Dramaturgy Note | I LOVE XXX

by Cecilia Shao & Riley MacMoyle, the Dramaturgs

How devising as an ensemble has changed the way we view our world.

Devise: to plan or invent by careful thought

Working on a show that has no plot and no characters might seem like an impossible feat. What is the storyline? How will there be a beginning, middle, and end? Will the audience be able to understand the show? Meng Jinghui’s I Love XXX has no plot and no characters. The very factthat this play exists is proof that it is possible. The text was born through a word game; beginning each statement with the phrase “I Love.” The movement and blocking were devised by the ensemble. Every version of this play that has existed, including productions of this translation by Claire Conceison, have been different. Through the use of devising together as an ensemble we have created a space in which students take charge of how they learn and view the world. The ensemble is a collective, and collectivism is one of the many lenses through which we have looked at this journey. Of course, where there is collectivism, there is also individualism. Throughout rehearsals, our cast and production team have taken a step back to really look at the intersections between collectivism and individualism, and how the two themes have become more clear as the process has continued.

The recurring theme of “love” permeates the text, at times sincere, at times ironic, pushing
audiences and performers alike to question societal expectations and the authenticity of human connection. “Love all beings with the madness you have for the world”—was spoken by an audience member who attended I Love XXX in China. a sentiment that resonates with the play’s chaotic yet deeply emotive exploration of existence. Each line challenges actors to bring their personal histories into the collective experience, weaving together the fragmented realities of modern life. This fusion of personal and communal perspectives creates a dynamic performance that mirrors the complexity of the world itself.

Living in a world where “words” hold such power—shaping debates, performances, decisions, and even drafts within our minds—it’s fascinating to encounter a work where words are both captivating and mundane. In I Love XXX, the lines themselves seem to oscillate between profound and trivial, challenging the audience to focus not solely on their meaning but on how they are presented. Here, the significance of the words diminishes, giving way to the collective energy, rhythm, and physicality of the performance, which become the true essence of the piece. It’s not just what is said, but how it is embodied, that resonates.

“I’ve definitely experienced an alternative way of approaching this play through our ensemble work which is not as common for me. I have so enjoyed the collective way we approached the creation of this show and have had to care for myself and my needs throughout the process. In taking care of my individual needs, I have been able to better show up and care for the collective.”
– Ryn Yi (They/He), Ensemble

“As with all ensemble work, the beginning of the process highlights a strong sense of collectivism, especially in a play like I Love XXX. Actors contribute their ideas and commitment to the production while also bringing their unique identities, which form the basis of individualism. For an unconventional play like this, building trust and a willingness to embrace the “yes, and” mentality is crucial. As an Observing Director and Dramaturg, I’ve witnessed so much love, support, and encouragement within the ensemble, which beautifully showcases the balance between collectivism and individualism. This becomes even more apparent toward the end of rehearsals, where repetitive work is necessary to refine the details. Despite the monotony and fatigue, I see everyone continuing to give their best and maintaining a positive attitude, which is truly inspiring.”
– Nanxi (Cecilia) Shao (She/Her), Observing Director & Co-Dramaturg

“Every rehearsal we start with a group meditation that allows us to all reconnect, it also allows me to connect with my breath and body. By starting every rehearsal with this ritual, we are able to find our collective connection while enhancing our individual focus. For me, that is what this whole process has been like. We breathe together, work together, and move together but without each individual, this ensemble would not be what it is.”
– Lucabella Sangin (She/Her), Understudy

“I think something I realized about the idea of collectivism during this process is that there is no collectivism without individualism. I used to have this preconceived notion that collectivism was a very uniform type of idea where the collective is more powerful than the individual, which may be true in some cases, but the individuality is really what makes the collective possible. Having such a wide range of skills, perspective, ideas, connections, and personalities in our cast is what makes us, us. It makes the collective work. Also, being an understudy has been super eye opening in regards to this. I see the individuality emerge from each cast member and how much that adds to the whole. I also love seeing the individuality between the tracks I cover. We all bring unique senses of self which make the
individuality shine within the collective of the track.”
– Freddie Thornley IV (He/Him), Understudy

With devising and exploration as an ensemble, personal discoveries are bound to come up. The beauty of an ensemble is bringing individuals from all different backgrounds, cultures, and parts of the world to go on a journey together. Each individual brings a new perspective to the collective and the process of creating a world, and everyone is able to grow together. Self-expression within an ensemble is essential to supporting and learning from one another, and sometimes an ensemble can help an individual discover something new about themselves.

“Implementing that sense of play has been a huge benefactor because I believe it subconsciously has signaled everybody the ability to breathe and not hold back on any impulses throughout the devising process.”
– Sofonyas (He/Him), Ensemble

“I used to express almost everything through words and thoughts, grounding my emotions and ideas in extreme abstraction. Through the devising process in XXX, I tried to explore the depth of expression through my body, discovering new ways to connect with myself and remain present in the moment, even though it still looks like my body parts just know each other yesterday sometimes. When working with others, I try to push myself to stay open, allowing myself to be seen while truly seeing those around me.”
– Xinyi Sun (She/Her), Ensemble

“This piece has truly expanded my physical vocabulary, discovering new ways to translate my thoughts to movement, and bold ways of approaching theatre and the ink we breathe life into as a collective.”
– Nicholas Papayoanou (He/They), Ensemble

“The beautiful thing about devised work is how personal it is. Our responsibility as actors is to bring ourselves to the characters and devising is able to deepen the relationships on stage like nothing else. Having a text that offers no plot and no answers made us become comfortable in uncertainty and a constant process of exploration of ourselves. The answer did not come from the script, it came from the ensemble and what felt important to portray in this moment.”
– Gabriela Caba (She/Her), Understudy

At the end of every process, especially one as collaborative as this, members of the production team and ensemble are bound to take with them the lessons learned and experiences had. The movement, pictures, and dances that are witnessed onstage were born from the beauty of a collaborative and safe environment. The feelings of working together, supporting one another, and celebrating what has been created, has left a mark on every member of the cast and production team.

“The idea of having rituals and boundaries that keep the room feeling safe, the ritual of taking our shoes off, cleaning the space, and having a daily meditation are all things that I will take into my everyday life, slowing down and being mindful is a wonderful thing.”
– Jenn Naar (she/her), Ensemble

“I think I will really just take the importance of community and the ensemble. We have created a lovely and safe space and I really think all of us are going to take the bond we have and what we’ve created with us after the show ends. I will also take the importance of keeping an open mind, being open to discovering new things and unlearning old things, and seeing that there is both good and bad in conformity vs. revolution.”
– Callie Pang Mayer (She/They), Ensemble

“Having a room that is so open to visits from the design and production teams has made for a wonderful and collaborative process and I hope that future shows I would in will have the same sense of community.”
– Janie Hillman (She/Her), 1st Assistant Stage Manager

“One thing I will take with me from this show is the importance of collaboration and trust, as this process has shown me how much beauty can come from shared effort and dedication.”
– Linran (Leslie) Zhang (She/Her), Ensemble

Living in a world where “words” hold such power—shaping debates, performances, decisions, and even drafts within our minds—it’s fascinating to encounter a work where words are both captivating and mundane. In I Love XXX, the lines themselves seem to oscillate between profound and trivial, challenging the audience to focus not solely on their meaning but on how they are presented. Here, the significance of the words diminishes, giving way to the collective energy, rhythm, and physicality of the performance, which become the true essence of the piece. It’s not just what is said, but how it is embodied, that resonates.

We thank you for joining us on this journey. The story we tell is one of perseverance, love, and the importance of celebrating one another. There is beauty in this world, in the people who live in it, and if you open your hearts and minds, that beauty will find its way to you.

I love light
I love, and so there was light
I love you
I love, and so there was you