The Story behind the Stories: Moth Mainstage

Buy Tickets

LAGAMMA: What are the greatest differences between producing shows for the radio and shows for the stage? Do you look for any particular characteristics when choosing which storytellers to feature on stage?

JENNESS:  Episodes of The Moth Radio Hour are built from audio recordings of our live events, worldwide—so in any given hour, you may hear a teller from our open-mic series in Seattle, a Mainstage storyteller from our Portsmouth show, and two stories from our Moth Community Program (where we travel to underserved neighborhoods to teach storytelling to people who may think their stories are not of-worth). At every live-event Moth, we try to present a wide range of experience and background, so the audience feels transported and introduced to people they might never have met if not for this Moth night.  Moth stories are all true, as remembered by the storyteller, and the mark of any successful story is a moment of vulnerability—when the teller trusts the audience enough to tell on him or herself. Many Moth stories explore the “anti-hero”;  storytellers realize that they connect with the audience when they reveal their human faults and scars, and I think this is why our programs are successful. 

LAGAMMA: Given that Moth stories reflect diverse subjects, have you noticed any trends in the stories that are being submitted – either in terms of the demographics of the storytellers themselves, or in terms of the subject matter? 

JENNESS: Our Mainstage storytellers are introduced to us in myriad ways. Some are referred by previous tellers, some are overheard “holding court” at a party, some call our pitch hotline, and more and more are coming from our Moth Community Workshops. The people who call our hotline and/or are gregarious by nature are of one type and those who perhaps don’t think their stories are of-worth are another. It’s important to us to represent both at The Moth.

LAGAMMA: Is there a process you use to authenticate a story? How do you know if a story has been fabricated? 

JENNESS: We do fact-check Moth stories where possible, but we say that this material is true as remembered by the storyteller—and the heart of the story is based on perception and emotion. Years ago, I worked with a man who claimed to be a Vietnam vet, coaching his harrowing story about learning to feel again after three tours before the age of 21. But, after 20 hours of directing his beautiful story, a simple records search revealed the story core was false and we couldn’t use it on air. This was a heartbreaking lesson for me to learn.

LAGAMMA: What have been some unexpected surprises you’ve encountered along the way?

JENNESS:  I’ve worked with The Moth for 10 years, and I’m proud of the connections we’ve made. The former pickpocket who is now friends with the retired NYC detective after sharing The Moth stage; the people who have reconnected with former flames after hearing their story on the radio; etc. Many, many listeners write to us with “driveway” moments—times they could not leave the car until the Moth story was over, and that delights us. I’m proud that The Moth provides a stage for tellers, but also a space for strangers to practice the art of listening. Strengthening our listening skills is a deeply important part of this storytelling ritual.

LAGAMMA:  I read the Moth is traveling to the U.K. Is this new? And do you see expanding into other European markets? Have you noticed a difference in the way stories are told or in the way the audience reacts to these stories depending on the locale? 

JENNESS: The Moth produced Mainstage events in Edinburgh, London, and Dublin this summer, to support the publication of The Moth: This is a True Story in the U.K and Ireland.  We launched monthly open-mic StorySLAMs in London and Dublin at the same time—and we are eager to incorporate these new voices into The Moth Podcast and The Moth Radio Hour. In fact, we have a “Live from Dublin” episode of The Moth Radio Hour set for broadcast mid-March. We see ourselves expanding into other English-speaking markets in the years to come, and we’re eager to explore stories in translation. In fact, we’ve just recently taught Community storytelling workshops in Africa. The Moth’s goal is to present true, personal stories from wide ranging viewpoints and backgrounds to as many listeners as possible, and worldwide work is a necessary part of this.