flagship show reopening this venue!
Why should someone come to see Little House on the Ferry? And why is now the time for this show?
Now is the time for this show because queer rights are in danger. But even with its message, this show is a party of a musical. You’ll definitely learn from your laughter as you bob along with us!
If you could plan your ideal weekend getaway on Fire Island like these characters do, what would it consist of?
I’m the mom of a 15-month-old, so, honestly, a lot of sleep and relaxation. I’d also love a moonlit martini on the deck with Donnie, the owner of Little House of the show’s title. I wish he was a real person — I’d very much like to be his friend and stay at Little House.
In the spirit of the show, what advice would you offer to someone who might be struggling with their identity?
I want to tell anyone struggling with their identity that they are loved. Specifically, that I love them. And that people can surprise you. I was most afraid about some conservative relatives when I came out and they embraced me with open arms because… well, I was still me! You deserve to be you – don’t let anyone or anything stand in your way.
What do you hope to instill in audiences as they come away from this play? What message, if any, do you hope to leave them with?
I hope audiences know that all love is equal. And everyone deserves the right to marry. I also really hope they have a good time and laugh. Spreading joy through theater is my favorite thing to do... and I think we’ve nailed it here.
Little House on the Ferry plays the Duplex Cabaret Theater (61 Christopher Street) through January 5, 2025. For tickets and more information, visit ferryslandingnyc.com. For more on Sook, visit victoriaraesook.com.
