Eduardo (see post below) encouraged us to write what we were afraid of-- he encouraged us to go someplace scary and to not worry about what our family or friends or lovers would say but to write the individual perhaps strange things that make us unique and to tell the stories that come from us. And sometimes this was successful and sometimes not but I think we were encouraged to write in the realm of dangerous--in other words write the kinds of plays that are not being produced off broadway these days.
And I want to hold onto this but I want to have a play off broadway too. How do we write true and not dampen too much the weirdness about ourselves and still succeed in this theatrical world? It's something I'm wrestling with.
Because I think the audience should be challenged. But does my work even do that? Should it? Is that the way I should be writing and if so how do I go about that? Or am I already writing that way? It's hard to tell from the inside.
I wrote a play called Open Minds that I thought was political and fierce but I couldn't get anyone to do it although it was a finalist in a couple of contests. Was it not a good enough play or did I not send it to the right places or was it in fact too dangerous?
I need to write another dangerous play now. The time has come. I'm too angry at Bush, at where the country is going, too afraid for the future. And then after I'll go back to writing the other kinds of plays I write, about love and relationships and gender roles.
Of course is this really a dangerous play I have in mind? What is it? A political satire/allegory. Will that help at all? Will that change anything or even make me feel better? Does it need to be out there? I want to write the play that needs to be out there.