Interview with Robert Bailey

Ahead of In Some Dark Valley, I caught up with Robert to talk about the themes at the heart of the production, the creative journey behind it, and what audiences can look forward to when the lights go up.

What drew you initially to create a solo performance based on a circuit preacher in post-Civil War Appalachia?

The original impulse was in the music: field recordings from the mid-20th century of white and black Southerners singing and playing their instruments in churches, on farms, in prisons and on front porches. I was struck by the authenticity and power in these folk melodies and wanted to build a theatre piece that incorporated them. I also wanted to confront the roots of a particular mindset that seemed to come from a severe brand of moral certainty afflicting society today. Henrik Ibsen’s verse play BRAND, the story of a fanatical preacher, provided the narrative hook: I was able to transform the character into a stern Appalachian circuit preacher, circa 1870.

Can you talk about the process of weaving traditional Southern songs into the performance, both musically and thematically?

The hymns and ballads were of course born in the British Isles and transported to the backwoods of America centuries ago. Their raw power and authentic expression of emotion lift the narrative to a certain level of intensity that permits the audience to enter into the character’s unfamiliar mindset. The choice of sung material arises from the dramatic moment, when my character cannot express what he’s going through without transcending speech. A song often punctuates a moment or drives the action forward toward a new development.

What research did you undertake to authentically represent the historical and cultural context of Appalachia in the late 19th century?

Research included readings about the Civil War period and the years afterward: Drew Gilpin Faust’s THIS REPUBLIC OF SUFFERING; John Richard Dennett’s THE SOUTH AS IT IS1865-1866; the Civil War photos of Matthew Brady; and many other works. Crucial inspirations were the novels of Flannery O’Connor, Woody Guthrie’s autobiography, Bob Dylan’s Chronicles Volume One, poetry by James Dickey, a TREASURY OF SOUTHERN FOLKLORE … all went into the brew. I watched YouTube videos of fire & brimstone contemporary preachers like Billy Kelly: perplexing, amazingly dynamic and part of a fascinating and bygone tradition.

How has the development process been so far, and have there been any challenges so far?

It has been a fascinating journey, starting with the original impetus to engage with the culture and the time period, identifying the narrative hook to hang it all on (Ibsen’s BRAND), the collaboration with my director over a two and a half year period, and on to workshop performances for small invited groups of friends and colleagues before finding the final form of the solo. In 2024 I brought it to the Hollywood Fringe Festival, followed by shows at multiple intimate theatres in Los Angeles and beyond. We also filmed a 3-camera version, now in post production.

Can you share how your collaboration with director Billy Siegenfeld shaped the performance’s physical and emotional arc?

Billy is one of my oldest friends from our undergraduate days at Brown University. He is a distinguished Professor of Theatre at Northwestern University, an expert in dance and movement, a director and performer and the founder of Jump Rhythm, an extraordinarytheatrical dance collective. I was extremely fortunate that he took on the task of directing: although we are in different parts of the US and were working remotely, Billy was able to shape the movement, refine the multiple characterizations (many of which he suggested, as he is also a brilliant dramaturg), demonstrate the most effective and knee-saving ways of getting up

and down on benches and harness my energy. He intuited what the emotional point was for each moment, where to pause for maximum effect, and what should stay or what must go in the writing. His direction and dramaturgy were invaluable, and it was, for me, like being directed by a brilliant, loving brother.

How has the play evolved since its premiere at the Hollywood Fringe Festival?

I believe I have continued to deepen each moment, trust the form, relax and achieve more doing less. The characterizations live in me now and are immediately accessible. I have derived tremendous pleasure entering into the imaginative space the solo occupies. I literally travel to another time and place, another mentality, another version of myself that seems now as real as my own quotidian existence.

How does the play balance moments of tenderness and humour with its darker themes?

The minister may be a fiery exponent of the one true path of salvation, but he is also a loving husband and father whose emotions are greatly affected by relationships. He suffers because of the consequences that result from actions he believes he must take, and the love he feels is often on display. In the end, he is looking for some degree of grace. There are also, especially in the first half of the play, generous dollops of humor and even joyful exuberance.

What is one song in the show that means the most to you?

Possibly it’s “Poor Wayfaring Stranger”, as it was the first song I taught myself while applying the dialect that made it feel authentic.

In your view, what is the role of experimental theatre in shaping young audiences’ appreciation for art?

In its purest form and execution, it should carve a path toward new and authentic ways of using this ritualistic behavior we call live theatre. If the genesis of an “experimental” performance reflects the genuine feelings and imaginative impulses of its practitioners, and is in some way an attempt to cross the divide between actors and audience— if it is a true encounter, and not just an empty formal exercise—it can resonate with people of every age group. In all honesty, though, we must realize that “young” audiences need to be given a real reason for valuing this particular experience when screens offer them so much.

What’s the hardest part of performing this show solo?

Pacing myself, readying the body and mind and spirit and conserving energy while fulfilling each moment. It’s actually exhilarating!

One final question: why this show, and why now?

I suspect the strident forms of moral certitude on display in our era grew from rather tangled roots in our collective history. As audiences witness the spiritual dilemma of Reverend Brand and travel with him on his difficult journey, I hope they may reflect on the path he’s taken and find some form of relevance to their own yearnings and experiences. A reviewer in Los Angeles called the play “ a

ballad of the spiritually blinded”; perhaps through this haunted pastor we can all realize, as life confronts us with difficulty, how easily we might lose our own way.

In Some Dark Valley heads to The White Bear Theatre (31st March - 4th April). For full performance dates and ticket information, visit the official

website: https://www.insomedarkvalley.org

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