In this week's Backstage Blog, we sit down with writer and director, Oscar O'Brien, on this upcoming show at Explosives Factory, Antilton! Read below to get some insight into this silly Comedy Festival show!
Q. What should audiences expect when they come to see Antilton?
A. Audiences should expect the silliest, goofiest characters, several references to both Ants and Hamilton, and beneath everything, an existential message about the nature of art itself.
Don’t expect there to be any patterns to follow. Character names, theatre conventions, tone and style of the show are in a state of flux.
Expect to be tossed back and forth between hysterical laughter and quiet introspection.
Don’t expect an actual, full parody musical of Hamilton itself. I feel like I should say this somewhere. This is a show ABOUT someone making an ant-based parody. If I wrote the actual Antilton, I’d need a full-time legal consultant on the show. Plus, everyone wants to see ‘Ants and Ships’, but are we really chomping at the bit for ‘Cabinant Battle #2’? That being said, this is not to say there won’t be a few morsels of that concept here and there.
Expect a simple, respectful bow at the end.
Q. Does Antilton have an origin story? What inspired you to write this piece?
A. Antilton first came about in 2023. I’d just graduated from studying Performing Arts in Ballarat and was deep in the post graduate actor’s slog of auditions, trying to get the rent paid and battling imposter syndrome. The specific concept of Antilton began much like it does in the show itself- joking around with roommates about various ant-based musicals, and switching the lyrics of the songs to then be about said ants. Something about Antilton (based on Hamilton) stuck with me as we joked about it, and days later in a frantic rush, I etched the word with a sweaty, shaky hand into a notebook. I had a big epiphany- rather than burning myself out looking for an agent or making self-tapes, why don’t I just try opening a word document and see what happens? Nobody needs to give me permission to do that. I felt immediate empowerment and motivation upon realising that writing my own work was an option for me.
The image of an ant doing the famous Hamilton pose was what really sold the show for me. Once I realised making a full parody musical was legally dubious at best, I decided instead to write about someone writing Antilton.
You know what they always say, meta is better.
Part of the reasoning behind sticking with a bizarre premise like Antilton I think was to prove to myself that whatever idea I had didn’t matter, as long as I just started writing. What started as a joke title became more real as I poured more of myself into the characters. The play is really a reflection of how I felt at that time about my own struggles with validation as an artist, as well as my experience living with some of my best friends, and how crucial those relationships became to me entering a new chapter of my young adult life.
Q. We are playing Connections and the category is Antilton – what are the four words that make this connection?
A. ‘Art’
‘Lawsuit’
‘Antennae’
‘Lin’
Q. What do you hope audiences take away after seeing this show?
A. I hope that audiences are able to leave with some renewed confidence in whatever artistic projects they are getting cold feet for. Whether it’s your magnum opus, a derivative rip-off parody, or both at once, you have to start making the art or it will never happen. The other big takeaway is friendship! I’m hoping members of the audience go home feeling like they want to hang out with whoever they live with, be that their friend, parent or ant farm.
Q. What has been the most memorable moment throughout the creation and rehearsal process?
A. The first day the Antilton costume itself was donned, a lot of the cast and team were in stitches laughing. One of the ‘eyes’ actually popped out of the mask, creating an even more strange and hilarious image. I think in that moment, everyone realised truly how stupid and silly the play is (in the best way), because since then, the work on the floor has gotten goofier and more absurdly funny, which has me so excited.
Another moment- we recently figured out a huge emotional turning point in the show, and after lots of hard work from the actors to make this moment just right, I found myself really moved by what was being put on stage!
As a first-time writer and director, the biggest questions for me were can the show make the audience laugh, and could the show make the audience cry. For the cast and crew to make that happen, even just in the rehearsal room, is so motivating, and really reminds me why theatre is what I do.
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