As they wrestle with their attraction and the powerful longing that accompanies it, Alyssa must come to allow that though feelings may not be the only truth—as Kai suggests in Act One—dismissing them is just as dangerous as romanticizing them. 

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As for the subplot, I was motivated to write about the issue of sexual harassment in the sciences after reading Hope Jarden’s New York Times OpEd “She Wanted to Do Her Research. He Wanted to Talk ‘Feelings.’” This was coming on the heels a very disturbing case at my alma mater, the University of Chicago. Microbiologist Jason Lieb was fired (but not prosecuted) after sexually assaulting a young scientist in the department. In Infatuation there’s no assault but Alyssa’s professor does attempt to pressure her into performing sexual favors before he will give her the favorable recommendation she needs to get a job. All these types of incidents are on the same continuum. 

 

It was important for me to juxtapose these incidents in which women are sexually bullied, with the persuasive tactics would-be lovers employ while seducing each other. They are similar only at the most superficial level. The play leans into that discomfort we have in our culture that women, especially sexually confident women "bring it on themselves." When Alyssa rails against men who abuse their power to victimize women, Kai admits he feels implicated "like an asshole." Alyssa makes this crucial important distinction. “Attraction doesn’t make you an asshole. Entitlement makes you an asshole.” One positive thing I can do as a feminist writer is to underline this difference. At our first read through Spenser Davis, who plays Hugh, commented he appreciates the fact that this play does not criminalize feelings of desire or the expression of them.

 

Q. How did you start writing plays?

 

Though I have always been both a writer and a theater person, at first I didn’t see any connection between the two. By college I was determined to become a director. In my directing class at the University of Chicago, taught by the amazing Curt Columbus, we were assigned to do something he called “a self-generated scene.” I wasn’t sure what to make of this assignment so I simply wrote a monologue and performed it. Curt gave me an A minus and wrote on my evaluation “Hallie, you’re not a director. You’re a writer.” I went home and cried because the first half of his sentiment sounded so final, so damning. But after directing David Hare’s play “Skylight” as my thesis project I came to understand I’m much more comfortable in the realm of text than of staging. Soon after I began writing drama.

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Q. What kind of theatre excites you?

 

I’m very glad when I see storytelling that is clear, emotionally honest, and simple. 

 

Q. Who are your heroes? Theatrical or other.

 

Chekhov certainly, “Uncle Vanya” is still my favorite play of all time. I love the fact that his characters understand the why of their predicaments so brilliantly and yet still suffer, perhaps even more, for all their understanding. More contemporary playwrights I love include Tom Stoppard, August Wilson and Sarah Ruhl. I admire playwrights who can engage you emotionally, intellectually and politically with great dialogue including humor, engaging plots and the kind of characters who follow you home. 

 

Q. What do you wish someone had told you when you first started playwriting?

I wish someone had explained to me political drama is more than academic argument disguised as a story. My early plays suffered from too much enthusiastic research into issues that undermined the narrative. I felt the more serious the subject the more seriously I would be taken. It took me longer than I’d like to admit to discover this is not at all the case. 

 

Now I write nonfiction when I’m feeling political, scholarship when I feel scholarly and plays that are character driven—not issue driven. In Infatuation I am mindful of making sure the incident with Alyssa’s professor serves her story, not the other way around.

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Q. What do you have coming up next?

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In 2008 I cofounded the Tuesday Funk reading series. Though I no longer host, December 6th is our 100th installment and I will be performing along with all other TF hosts past and present. 7:30pm Hopleaf upstairs bar.