Interview: Director Jolie Oliver of THE MOTHERF**KER WITH THE HAT

The Motherf**ker with the Hat by Stephen Adly Guirgis was first produced on Broadway in 2011. The play is a high-octane, verbal cage match about love and fidelity that follows Jackie, recently released from prison, and his volatile relationship with Veronica, who is not sober. Upon his return, Jackie finds a mysterious hat in their apartment which ignites a comedic, profanity-laced exploration of their relationship and the challenges they face.

I decided to speak with the play’s director Jolie Oliver (pictured), a multi-disciplinary artist and theater veteran who often working in film and television, and has become a prominent figure in stand-up comedy. We discussed how she plans to update the subject matter for 2025 audiences, deal with the staggering amount of profanity in the script, as well as playing the part of Victoria in the production at the Odyssey Theatre.

Thanks for speaking with me Jolie. First, please share what led you to decide to direct the play as well as appear in it.

When I was asked to direct The Motherf**ker with the Hat, I had been refining my directing skills at my acting/directing studio.  I read the play multiple times and spent months considering whether to take on a full-length production. Acting is a vital part of my life, so I decided I’d only take it on if I felt confident in portraying Victoria as well—a character who appears in a few key scenes. Once I was certain I could fully embody her, the decision to direct became clear. 

What is it about this play that you connected with most, and why do you think now is the perfect time to launch a revival of it in Los Angeles?

I'm drawn to the complexity of the characters - the challenge of uncovering their truths and understanding what they hide and why. In a time when we are quick to judge and often marginalize others who seem different from us, this play reminds us that things aren’t always as they appear. This story encourages empathy, deeper listening, and greater understanding.

Alex Désert, Carlos Moreno, Lodric D. Collins. Photo credit: Cody Williams

How did you approach the tone of the play, given Guirgis’ sharp maneuvers from raw humor to intense emotional drama?

I wanted to blend humor with pain and create flawed, relatable characters. If an audience member walks in expecting a story about counterculture, I want them to leave feeling that they've seen a reflection of their own life. The beauty lies in its unpredictability—like a rollercoaster with hidden tracks.

How did you deal with the play’s strong language and controversial content in a way that makes it feel purposeful to its themes? 

I embraced the language as a reflection of NYC - raw, direct, and authentic. The characters use “conversational cursing” not to offend, but to communicate with impact. At its core, the story is about family and familiar conflicts: lies, betrayal, love, hate, addiction, recovery, struggle, and ultimately, redemption.

Carlos Moreno, Alex Désert. Photo credit: Cody Williams

Why do you think today’s audiences are better able to relate to conversations around toxic masculinity, loyalty, and recovery than when the show premiered on Broadway in 2011?

We're exposed to far more today than we were 14 years ago. Media now addresses these topics openly, giving us a deeper understanding and helping us see their impact on our own lives.

Did you face any rejections to review the play because of the title? I remember how much of an issue that was when it premiered in 2011.

Thankfully, reviewers tend to have an open mind about material. Finding sponsors, on the other hand, proved a challenge. Few were eager to risk their reputation by aligning with the word, “Motherf**ker.” Not sure I blame them.  Haha. 

Jordan Marinov, Lodric D. Collins. Photo credit: Cody Williams

And how did you go about casting the show? (Lodric D. Collins as Jackie, Alex Désert as Ralph, Jordan Marinov as Veronica, and Carlos Moreno, Jr. as Cousin Julio)?

I was incredibly fortunate to be able to work with actors I’ve known and collaborated with for years. We all share the same foundation, rooted in the discipline developed by Milton Katselas at the Beverly Hills Playhouse, so my directing approach was naturally understood and embraced by everyone.

Tell me about the character you play, Victoria, and how she fits into the play’s storyline and themes.

Jolie Oliver as Victoria and Alex Désert as Ralph. Photo credit: Cody Williams

Victoria is married to Ralph, Jackie’s AA sponsor.  She’s a former junior trader on Wall Street who now runs a nutritional beverage business with her husband—and could easily outpace him if she wanted to. Fed up with Ralph’s repeated betrayals, she reveals a secret that propels the play in an unexpected new direction.

Does acting in your own production seem easier than having someone else direct you? How so?

Absolutely not - and I’ll probably never do it again. Switching between acting and directing was tough; I kept observing instead of engaging. I eventually brought in a third eye to help with certain scenes. But don’t get me wrong.  It was challenging, yes, but also thrilling and rewarding. No regrets.

Lodric D. Collins, Carlos Moreno. Photo credit: Cody Williams

How has directing this play changed your perspective on any of the themes that it explores?

It taught me a great deal about my own judgments - particularly toward those who have been marginalized by society. I came to understand that there are layers beneath everything. It also shifted the way I view how others choose to express themselves.

Are we really better listeners now than we were when Stephen Guirgis wrote this play, or have we been hijacked by social media into forgetting how to directly communicate with others?

Sadly, I believe our ability to truly listen has declined over the past decade. We tend to take in only the perspectives that align with our own, and seldom make the effort to understand opposing viewpoints. Social media has made it all too easy to surround ourselves with like-minded voices and reinforce the belief that we’re always right. With this play, I hope audiences will begin to question their long-held beliefs and consider other perspectives with a more open mind.

Jordan Marinov, Lodric D. Collins. Photo credit: Cody Williams

What do you think will be the important take home for most people after they see this play?

That we have more in common than we often realize. I hope audiences recognize a part of themselves in at least one of these relationships and come away with the understanding that we’re more alike than we think.

Are you working on any other projects, either with your theatrical production company, other theaters, studios, or online?

Once the play wraps, I’ll be focusing on finishing the pilot for The Turk, an episodic that I directed, which was created by and stars Ali Cesur. I'm also definitely looking forward to exploring more opportunities in theatrical directing.

Thanks so much. Anything else you want to add about the show or your involvement with it?

I'm incredibly proud of the team we've brought together - from producers and designers to actors and crew - because everyone shares the same passion and drive to create an independent theater production in Los Angeles that truly leaves a lasting impact.