Grace Wilson is an emerging writer and student of NIDA’s Master of Fine Arts Dramatic Writing course whose one-woman play, Gia Ophelia, is getting a new run at KXT on Broadway. After a successful season at Sydney Fringe, this show, which takes aim at sexism and ageism in the performing arts, playing 11 -15 February. We spoke to Grace about the origins of her award-winning play, what audiences can expect and the next chapter of her life as a writer and student.
Gia Ophelia takes aim at sexism and ageism in the performing arts through dark comedy, what first sparked the idea for this show?
I grew up in rural Australia and spent a lot of my years advocating for myself in the arts. Travelling long hours, begging companies to take me on despite my location, it was draining and it dampened my spirits when I was younger. I got a lot of comments about my age, saying I was too young and inexperienced to write and then at 20, I started to get the opposite – that I was too emerged, I had written too much. I would see programming slates filled with older men which made the dream feel even more impossible. Gia ended up being a response to that, to my anger and grief growing up and facing barrier after barrier. Those barriers don’t seem to end but simply evolve.
The character of Gia is revisiting Shakespeare’s Ophelia at a very different stage of life. Why do you think this character resonates with modern audiences and how have you reframed her story?
Gia is a character who is mourning her childhood innocence, her teenagehood and the opportunities she had when she was younger when you kind of operate on auto-pilot. I think we all relate to that, the ambition of being a young person and getting your first role; the excitement, but it blurs past. I know I look back at roles and wish I could do them again, do it better. Have fun, leave the adult world behind. It takes the mickey out of the industry too, the idea that certain female Shakespeare roles have certain ages attached. I remember being cast at the Nurse at 15, which is crazy to think about, then playing a 14 year old boy at 18. But I had a ball in both because I could do it, didn’t matter what I looked like. Acting is make believe, isn’t it? That’s what Gia is trying to explore; challenge at least.
The show explores infertility, motherhood and ambition. How did you approach writing about these experiences with both honesty and humour?
It’s a question I’ve grappled with growing up. A few months before Gia Ophelia, I had a health scare regarding infertility. I never wanted kids but to have that choice threatened made me feel very sick. I wanted to be able to choose, I wanted to decide with my own body. That journey I handled through humour. It’s an ever increasing conversation that a lot of women struggle with. Humour brings a breath of fresh air, of relatability that doesn’t turn the show into a medical drama. But if you joke too much, you lose the realness of the stakes. At the same time, these topics are serious. I used actual medical websites to inform a lot of Gia’s comments, and had open conversations with people who are diagnosed with infertility.
The success of your Sydney Fringe season has led to this new summer season at KXT on Broadway. What surprised you most about the audience response?
There were lots of tears. Lots! I always thought this show was quite the comedy, but the ending few scenes seem to really hit home. I think it’s because we don’t see these kinds of conversations happening on stage, let along spoken about so candidly. It was moving to see people reacting so openly. That’s the power of writing I hope. The chance to put these quiet conversations under spotlights.
Annie Stafford (Acting, 2016) stars in this one-woman show as Gia. How does your writing support a solo performer, especially since there isn’t anywhere to hide?
There’s a balance. You monologue too long and you get stuck in a rut, but if you move too fast, you lose the beauty. I made sure that Director Jo Bradley (Directing, 2024) and Annie knew when to stop, to linger, to let the audience catch up. But there are moments where Annie has to talk to herself, to play spacejump solo on stage. Each character needs to have their own voice for the actor to step into, but enough time to step into them. I’m lucky that monologue and two-handers are my favourite scenes to write and Annie could handle both on short notice – it worked really well and moved at a great pace.
With Gia Ophelia opening again at KXT on Broady and your MFA Dramatic Writing journey just beginning at NIDA, what’s exciting you most about this next chapter as a writer?
I am super excited to expand into different genres. Theatre is my baby, but I know that to work sustainably means I have to jump in the deep end. NIDA provides sustainable skill sets across genres that is super rare to see in the industry. I am ready to fail and get back up again. That’s the best part!
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