Indie pop-rock project Holly Hollows breaks free from the ordinary with their self-titled production, “Holly Hollows.” This multi-layered experience explores the challenges of artistic expression and the search for meaning, drawing inspiration from personal loss and the intricacies of the human mind. Pushing the boundaries of traditional storytelling, the project captivates audiences on a journey through life, death, and the impact of artistic creation.
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“Holly Hollows” invites introspection. Inspired by the personal journey of the funder, Holly Anne Mitchell, the project delves into self-discovery, and confronts the shadows of ambition and the hollowness of chasing external validation. It compels us to question the very essence of artistic creation, prompting us to ponder: what does true artistic fulfillment look like? And what legacy do we leave behind when the curtain falls?
“Holly Hollows” sounds like a bold and theatrical experience. Where did you get the inspiration to create this project?
I lost two friends in the past year, both talented artists. What devastated me was that their ideas and dreams also died with them. I imagined there was a place where all their unfinished work was waiting for them, and that their creativity would live on by inspiring others to carry on their legacy, including me. That place is the Hollows, the afterlife for artists.
You are an artist interested in shattering societal norms. What elements of “Holly Hollows” do you think evidence this part of your personality and vision as an artist?
My music and my writing are always at the intersection of creativity, psychology, and spirituality–these three subjects never cease to intrigue me. I’ve always had a fascination with the hero’s journey, and Carl Jung’s process of individuation–traveling into the unconscious to find the self, and to integrate the lightest and darkest parts of your being into wholeness. I was always afraid of my shadow–my childhood in a fundamentalist church caused me to reject and suppress parts of myself I thought were broken. But PTSD required me to face my shadow head-on. Fear, horror, death, rebirth, these themes continue to haunt me and propel me to make sense of them through metaphor. My art became the container to hold the uncontainable, integrate my light and darkness, and find self-acceptance by sharing my story with others.
Were there any specific musical influences or inspirations that shaped the sound and style of the musical?
The songs have a cinematic quality, surreal, provocative, and often erotic. The lyrics come straight out of my poetry journal. They’re visceral and multisensory. You’ll hear subtle nods to my favorite artists who push imagination’s limits like St. Vincent, Labrinth, Madonna, Lana Del Rey, Karen O, Christine and the Queens, and Adrianne Lenker. For this album, I wanted the melodies to be addictive, so that they haunt the listener, and for the poetry to crawl in and crack the heart open, and in time reveal what’s ready to be brought from the shadow into the light.
Some might argue that the pursuit of fame and recognition can lead creators down dangerous paths. What are your thoughts on this potential risk, and how does ‘Holly Hollows’ navigate this theme?
Holly struggles with an incompletion in her life–unfinished songs, unrequited love, and a deep desire to achieve significance through fame. The pain of longing drags her to the underworld, where all her undone dreams come true. But getting everything you ever wanted might turn a dream into a nightmare, and that’s exactly what Holly faces after death. The subject matter is confronting me as a recovering achiever. I chase after something, but when I achieve it, the victory is empty. There’s always another mountain to climb or someone else who’s climbed much higher. What is it inside of us that wants the thing we’re jonesing for? For me, it was the desire for my life to matter, and the fear of being unlovable. Do you want what you want from a place of love or a place of inadequacy? When you’re dead and gone, what legacy do you leave behind? A good existential crisis is better than a strong cup of coffee to kick my ass into gear. If this musical and accompanying album result in an existential crisis, I love you, you’re welcome.
What can audiences expect from the production in terms of lighting, setting, and design in general? How do they contribute to the narrative?
The theatrical version of the musical will heighten the senses of sight, taste, smell, and even touch to provoke an introspective journey that borders on psychedelic. These elements are designed to ignite questions about the roots of desire, the light and shadow of impulse, and the price of fame, and examine the legacies we leave behind.
Are there any audience reactions or interactions you anticipate or hope for during and after the performances?
Holly Hollows’ journey is similar to mine, and that of many artists: we’re compelled on a quest for significance. But as creators, what we do takes on a spiritual nature, and as we evolve from the desire for significance, we move toward the desire for contribution. It’s so hard because our programming and our early story that thrust us into the world told us the way to be loved and to be safe is to be unique and to be an individual, and that through achievement our lives will have value. But we are so much more than our work. We are not the work, the work is the portal, for our transformation, and the transformation of others. We have to find a truer identity, beyond the work, beyond our stories. By transcending the need to be special, we discover what we’ve been looking for our true, authentic voice–a legacy of artistic contribution. We no longer need approval outside of ourselves. We know when the work is complete because it interests us. Everything becomes a whisper of inspiration. We capture the inspiration, sculpt it into a medium, and move on to the next project to keep learning, growing, and sharing. My aim is that this piece serves as inspiration for other works of art so that the soul of it keeps on going.
You have also created an accompanying album for the musical, what specific challenges did you face in translating the story and emotions of “Holly Hollows” from the stage to the album? How did you overcome them creatively?
Producing theatre is a complex multimedia process. We’re in the pre-production stage which involves building the right team and project managing all elements of the experience. There are so many choices from casting and costume to lighting, props, and set design, which tell a three-dimensional story engaging all the senses. Each performance is different and the variables are unplannable. But that’s what makes it so exciting. Acceptance is key– you can’t control outcomes, some projects have their own timeline, and you should never in a million years do everything on your own. The biggest reward is when you engage a community to support and help you, you deepen those relationships, and by letting the universe add its ideas to your project, you employ and strengthen faith so that magic has room to surprise and delight you.
How does the immersive experience of “Holly Hollows the Musical” on stage differ from the emotional intimacy of listening to the album alone? What unique insights do each format offer?
The theatrical experience will have some surprise audience participation elements to make the production truly immersive, engaging all 5 (and maybe even 6) senses, and we’ll learn more about Holly Hollows’ life through her posthumous social media profile. The album differs in that it is an intimate experience that invites the listener to build the underworld through their own imagination. With only the ears to guide them, they become co-creators in the process. They can insert themselves into the adventure, apply the poetry and melody to their own lives, and dance with their unconscious.
Having written, produced, and starred in the musical, how did you balance your different roles and ensure each element seamlessly contributes to the overall theatrical experience?
Balancing these roles is challenging, but masochism is my superpower, ha! I couldn’t have done this without brilliant people around me. In the past year, I created a creative council of artist friends who served as mentors to me throughout every stage of the project. I strengthened my skills as a singer, playwright, and songwriter, and as an executive producer by leaning on these experts. By putting my work under critique by people I respect, it enhanced my ability to receive and filter feedback, and sharpened my clarity to articulate and defend my vision with confidence. I’m considering taking on a new challenge and directing the live show–I’ve never directed before. But because I’ve gotten so clear in the past year, I feel I’m up to it.
What does artistic fulfilment look like for you? Are there any specific dreams or goals you hope to achieve with your diverse talents?
Artistic fulfilment is when the experience in my head matches what I’m sharing with others. As I grow in my skills and ability to articulate my vision and work with talented collaborators like album producer Kyle McCammon, I get closer to matching that dream to reality. This album sounds even better on the outside than what I first heard on the inside. That feels fucking awesome. I’ve got a lot of projects coming up I’m inspired by. I just finished a sexy, dystopian, spirituality novel called Thea and the Human Experience, so I’m on the hunt for a publisher. I’m also in talks to remount a live production of my other musical, Blood Supply: A Zombie Apocalypse Love Story, intending to make it into an animated series. I’ve got other songs I’d like to build and release before the year is out. How to stay fulfilled on this journey? Keep learning, growing, and making strange, beautiful, compelling art with fun, talented people who want to impact the world.
Photo Credit: Jonti Shepherd @jontiwild
