Local Story by Kristen Palmer in L.A.

Tickets now available:

http://www.brownpapertickets.com/event/24219

The most important question of our times

Do you own all of my published work?

http://www.amazon.com/by-Adam-Szymkowicz/lm/R3K2ERA2M01VQ1/ref=cm_lmt_dtpa_f_1_rdssss2/105-7949491-4188433?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=listmania-center&pf_rd_r=17PM0RSTW3X5BGFXZCD2&pf_rd_t=201&pf_rd_p=253462201&pf_rd_i=0822221365

free music from genius Kyle Jarrow and his friend who I don't know

http://www.hoteluniverse.org/krakow.html

insight from Marisa

But writers today may see no benefit in continuing to fail toward success as playwrights when an easy living as a writer on a television series seems within reach. Young writers who win some acclaim for a first or second play will probably continue to head west before they have had time to develop, which means the theater is potentially losing important voices before they mature. -Charles Isherwood I read a fair number of NY Times reviews, and it's no secret to the theatre blogging community that Charles Isherwood isn't, exactly, the most supportive of critical voices in the realm of new plays and new/young playwrights. I can't defend the validity of his criticism first hand (I'm not seeing those productions), but you have to acknowledge the culpability of the NY Times of driving talented young writers into the warm and moneyed embrace of acceptance and a fat paycheck on the other coast.

blog of note from Callie

I’ve come to realize as an artist, my brain is frequently negotiating its way around impulses and ideas that are difficult to articulate, but that there is something gained in the attempt at articulation. And the more I engage publicly in discussions on the big issues, the more I am convinced that a hesitancy to and even lack of skill in contributing to these conversations is one of the main reasons women are not produced more. and But back to women playwrights in general. The hopeful thing is, there is much ground to be gained and so we can steer the discussion. We have reviewers at the New Yorker and the New York Times taking women like Theresa Rebeck to task for writing watered-down Mamet. As a woman audience member, I was struck by the deft way she threw light on the complexities of female family relationships and obligations in caring for elderly parents in MAURITIUS. Rebeck hit such perfect notes of the sacrifice and despair and fear and entitlement and resentment shared by the sisters in the play. Not one male reviewer parsed those issues out of her play.

support the Writers Guild, Sign the petition

http://www.petitiononline.com/WGA/petition.html

meme

Joshua tagged me on this: “Find a song that inspires you to write something, whether it gives you an idea for a script or just puts you into a better frame of mind. AND/OR (don’t you love choices) peek into the lyrics and find a stanza that sums up the theme of whatever script you’re working on. It’s quite uncanny how the two circumstances go together. If possible, post a video of the song to really get people into the mood. (Yep, I’m aware of the irony of using Internet clips during the pissing contest. I like irony as much as bitchiness.)” I'm going to go with what I'm writing currently (Open Heart) and the Song The Damage in your Heart by Weezer. Hear it here. One more time I have crossed the line Now you won't be mine Anymore. One more dream Vanished up in smoke Now I have no hope Anymore. Let it go The damage in your heart Let it go The damage in your heart I can't tell you how the words have made me feel I can't tell you how the words have made me feel the rest of the lyrics here. K always makes a mix cd for her cast to give them source info for the play they're working on. It's a cool practice. I think if I did that however, they may not understand why I choose the songs I choose. Of course, this one is obvious. Also, except that the play is literally about hearts, these lyrics are pretty much thematically related to every play I've ever written. Almost. or at the very least, the ones i like most. I also like Paul Simon a lot. and I've written a lot while listening to the Mighty Mighty Bosstones, especially in the first 5 years of writing. also there is this. music by isaac butler, lyrics by me.

and

Go see 1001. If you miss it, you will regret it.

stagehands strike

http://www.nytimes.com/2007/11/10/theater/10cnd-theater.html?_r=2&hp&oref=slogin&oref=slogin

new scene, first draft as always

9 (NINA and LISA scour the streets in full Crimefighter getup. Normal city noises.) LISA There aren’t any accidents. NINA What? LISA No one is shouting at me. NINA Why would they shout at you? LISA Right. I mean I guess it’s this mask. They think I’m one of you. So they look but they don’t stare. They don’t run red lights or walk into passerbys. Because I’m a known quantity now. A Crimefighter. I can protect them. NINA Yes. LISA It feels great. I feel free. No one told me being anonymous was so much fun. NINA It’s one of the secrets of being a crimefighting hero. LISA What are the other secrets? NINA Oh, you’ll learn soon enough. Lots of free drinks. Cutting in line at the movies. LISA That already happens to me. NINA Oh. LISA But now it will be because of what I do instead of what I look like. NINA Oh. LISA No more men for me. NINA No? LISA How do you do it? NINA Oh, you get used to it. LISA I mean, there have been men? NINA Oh, sure. Sure. Well, no. Not in a long time. And honestly, I don’t miss it. Or rather, the job has taken over for providing me with that excitement. And there’s nothing that beats crimefighting. I don’t care what kind of sex you’ve had. LISA I’ve had lots of kinds. NINA We all have. Well, I haven’t, but you can’t go by me. I mean actually, the thing about me is, and please don’t say anything to the others— LISA I won’t. NINA The thing is, ever since my run in with Dr. X, well, it’s all I can think about. I can’t stop thinking about the doctor. Day and night. When I’m brushing my teeth. Even when—you know. LISA Oh. NINA Dr. X is just so exciting. And wrong. So exciting and wrong. I think the other girls have an inkling. Because I—I let him get away. I didn’t mean to. I paused. If you know me, you know I’m not someone who ever pauses. I run into any situation, burning building, shark infested pool without a thought. But I saw Dr. X and I paused, to the point of stopping even. And it was not revulsion I was feeling. Well, it was, but it was mixed with something else potent. I’m not sure what. They should bottle it if they could ever find a way to collect it. They’d make millions. LISA Who? NINA Exactly. (DR. X enters here as NINA’s memory and they look at each other.) NINA Just stood there, looking at me, with a doctor’s bag and a syringe. Dr. X showed no remorse. Remorseless. Soulless maybe. And it took my breath away. I’m terrified of what might happen the next time I run into the doctor. You have to be ready at all times to kill if necessary. But when I think—I’m not sure I could do it in this case. I dread our next meeting and at the same time I look forward to it more than anything in my entire life. You know what I mean? LISA Yes.