Written by Sarah Kilmon
Ask the Director: Joseph Fox on Perfect Arrangement
This summer, Groove/Factory (formerly known as The Factory Arts Project) brings Topher Payne’s Perfect Arrangement to the stage, a sharp and surprising comedy set against the backdrop of the Lavender Scare of the 1950s. Blending sitcom-style humor with deeper themes of identity, secrecy, and personal freedom, the production marks Joseph Fox’s directing debut with Groove/Factory.
We sat down with Joe to talk about what drew him to the production, the importance of queer storytelling, and why humor can sometimes be the best way to confront difficult history.
What drew you to working with The Factory and this production specifically?
I think what really drew me into working with The Factory was being brought on as the Production Manager for Stage Fright 3 back in 2024. I had primarily worked with Groove Theatre Company since its inception in 2018, and while I’m not always the most adventurous when it comes to branching out socially, the cast and crew for Stage Fright were such a welcoming group that I couldn’t help but stay.
When Cece and Talley approached me last year about not only the merger, but also the opportunity to direct in our inaugural season, it was a no-brainer for me. We talked specifically about the Pride slot, and I started looking for every queer comedy I could find!
One of the most striking things about the play is how it uses humor to explore fear, secrecy, and repression. Why do you think comedy can sometimes be the most effective way to approach difficult history?
I have always found comedy to bring out a sense of catharsis in difficult moments. When I look back at rough patches in my own life, it is often easier to process them through a more positive lens.
Especially during such an important year for our country’s 250th anniversary, we have to find ways to look honestly at our history in order to understand where we’ve been and where we’re headed. Our history is messy, but infusing humor into those conversations can make difficult topics more approachable and open the door for wider, more introspective discussions.
Although the play is set in the 1950s, many of its themes still feel incredibly current. Were there aspects of the script that especially resonated with today’s cultural climate?
Absolutely. I think one of the biggest points this script makes is that while change is hard, uncomfortable, and messy, it is always worth fighting for if it means getting to live life in a true-to-you, authentic way.
While the status quo is often easier, pushing against the “norm” is the only way true progress as a society can come about, whether that pertains to race, gender, sexuality, socioeconomic status, or anything else.
This production includes both queer and non-queer cast members telling a story rooted in LGBTQ+ history. Why do you think stories like this are important for all audiences and artists to engage with?
I think that while we have come a long way since the 1950s as it pertains to LGBTQ+ acceptance, we still have a long way to go, especially in an age where it seems like some people would rather push us back to this time period.
Being able to engage with these kinds of stories, whether they are a lived experience or not, allows artists and audiences alike to challenge their perspectives outside of the superficial reality we live in and find those commonalities most of us have. Progress only works if we are able to work together to move it forward.
The play starts with the feel of a classic sitcom before gradually revealing something much heavier underneath. What do you think makes that contrast so powerful?
The contrast between these two realities really touches at the core of society at that time, and still has roots in today’s world. The idea that it is better to stay in this picturesque reality that society tells you is right, even at the sacrifice of your own freedom and happiness, is something that should be challenged.
This show does a great job exploring that duality in perception as it specifically pertains to sexuality, but it can just as easily apply to any other aspect of a person’s identity. It gets to the very heart of what makes up the people around us.
What conversations or feelings do you hope audiences leave the theater with after seeing Perfect Arrangement?
Ultimately, I want audiences to leave the show with a renewed sense of identity and how they choose to express it.
While there have been many discussions nowadays regarding “identity politics” and the dangers that come with it, I still think it is important for people to be able to freely express who they are and to be proud of that, regardless of how others may look at it. Personal expression is the backbone of a diverse society, in my view.
Perfect Arrangement will be presented June 5 and 6 at 8 pm and June 7 at 2 pm at The Garfield Center for the Arts in Chestertown, Maryland. Written by Topher Payne and directed by Joseph Fox, the production is part of Groove/Factory’s first joint season following the merger of Groove Theatre Company and The Factory Arts Project.
Tickets and additional information are available at thefactoryartsproject.org/perfectarrangement.