Juggerknot Theatre Tackles Stan Culture in Conjuring the King

It's a quiet Wednesday evening in Little Haiti. Traffic has faded, the sun has set, and trees rustle over a rusty fence. Beyond that fence is a doorway that leads into Juggerknot Theatre Company's latest theatrical experience, Conjuring the King.

Labeled as an "Elvis Presley fan club experience," the one-woman show was inspired by the complex notion of fandom, fanatics, and obsession. In the immersive tale, playwright Dipti Bramhandkar uses the power of the King of Rock to shed light on a deeper truth about self-love.

Producers and sisters Tanya and Natasha Bravo sit at a large wooden table just a hallway away from where the actors are rehearsing. Placing her hands on the table, Tanya says, "What I like about the show is that you're expecting a show about Elvis and fan clubs and all that, but once you're in it, it grabs you and takes you down this wormhole of what it means to be obsessed, what it means to be a fan."

The show's premise follows the president of the Elvis Presley fan club, Avery, who invites guests into her home to check out her massive — and I mean massive — collection. While attendees move from room to room, the story unravels, surrounded by all things Elvis.

Playwriter Bramhandkar lives in New York City and has known the Bravos for years. The writer gave her old producer friend a quick elevator pitch one day for an idea for a show. "It's about a woman who runs an Elvis fan club," says Tanya, laughing as she recalls the moment. Bramhandkar knew she and her sister could create a wholly immersive experience around that thought. And a year later, Juggerknot is ready to open Conjuring the King.

"I think what's so interesting, too, about this is that it's not really about Elvis. It's about her, Avery, and how this very simple woman delivers a very deep message," Tanya explains.

Aside from the story, the most impressive aspect of Conjuring the King is the set design and prop work.

The two sisters spent months sourcing original Elvis memorabilia from all over the internet. On one wall, Elvis' face is plastered from floor to ceiling in almost every corner. There are baseball cards, dolls, magazine covers, cardboard cutouts, lamps, records, and, yes, even unopened Elvis bubblegum. You think it, someone made an Elvis version, and the Bravo sisters found it.
Tanya and Natasha lost count as to how many items they've amassed. When asked, Natasha tilts her head back and laughs nervously at the thought of cataloging each individual piece.

"When we started exploring for props, we found that they made every possible thing with Elvis' face on it," says Natasha as she stacks, unstacks, and restacks a set of white wire hangers in her hands. "I've found some really unique stuff."

The collection of pre-loved Elvis items was important not only to set the scene for the audience but also the actors. "It's a big connection for the audience and the actors, too," Natasha explains. "When the actors first walked onto the set, you could feel the energy from all these pieces and all the people that they touched and who once loved them."

Since the character of Avery is as complex as the subject matter she tackles, two actors have been tapped to handle the role. Susie K. Taylor and June Raven Romero will rotate playing the role of Avery each night. "If you see Susie one night, you have to come back to see June," adds director Ana Margineanu.

The trio takes a break from rehearsing. Taylor, wearing a thin red scarf around her neck, takes a seat opposite Romero. The director sits off to one side, near a vase of yellow roses. The latter is perhaps a subconscious nod to Elvis Presley's "The Yellow Rose of Texas" or Valentine's Day leftovers.

While the two actors each have their own unique style and bring their flair to Avery, the performances will remain wholly similar.

"We established from the first rehearsal that we were going to marry both performances together as closely as possible, and that we were playing one character and that it should be an interchangeable experience," says Romero, lacing her fingers together on the table. "Inevitably, through working with two actors, there are idiosyncrasies, there are changes and things like that, but the intent is certainly the same character."
Those who have attended a Juggerknot performance in the past will recognize Taylor and Romero. In addition to their work with the theater company, the two have worked on various projects and have known each other for years. This level of rapport and friendship has lent itself beautifully to the creative process of developing Avery.

Chiming in, director Margineanu says, "[For Conjuring the King], we tried to actually collaborate as much as we could." Whereas one actor might try something with their performance, the other actor is encouraged to try the same thing. "We're going to, of course, see differences, but I'm super grateful for how much kindness and generosity there has been [between the two actors], and in the end, we have two unique performers pouring their all into the same character," Margineanu adds.

Taylor describes her interpretation of Avery as an artist. "I find her just so passionate," says the actor, donning an unfinished golden costume. "She's an artist. She is here to win it, and she's hustling, and she is doing the best she can to follow through as an artist. And this is her art; the fan club is her art form."

A seasoned performer, this will be Taylor's third one-woman show and possibly one of her most memorable roles. "I have learned in rehearsal that this role is challenging me in ways that I have not been challenged as an actor, ever," she says. "It's a crazy, incredibly difficult show. But it is just joyful and fun and loving, and I think we'll leave the audience in a wonderful state of mind."

Conjuring the King. Friday, March 1, through Sunday, April 28, at an undisclosed location; juggerknottheatrecompany.com. Tickets cost $77 to $107. Performances take place Wednesday through Sunday.