Then the color of the fairy - she’s mostly blue, and sometimes she’s green, and sometimes she’s white. Yeah, there is something else, but thats rare. Right? They’re like, ‘Are you killing field mice?’ Did you hear ‘goon’ when you were a kid? There’s bashing, there’s bopping and there’s like a much gentler version that has been popularized, I think they’re being patted? I think it’s sort of, people became frightened of the song at some point. I learned bopping - no, actually, I learned bashing. The variants are what happens to the field mice. And if I had a jillion dollars, I would pay someone to map the vectors of children’s songs pre-internet.īut how did you mine that seed to grow the story? Yeah! I don’t know, there are so many songs that there’s a second verse, and you’re like (makes head exploding sound). I may be misremembering, but I feel like there’s not a whole lot of plot inherent in the version of ‘Little Bunny Foo Foo’ that I remember And I was gonna have a reading in New York, and he came, and was interested. This really seems like a children’s musical,’ and then after seven or eight pages in, I was like, ‘Oh guess it really is a children’s musical.’Īnd then I was like, ‘Great, I have this children’s musical, which I would like to see children perform, and children watch.’ And, then, Les somehow got wind of it. And I thought it was going to be an adult antiwar musical that would be ‘Bunny Foo Foo,’ but this whole different thing.Īnd I was like, ‘Oh, this is really covert. Which has a lot to do with where the play kind of landed for me musically, which is something Dave has totally exploited, gloriously, in his own crazy ways.īut, I know I was writing a big, ambitious project, which I’m still writing, and to take a break from it, there was some three week period, and for whatever reason I started in on. Both of which I learned as a small impressionable child, but when you put it together, I think the dance, that’s a different sonic world, too. I know that it was two things at once: It was the ‘Little Bunny Foo Foo’ song, but it was also the ‘Bunny Hop.’ Do you know the ‘Bunny Hop’? No, I can’t quite remember where the idea came from. What is your relationship, through your life, with Little Bunny Foo Foo. This idea of plays as photorealism, which is its own kind of gene and has its own strengths and satisfactions, it’s just not the only way to do it. So, I don’t feel that I’m writing fantastically - I feel like I’m writing. Plays have always been sort of a combination of the fantastically and the social. That’s a fairly recent development in playwriting. LEO: Does working in a fantastic setting allow you to access themes or ideas that aren’t easily explored in a more mundane setting?Īnne Wasburn: I feel like this idea that a play is strictly about reality is new. Having since seen it, let me say it’s jaw droppingly joyful, and everyone should go see it. Note: This interview was done before I saw the production. LEO sat down with Washburn a day before the show opened to talk about this departure from her more serious, adult-focused work. This week, Actors Theatre of Louisville premiered playwright Anne Wasburn’s children’s musical “Little Bunny Foo Foo,” based on the adventures of the eponymous rabbit of the popular children’s song.
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