Voices from the Fringe: Writer/Director Mandy Rubeli

All Cats Go To Hell is a new dark-comedy surrounding a group of tweens who accidentally kill their elderly neighbor’s cat and are forced to face their own mortality for the first time. From the team that brought you the award winning Arizona Rain HFF’23 and Dinosaurs HFF’24, All Cats go to Hell is a coming of age story about death, growing up too fast, and wild misinformation on reddit.

A central theme of this show is death. The characters are forced to confront the idea of mortality for the first time when they witness the death of their neighbor’s pet cat — both grappling with the cat’s passing and, more poignantly, with their own inevitable mortality. This exploration of mortality was drawn from my own recent health struggles. While not life-threatening, these challenges have forced me to confront the reality that I am not immortal, and that one day, my body will fail me. These forced and unexpected limitations of my body inspired the underlying angst in this show, which, in a somewhat strange way, somehow found its expression in the death of a cat.

Ms. Rubeli was kind enough to participate in an exclusive interview with ArtsBeat LA.

What was the inspiration for this show?

The inspiration also comes from my years of teaching eighth grade. One of my biggest takeaways from teaching is that young people are far more perceptive, capable, and resilient than we often give them credit for, and I wanted to showcase that in this play. Many of the kids I work with have gone through so much at such a young age, and I’ve witnessed the frustration that comes when their feelings are invalidated or they are not given the credibility they deserve because they are “just kids.” I wanted to use this play as a platform to amplify their voices, particularly highlighting the neglect and disregard so many of them feel in today’s world.

How were your past experiences with Fringe?

My past experience with Fringe has been amazing. I have received some incredible feedback and met some stellar artists. My production company “Nightmare Lizard Productions” had two successful Hollywood Fringe runs with our shows Arizona Rain ‘23 and Dinosaurs ‘24. 

Arizona Rain received the “Hollywood Encore Producer Award,” the “Theater Theatre Playwright Award,” and was a finalist for “Best Drama” and the “Loud Karma Emerging Female and Nonbinary Playwright Award.” Reviewers called it “A beautifully written show with an incredible and deserved arc” and “A really well-done play I’ll think about for a while.” Arizona Rain went on to receive press mentions in Broadway World, Fanbase Press, and The StageCrafts, and was featured on the podcasts Theater Theatre and Media Industry Guru.

Dinosaurs had an entirely sold out fringe run and received the “StageCrafts Official Selection” Award, as well as another finalist spot for “Best Drama” and the “Loud Karma Award.” One reviewer noted, “I felt like I was watching a show Off-Broadway or a Netflix series,” and another said it was, “A very human piece and a creative way to discuss a sensitive and important topic” and “The best play I have ever seen.”

How invested is the cast in the play?

The cast is very invested in the show! I’ve been fortunate to work with the same group of actors and crew for the past three years, so they’re well-versed in the chaos that is my creative process. I try to make my shows highly collaborative, where everyone contributes their ideas and we work together to create the best possible version of the show.

How do you deal with the super-fast setup and turnaround of the Fringe?

I love nothing more than a fast turnaround time!

For example, my process of bringing any of my work to the stage usually goes like this: In early April, I send out a group text asking if anyone’s interested in doing another play. Once everyone commits, I promise to have a rough draft of the script ready in three weeks. I then go tour every coffee shop, library, and park in Los Angeles, listening to Phoebe Bridgers while typing away on my laptop.

Three weeks later, we gather for a read-through, and I collect feedback from everyone. The final draft is ready about a week after that, and then we dive into rehearsals. I really love putting something up quickly because it forces me not to second guess myself, and Fringe is the perfect place to workshop new material.

Since Fringe is collaborative, do you have any other plays on your radar?

There are so many. That’s the great thing about fringe, you meet so many incredible artists. To name just a few shows — Except Myself, Girlblood, Out There, Eggs, and A Peacock in the Rubble.

What advice would you give newbies wanting to stage their works at the Fringe?

Take risks! I believe the Fringe festival is the perfect space to workshop new material, thanks to its built-in community. I truly value honest feedback, and the supportive environment here fosters just that—encouraging growth while offering invaluable insight.

All Cats Go To Hell plays at the Madnani Theater, 6760 Lexington Avenue. Showtimes and tickets can be found on the Fringe site.

Photos courtesy Mandy Rubeli.