Mitera: Note from the Playwright

For most of my life, I thought my mom was an ordinary, boring mom who embarrassed me on a regular basis in front of all the upper class Southern white girls with whom I was forced to go to private school. Yes, the photos of her from her youth were mesmerizing. She had an early 60s movie star beauty like you wouldn’t believe. But she had been just a girl working in a shop, waiting for her placement papers at a hospital in Athens when she met my dad, an American military man stationed overseas. Boring.

Then one night, out with my family in Greece, I heard my aunt say to my mom, “I saw your movie on TV the other night. It still gives me nightmares seeing you die in the ditch.” We were stunned. Mom? In movies? My dad looked at me and said, as if the biggest mystery in the world had been solved, “Well, I guess that’s where you get it from.”

 Only the mystery wasn’t solved. It just led to more mysteries. She had been a dancer. She was discovered in Italy. She left home when she was 16 to live in the city with an aunt. Her father went to prison for a crime he didn’t commit. WHO WAS THIS WOMAN? I still don’t know who she is, my mother. She is a mystery to me. She keeps her stories to herself. And it makes me feel like I don’t know my own story any more. It was the realization that this woman I had known my entire life was actually the person I knew the least that first inspired the story of Mitera. We can spend every day of our lives with someone, share the same biology, the same home, but not know them at all.

People often tell me they can see my mother in me. I wish I knew who we were all looking at.

—    Maria Burnham

Season 8 fundraiser wrapping up

We are winding up our fundraising campaign for Season 8 next week. This entire season we are focused only on new works, which while exciting are always a challenge to produce and market effectively. Known plays come with a built-in audience, but new plays by unknown or lesser-known playwrights require a bigger leap of faith on the part of companies to produces. But if no one produces these new works, how will your next new favorite play ever be seen?

Help us uncover these hidden gems by supporting their productions. Learn more about our season here and more about our development process here. We chatted with playwright Maria Burnham last weeks to learn more about her play Mitera, which will be our spring mainstage show. Read her interview here and watch a video about her inspiration for the show below.

Mother always knows best...even after she's dead

Strangeloop is in the middle of a capital campaign to raise funds for our 8th Season. Your donations will help support new and exciting works like Mitera — Strangeloop's mainstage production, which will go up in the spring of 2016. We recently sat down with playwright Maria Burnham to chat about her inspiration for the play.

What is Mitera about? Mitera is the story of three, single adult sisters who live at home and have their lives turned upside down when they find out their mother is still micromanaging their lives from beyond the grave. As the play begins, they discover their mother has left their entire inheritance contingent on the youngest sister marrying within a year of her death, otherwise everything goes to their oldest male relative in Greece. But the youngest sister is an unattached romantic who believes in marrying for love.

What does Mitera mean? Mitera, or (ἡ) Mητέρα, means mother in Greek.

Where did you get the idea for this story? There were several different things going on when I decided to write this piece. One was simply that I wanted to write roles for Greek-American actresses because that’s not something that exists. We play a lot of other ethnic groups that are more prevalent in theater – Italian, French, various Middle Eastern nationalities. I have no idea if Greek-American actresses will be cast in these roles, but I wanted to create that opportunity. Then when I started thinking about the actual story that I wanted to write, I kept coming back to my own mother and her desperate desire that my brother or I get married and produce some grandchildren. I wanted to explore how far a mother might go to force that desire onto her children.

Is this a story that will be relatable to people who aren’t Greek? Ultimately it is a story about love. Love between family members, the things people do for love, the bad choices people make in the name of love, the ridiculous lengths we go to out of love. That’s what makes all stories relatable regardless of setting. Audiences relate to Les Miserables despite having no firsthand experience with the French Revolution. It’s not the trappings of a play that make a story compelling or interesting to an audience, it’s the heart of the story being told.  


Can a Greek story be told without a wedding? Ha ha ha! Yes. I’m sure it’s possible, but ceremony and celebrations are a huge part of Greek life, and so it feels like there is always a wedding on the horizon. It seems like for most of my life there’s been talk of someone getting married or babies being baptized or someone’s funeral or memorial service…every time I talk to my parents I get the update on all these points from back home. 

And back home is? Jackson, Mississippi. It’s probably not the first place that pops to mind when people think of Greek-American communities, but there is a small Greek community there with ties to the larger Greek communities in Memphis and New Orleans. You can find us everywhere. 

Because everywhere needs diners? You joke, but that’s pretty true. 

So is this play influenced by your own life? In some ways, yes. I’d say the larger world I’ve set this in is most influence by my own life. The sisters in this play grew up in an insular community, like we have in Jackson, where everyone knows everyone else’s business – where people can be friendly to you, even as they are gossiping about you behind your backs. They are half Greek, like me, which makes you an outsider to two difference communities. Character-wise, Sharon, the youngest sister’s godmother, is definitely modeled on my own godmother, and the Greek cousin has shades of my oldest male cousin back in Greece – though Adonis is not quite as nefarious as Demitrios. The sisters, though, are not based on anyone. They just sort of sprung to life on their own.

Do you want to explain the photograph that is accompanying this interview? That is the playwright at the tender young age of 4 being forced to recite something at a Greek Independence Day celebration at my church. It’s probably the least humiliating of the things Maria was made to do as a child to celebrate her Greek heritage. Most of the others involved funny hats.   

What can people do to support this production? We can always use help raising awareness of the productions we mount. More immediately we have a fundraising campaign going on that will help pay for rehearsal and performance space rentals and costuming, set and prop needs. It’s not a play with a lot of spectacle, but it still costs money to produce. We have a karaoke fundraising party coming up on Saturday, October 17, at Matilda’s in Lakeview. It’ll be a lot of fun and I’ll be there reading futures in coffee grounds if you want a glimpse into one of the more bizarre Greek customs. Plus, of course, karaoke. But if people can’t make that, we also have a Kickstarter campaign going on through October. You can help us out from the comfort of your own home.

Strangeloop presents a new adaptation of The Odyssey

Strangeloop Theatre will present a staged reading of its original movement-driven adaptation of Homer's The Odyssey at 8 p.m. on Monday, May 18, at Black Rock Pub.

The Odyssey centers on the Greek hero Odysseus and his 10-year journey home after the fall of Troy, as well as the political situation in his homeland of Ithaca during his 20-year absence.

Strangeloop is in the process of developing a movement-driven adaptation of Homer’s The Odyssey. This free staged reading of the first draft of our script is part of that process. We welcome and need your feedback.

Our adaptation, conceived by Company Member Carrie Campana, will eventually use a chorus of actors to embody not just the human characters in the story, but the gods, monsters and inanimate objects. This physical theater piece relies almost completely on the ensemble of actors telling the story. As part of the reading, we will be presenting examples of this style of theatre.

Actors for the reading are: Brian Barber, Tara Bouldrey, Gilly Guire, Cassandra Hannan, Nellsyn Hill, Arti Ishak, Andrew McClelland, Karissa Murrell Myers, Kyla Norton, Kamron Palmer, Howard Raik, Madeline Schmit and Audra Yokley.

The development team for The Odyssey is: Maria Burnham, Carrie Campana, Miona Lee and Tim Lee.

More information is available is available on our Facebook page.

Alt Fightsgiving poster

This time with more ancient boobs.