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May 20, 2015

I Interview Playwrights Part 742: Kate Cortesi




Kate Cortesi

Hometown: Washington, D.C.

Current Town:  Brooklyn, New York.

Q:  Tell me about your Princess Grace winning play.

A:  It’s called GREAT KILLS, after a little town in Staten Island. And I suppose for the resonance of those words with a viciousness in the story of this high school girl and her parents in the year she’s applying to college.

The premise is a high school achiever writes a college essay that makes it seem like she came from an abusive home, which is false. She’s a very well-supported, nurtured child, a point of pride for her working-class, Italian-American mother and father.

On the other hand, the violent incident she describes in the essay really did happen. So the essay is a little bit of truth and a whole lot of spin. That thing politicians do all the time, you know, like that gubernatorial candidate in Connecticut who said he “served during the Vietnam War” letting everyone fill in the blanks that he’s a war hero, when in fact, okay, he was in the armed services but was never deployed. He was in South Carolina the whole time or something. Remember that? Anyway. So my girl’s essay is a type of propaganda that’s right in line with how American leadership acts all the time, but it feels extra jarring and fucked up (hopefully) when a 17-year-old girl does that to her parents to get into Harvard.

The main action of the play is the girl’s mother making the rounds to stop this essay from getting submitted. The mother tries to enlist the SAT tutor, the guidance counselor, an influential teacher, and through them we get glimpses into a broader world that encourages or condones this kind of marketing of children to colleges. So while this kid is a remarkably calculating individual, the audience comes to see her as a product of our culture, a distillation of us. Or, that’s what I hope they see. I would hate to write a show about a monster, where we’re like, ew gross look at that monster. A peeve of mine is the play that “tackles” “an issue” “in America today” but it’s really an assurance to everyone in the audience that they (and the playwright) are so correct and virtuous; you know, where we’re like, I love this play because I’m nothing like the dickhead it’s about! That doesn’t stretch us, it shrinks us.

But my play isn’t exactly heart-warming either. My high school girl is pretty hard to watch. She’s ruthless and at times downright cruel, but I love her so much. She’s funny. She’s bold as hell. And she’s smart in a way I love: she pays very close attention and considers things fully. In her little world, she derives a lot of power from being more mentally rigorous than everyone else in the room. In so many ways, that mental prowess is an admirable trait, but it can be a kind of poison, too. Intelligence without humanity is terrifying to me, partly because it’s so powerful.

And yet I have a lot of sympathy for her: she’s manufacturing this college applicant persona out of a profound lack of something inside her. A lack faith in herself, a lack of knowledge that there is something real there to assert. And I worry about that lack in young people. In everyone, really.

I think when we emphasize success as much as our culture does, that value breeds an obsession with the appearance of success, those markers of success. So we’re obsessing over getting ahead and putting all this energy into facade upkeep. It’s all very external goal driven and concerned with appearances. Meanwhile, our inner voice that vibrates with truth, our moral compass, our sense of service, the part of us that yearns to create and express ourselves--all these tender things that make up our humanity get stunted or atrophy. And most of us don’t even have words for what’s missing.

So yeah, this play GREAT KILLS is worried about the cost of ambition on America’s soul.

Q:  What are you working on now?

A:  SEPTEMBER BRIDE, a musical with the composer Roger Ames about a widow who leads a support group for people who lost someone in 9/11. Only it turns out she didn’t lose anyone in 9/11; the fiancé she’s been grieving never existed. One day she told this little lie to get a little affection and attention and it worked so well she couldn’t stop. Another play about another liar.


Also a web series called IS EDWARD SNOWDEN SINGLE? about a hot mess of a millennial who convinces herself she’s Edward Snowden’s girlfriend. It’s funny and pretty ridiculous, though like all my work I take it super seriously. It’s about the birth of integrity in a girl for whom integrity is the only thing she really needs but the last thing it would occur to her to want.


Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  I love this question, Adam, because it stumps me! Which I find interesting...


Okay real talk is, when I look for a path from my childhood to writing plays, I don’t see one. I was alone a lot and I liked being alone, and I still do, which helps if you’re going to be a writer. But I wasn’t one of those kids who was journaling constantly or putting on plays for their parents’ guests. I was a math/science kid, and, also, a painter. My worst subjects were the humanities. I still feel like I missed school the day everyone learned how to spell.


So part of me wants to use this question to puncture the myth that our favorite thing to do was always there. Sometimes you live a lot of life before your favorite thing finds you. Sometimes you’ve been a lot of people before the best side of yourself shows up.


But man, okay, my mind keeps jumping back to my father. I’m not sure why but here are some things about him:


He never wanted to know about my personal life but we talked all the time about world events, science, history and literature. And math. Ever since I was little, like 7 probably.


The man was so honest, and so precise with his words. When I gave him my favorite book, Matilda, he read it that same night. I eagerly waited for him to tell me he loved it too, but what he said was, “Well, I didn’t like it all that much, but I am genuinely interested that you like it so much.” Another time I asked if he would always love me no matter what and he said, “Well, not if you became one of those people who goes around murdering people for no reason.”


My mom is his second wife and he’s a New Yorker old enough to be an avid Brooklyn Dodgers fan. When he met my brother’s in-laws for the first time he said, “I’ve been married twice and I was in New York when the Dodgers left town and I’ll tell you: it’s easier to change your wife than your baseball team.” About a play of mine that won a big award at Columbia and played in more than one country, he said three words: “Juvenile but promising.” That’s exactly what it was!


Anyway, why do I feel like this answers your question? My dad didn’t make me a writer. I have no idea where that comes from. But he nurtured in me a kind of mental rigor. He may be wrong about things but not because he’s a sucker for the spectacle, not because he didn’t give it serious thought. And that kind of mental rigor needs an accompanying precision with language (and vice versa). Both of these habits are resources I draw from heavily when I work on a play.


Q:  If you could change one thing about theater, what would it be?

A:   I’d probably broaden our notion of who a theater audience is. We should be cultivating love for the theater in every middle schooler in America. Veterans. Retirement homes. Prisons. I taught Shakespeare in Riker’s Island for a while, the prison in the Bronx. The teachers who are still there are heroes to me. The soul work that theater does is so important. People need soul work like they need access to healthcare and a good night’s sleep.

Q:  Who are or were your theatrical heroes?

A:  There are cannon giants of course. I’m rereading OTHELLO and WHO’S AFRAID OF VIRGINIA WOOLF on my subway commutes and I’ve read both of those plays about 15 times already, but my contemporaries are the ones inspiring me most right now. Let’s see.


I’m inspired by Annie Baker’s faith in her material and her trust that the audience will join her in obsessing over the minutiae she’s curated for us. And I think she’s right! If you pay attention to those tiny little fragments between her characters, you will witness love getting created before your very eyes. It’s quite miraculous but you really have to lean forward and listen. I love that she demands that of us.


I love Amy Herzog’s discipline with dripping exposition out organically. She’s more disciplined than anyone else at keeping her characters, well, in character. Oh, also from her play 4000 MILES I learned that compassion can be a dramatic force. I’m drawn towards darker dramatic forces so it was actually a shocking discovery.


Halley Feiffer is the queen of, I don’t know how to say it other than like, fucking going there, and going way, way too far. Her work gives me permission to dispense with likeability in a way that I’m still trying to summon the courage to attempt.


I find Will Eno’s work at once very mysterious and totally coherent, so absolutely itself. That man’s mastery over his craft is something to aspire to. I also find his work straddles this insane range of being both my bully and the saddest little broken kid that needs my love.


BLOOD PLAY, The Debate Society’s play a couple years back, has really stayed with me. I was so totally with Hannah Bos’s character when she went on that journey from being desperate to please, desperate to be liked, to seeing the possibility of real friendship and comfort in her neighbor, to being mortified at her neighbor’s casual inhumanity, to totally rejecting her. It was one of the most perfect character arcs I’ve ever seen. I don’t think I felt one little bump in that whole ride! Seeing her arrive at her destination was like realizing you’d seen a rainbow get drawn across the stage.


That play crystalized a goal I have with my own craft: give my audience enough data and summon a character real enough to bring the audience right in with her. I don’t care if you like my characters but I care deeply that you are with them. That way, when the character grows, the audience has a real shot at growth, too. I can’t think of a more generous gift to an audience than that. To help them more fully realize their own capacity as humans.


Brandon Jacobs-Jenkins AN OCTAROON is a tonal masterpiece. I mean, many things are extraordinary in that play, but the tone blew my mind. The use of humor in that story alone could fuel like 58 masters theses.


Robert O’hara’s BOOTYCANDY is a play which I actively want to influence my work and have no idea what that means, practically. But I am so grateful to that play for even putting in my head the notion that I might reach in that direction.


The play with the most astonishing love scene I’ve seen in years--the most tender and heartbreaking and totally believable--was between two men who spend their lives as avatars in a chat room for people who role play as pedophiles and child murderers. That’s Jennifer Haley’s THE NETHER, which I’m so obsessed with I sent her a cold email in which I blubbered like a teen-age girl. I couldn’t help myself. These characters taught me about the need to love, how desperate the reach for connection is, the loneliness that begets these connections. I mean, what the hell kind of magic trick is that!? Unbelievable.


That play issued me some pretty formidable challenges: can I create wounds like that in my characters, creating wounds as a way of kissing them? Can I expose darkness that dark and love it as tenderly as Jen Haley did?


Q:  What kind of theater excites you?

A:  Theater that does all those things I just talked about. Theater that feels like it’s a step ahead of me for most of it. Theater that engages and confuses me at the same time. Theater that cares about the wretchedness of being human. Theater that not only cares deeply about what it is to be alive but gets something about it specifically and viscerally right. Truth is such a big tricky word but I need it to feel true. I need to feel blood pulsing under the surface.

Q:  What advice do you have for playwrights just starting out?

A:  Okay, well first of all, congratulations. You stumbled into the world’s best job. It will feed you in every way except putting food into your mouth.


The thing I want to go back and tell 23-year-old Kate is don’t do this alone. Find a community, build a community, treasure that community. Hang with folks who make theater. Get excited with them. Be a friend to art. Care about what others are making. Cherish people who do that for you. Do this for like 12 different reasons which include writing plays is hard and lonely and you get stuck and you will stress about time and money.


Craft matters. Be respectful approaching the tools of this art. Care about how to build a story. Be patient with the craft. Be patience with yourself. Mastery is supposed to take time and experience. It’d be fucked up if being a beginner didn’t feel overwhelming. Everything worth fighting for feels like it could defeat you.


Watch how you talk about other people’s work because the one really getting that message is you and your work.


Protect your time to read.


Write about being human. Being a person is so wretched and weird. It’s so humiliating. It’s so hilarious. How ugly it can be is the very thing that makes it beautiful -- or rather the ugliness makes the beauty of it matter. Take what you know about being alive and wrestle with it and become fucking obsessed with it. Let everything you read or see on the subway or on stage or over drinks or in bed with someone, let it all count as expertise. Take your data seriously. Take your humiliation seriously. Take what you find funny seriously. That knowledge is your paint. “Write what you know” is sometimes taken to mean, if you’re a computer programer write about computers. Which is fine advice if it gets you writing, but it doesn’t help me. “Write what you know” for me means a faith that your particular, unique injuries and joy have enough in common with everyone else’s hurt and joy that if you write your truth it will serve the truth of your audience. It’s a gorgeous premise, actually.


Be kind to yourself. Tend a respect for what you’re attempting. Have compassion for yourself in the struggle. It’s hard. Don’t confuse how hard it is to get a good play in front of an audience with personal failure. Both the work itself and the career can be brutal.


Finish your drafts. You learn so much by getting to a goddamn end.


Avoid smugness. Avoid simplistic morality tales. Don’t throw rotten tomatoes at your characters, don’t diminish yourself and your audience by doing that. James Baldwin says the only place to write from is love. Given what he was writing about, a society that rejected him so thoroughly, so implicitly -- and duh, so explicitly -- I find that exhortation almost unfathomably generous. If James Baldwin can do it so can we. Write from love.


Q:  Plugs, please:

A:  I’m a lot more concise on Twitter: @KateCortesi

Tuesday May 26 a short I wrote and directed about an underground record store in Bed-Stuy LAZARUS will screen at the Sunshine Landmark (THE SUNSHINE LANKMARK!!!) at 9:55 pm. Tickets are here:

http://nyshortsfest.com/ny/film_program_details.asp?programnumber=3

Monday June 8th GREAT KILLS will be presented in a staged reading at New Dramatists with Kip Fagan directing. Details will be up at newdramatists.org but I think they’re not there yet because the time is up in the air.

Friday June 19 through Sunday June 21 GREAT KILLS will be at Premiere Stages. Details are here:

http://www.kean.edu/premierestages/current.php

You can generally see what’s happening with me at my website: katecortesi.com

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May 19, 2015

I Interview Playwrights Part 741: Emily Conbere



Emily Conbere

Hometown: Red Wing, MN

Current Town: Seattle, WA

Q:  Tell me about your upcoming show:

A:  Mason and Isa retreat to the woods after a car accident leaves her body and his mind wrecked. Between long walks to the 7-11 and a lingering obsession with birds, the couple grapples with a visit from the one guy they both can’t get out of their minds.

I'm super excited about the director, Paul Budraitis, because I've fallen in love with his ability to create stunning and beautiful imagery on stage. If anyone can do it, I believe in his ability to make feathers float out of Isa's beautiful scarlet mouth. It's opening at West of Lenin in Seattle in September, 2015, produced by The Umbrella Project.

Q:  What else are you working on now?

A:  I'm working on a play for Custom Made Play Project featuring three of my favorite actors in the Seattle area: Betsy Schwartz, Kelly Kitchens, and Rebecca Olson. I'm also working on a musical with singer/ songwriter Heather Robb about Judee Sill. I get to develop both of these as part of New Century Theater's playwrights group.

Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  When I was little, I really wanted pets. One day my mother found me playing with some dead mice in the basement. I guess I've always felt that you can have what you want, if you have the ability to make it up.

Q:  Who are or were your theatrical heroes?

A:  Albee, O'Neill, Genet, and Ionesco. Mabou Mines.

Q:  What kind of theater excites you?

A:  The kind that stabs you right in the heart.

Q:  What advice do you have for playwrights just starting out?

A:  Don't get an MFA unless is it free or mostly funded.

Q:  Plugs, please:

A:  Knocking Bird. West of Lenin, Seattle, September. 2015.


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May 16, 2015

I Interview Playwrights Part 740: Sam Byron




Sam Byron

Hometown: Highland Park, IL

Current Town: New York City (Brooklyn, in case you're keeping score)

Q:  Tell me about Gordy Crashes.

A:  Gordy Crashes is about three people's experiences during the 2012 presidential election that took place a week after Hurricane Sandy hit New York.

I wanted to try and encapsulate what it felt like to live after an event that had such wide and varied effects. During the whole ordeal, I remember the strange, visceral knowledge that, at the same moment someone in Staten Island had been washed away in the flood, someone else in Bushwick had drank themselves to sleep watching Netflix. Some people were volunteering, others were not. Some people were displaced from their apartments or homes for a few days, others (like me) for a few weeks, and still others remain homeless to this day.

And in the immediate wake of it all, the city took part in the election. There was something compelling about having that huge national event being thrown into relief by such immediate, desperate circumstances, like a kind of proof that life was continuing on regardless. For some, that day marked the beginning of the second week of a waking nightmare, and for many others, it was just a Tuesday.

So I guess the play is really about a few people trying to figure out how to reconcile the two.

Oh, and also a break-up.

Q:  What else are you working on now?

A:  I am finishing up work on a new play that will receive a workshop production this September at Stella Adler Studios. It's the culmination of a year-long residency I have with them, which has been really exciting. The play, Butcher, couldn't be more different from Gordy, so keeping both in my head for the last few months has been interesting to say the least.

I'll sleep eventually.

Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  When I was a kid, my best friend Alex Moss and I had a semi-weekly radio hour. We had a very long list of contributors, guests, and programs, which is astonishing because there were only ever the two of us super cool kids in the room.

Whatever this says about me as a writer, it’s hard to describe how much fun it was to expel uninhibited silliness into a tape recorder, knowing that, at the end of it, there would be a “show.”

Q:  Who are or were your theatrical heroes?

A:  Right now I am reading a lot work by Sir David Hare. The things he thinks are possible in a play are positively epic. I admire his intelligence because it is so obviously tied directly to his heart.

I’m also constantly rooting for and humbled by the three other playwrights that were in my MFA class at the New School for Drama. Dan Kitrosser, Matt Herzfeld, and Molly Haas-Hooven are great writers, great readers, and great friends.

Q:  What kind of theater excites you?

A:  I am thrilled by anything that comes out of honest exploration on the part of the artists. Flaws aside, if a piece stems from honest, generous, and above all questioning exploration of how we all co-exist, then that's exciting to me, even if the finished product isn’t.

Q:  What advice do you have for playwrights just starting out?

A:  Finish the draft. It’s the only thing I’ve found to be constant about writing plays. Just finish it, because you’re going to have to re-write it. Even if no one is beating down your door to produce it, even if you plan on sticking it under your mattress for the rest of your life.

Just. Finish. The draft.

(I should mention here that no one has a harder time taking this advice than me.)

Q:  Plugs, please:

A:  My play Butcher will be up after Labor Day in September. Details will be available on my website at www.sambyron.com.

Also, my band Self Esteem will be playing the Bowery Electric downstairs on May 27th. www.selfesteemmusic.com

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May 15, 2015

I Interview Playwrights Part 739: Ian August




Ian August

Hometown: Somerset, New Jersey

Current Town: Lawrenceville, New Jersey

Q:  Tell me about The Goldilocks Zone.

A:  The Goldilocks Zone is the story of two couples, one straight (Franny and Ray) and one gay (Matt and Andy). After discovering that they would not be able to conceive a child naturally, Franny posts an ad on Craigslist searching for a sperm donor--and Andy responds. They quickly hit it off--but have to deal with the ramifications of their secrecy once they reveal themselves to their significant others. The play deals with questions of the modern family: what does it mean to be a father, a mother, a husband, wife, or spouse? What are the expectations placed on us by society? And when those expectations can't be met (for whatever reason), how do we handle the fallout?

The title references an astronomical phenomenon called the 'Goldilocks Zone,' where astronomers can look at other galaxies and other solar systems and determine whether a planet might be capable of sustaining life like we have on earth. They look at the distance between the planets, the planets and the sun, the rotation of the orbit, and can tell when the circumstances are right--not too hot, not too cold, just right--for life. And this phenomenon serves as a central metaphor for the play--each of the characters has to be in the right place in their lives in order for life to be created.

I've been working on the play four years or so, and I'm thrilled that it's finally getting it's first production at Passage Theatre Company in Trenton, NJ. I've got a great cast--New Jersey (formerly New York) resident Trent Blanton, as well as Jessica DalCanton from Philadelphia, and Andy Phelan and Dan Domingues from New York. The play is being directed by the brilliant Damon Bonetti, co-artistic director of the Philadelphia Artists Collective, and my long time collaborator. Damon and I have been working on this piece together for at least three of those years, and I am ecstatic that he is here to usher in this production.

Q:  What else are you working on now?

A:  I'm gearing up to start a new draft of a play I've been working on for about a year. Tentatively titled You'll Never Know, it's a piece about the dangers of transparency (inspired by the Edward Snowden debacle): what information is essential for us to know--and conversely, what information is essential for us NOT to know. Three pairs of characters wrestle with these questions in three separate (but connected) stories: one of which takes place in London at the end of World War II, one in New York at the height of the Cold War in the 1970's, and one in contemporary Washington DC. It's a research play, which I love, but weaving in and out of three time lines makes it a bit tricky. I wrote about 60 pages of a first draft, but need to junk it and start from scratch. So as soon as Goldilocks Zone is done, I'll be diving right in!

I'm also writing my first novel for young readers--no title yet, but I'm writing and illustrating it by hand. It's been a lot of fun, and a different kind of creative exercise for me. Who knows--maybe it will lead to something!

Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  I've always thought of myself as a storyteller: I used to sneak downstairs in the middle of the night to write mediocre fantasy fiction when I was, like, eleven. (And by fantasy fiction, I mean Dungeons and Dragons type stuff--nothing scandalous.) But I've always been fascinated with the way that good fantasy writers can create worlds--think Middle Earth, Narnia, Gormenghast. And though I don't usually write fantasy--I dabble in magic realism from time to time--that idea of creating alternate worlds has always appealed to me. What is a play, but a 90-minute alternate reality? I learned early on that if I want audiences to take the leap into these worlds of mine, that I needed to focus on the rhythm of the language--the way Mamet and Pinter and Beckett and Suzan-Lori Parks write lines and scenes that are nothing short of musical. So my use of language varies from play to play, in order to establish the voice of that particular world--whether it takes place in war\-torn Northern Ireland, or post-Reconstruction Appalachia, or contemporary New York City.

Q: Who are or were your theatrical heroes?

A:  There are certain playwrights that get my motor running: I studied Tom Stoppard in high school, read everything I could get my hands on and then saw the original production of Arcadia and it blew my mind. But I also love Chris Durang, John Guare, Peter Shaffer, David Henry Hwang, Lynn Nottage. I worship at the shrine of Suzan Lori-Parks. My husband and I saw the Public Theater workshop of Father Comes Home from the War, Parts 1 - 3, and we couldn't breathe for the car ride back to NJ. At night, I dream of Caryl Churchill; I saw Blue Kettle at BAM back in the late 90's and it changed my life.

But there are other playwrights, some of whom I have gotten to know over the last few years, and whom I look to for advice and criticism, and I sit in awe of what they have accomplished. Michael T. Folie, whose Panama and Love in the Insecurity Zone are two of the most brilliant comedies I have ever read; Dan Dietz, for whom poetry drips from every typed word, and whose play Tilt Angel (which I was fortunate enough to be in at the New Jersey Repertory Company back in the day) makes you dream and weep simultaneously; E.M. Lewis, who infuses electricity into every word she puts on the page--her murder mystery True Story is gripping--but Heads will haunt you for weeks. Her latest piece, called Magellanica: A New and Accurate Map of the World, is about a exploratory winter-over in Antarctica in the 1980's. It is breathtakingly complex--even in it's early stages--but absolutely engrossing.

Q:  What kind of theater excites you?

A:  All sorts of stuff--but I am most excited by honest storytelling. There is something delightful about special effects and stage trickery, but solid, beautiful stories get my motor running. Things like David Hilder's Drown, or Jim Christy Jr.'s Egyptian Song--E.M. Lewis' Gun Show. Stories where I'm invested and connected and not talked down to. My friend Mike Folie (whom I mentioned above) once told me that a play can do three things: It can entertain you, it can make you feel, and it can make you think. A good play will do two of these things--but a great play will do all three. That's what excites me--and that's what I try to write.

Q:  What advice do you have for playwrights just starting out?

A:  Hmm. Okay--
Think of every play as an experiment--and try something new each time. It doesn't matter if someone else has done it before--as long as it's new to you, you should do it. And don't be discouraged if it doesn't completely work--salvage what you've learned from it, and start something else. Oh--and don't be a playwright with only one play. As soon as you finish a draft you're pleased with, have a new project lined up. There's always something to write. There's always something new to explore.

Q:  Plugs, please:

A:  Right now--come and see
THE GOLDILOCKS ZONE
at the Passage Theatre Company in Trenton, New Jersey (from NYC, take the NJ Transit NE Corridor Line!) Directed by Damon Bonetti
Starring Dan Domingues, Andy Phelan, Jessica DalCanton, and Trent Blanton

May 14th - 31st
Thursday - Saturdays @ 8:00pm. Sundays at 3:00pm
Tickets (for adults) $20-$35

Tickets are on sale NOW! Go to www.passagetheatre.org for more information!

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May 13, 2015

News -- Upcoming Readings and Productions

UPCOMING READINGS

Colchester

Welcome to Colchester, a town of dashed dreams and fervent hope, history and longing. And there's a hardware store too.

Project Y Theater
NYC, NY
Sunday May 17, 2015 3:30pm
Directed by Michelle Bossy
Starring Heidi Armbruster, Ruibo Qian, Havilah Brewster, Jason "Sweet Tooth" Williams and Chinaza Uche



Primary Stages
307 West 38th Street, Suite 1510  NYC, NY
Thursday May 21, 2015 4pm
RSVP email - readings at primarystages dot org or call Austin at 212 840 9705
Directed by Moritz von Stuelpnagel


UPCOMING PRODUCTIONS


Adventures Of Super Margaret


Production #1
Oddfellows Playhouse
Middletown, CT
Opens May 28, 2015.

Nerve

Production #17 of Nerve
DePaul University
Chicago, IL
Opens May 22, 2015

Where You Can't Follow

Workshop production
Chance Theater
Anaheim, CA
August 19, 22, 23

Hearts Like Fists

Production #17 of Hearts Like Fists
Actors Bridge Ensemble
Nashville, TN
Opens September 11, 2015

Production #18
Damonte Ranch High School
Reno, NV
Opens November 11, 2015

Clown Bar


Production #6 of Clown Bar
The NOLA Project
New Orleans, LA
Opens October 22, 2015

Production #7
Idiom Theater
Bellingham, WA Opens October 2015

Pretty Theft

Production #10 of Pretty Theft
James Madison University
Harrisonburg, VA
Opens April 26, 2016


PUBLISHED PLAYS


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May 6, 2015

I Interview Playwrights Part 738: Abby Rosebrock



Abby Rosebrock

Hometown:  Summerville, South Carolina. And two years in glorious, burgeoning Greenville, South Carolina.

Current Town:  BROOKLYN!

Q:  Tell me about SINGLES IN AGRICULTURE.

A:  SINGLES IN AGRICULTURE takes place on the last night of an annual dating convention for farmers in Texas. A South Carolina army widow who loves MODERN FAMILY and talks to her pygmy goats angles for romance with a fundamentalist dairy farmer from Oklahoma. It's dark and sad and not a little erotic. But most importantly, it's hilarious.

I've been developing the play with some phenomenal actors and director Stephanie Ward of Beth Dies, Inc., the company behind Chiara Atik's hit play WOMEN. After readings with IRT and Marrow's Edge, we're bringing SINGLES IN AGRICULTURE to The Brick's summer festival in Williamsburg this June and to Dixon Place in September. The cast includes myself and Graeme Gillis of Ensemble Studio Theatre in the lead role of Joel.

Q:  What else are you working on now?

A:  I always try to act and write in equal measure; otherwise I'd go insane. I get to wear both hats for the webseries MY EX IS TRENDING, which I make with the brilliant actress and my artistic soulmate, Layla Khoshnoudi. As far as plays go, I'm writing an adaptation of the ancient story of Dido and Aeneas. Biscuit, my alter ago who is also a puppy (and who cameos as a goat in SIA), is playing Hitler's dog in Mac Wellman's play THE OFFENDING GESTURE.

Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  One of my earliest memories is locking myself in a closet when I was five or six and crying all afternoon. When my mom found me and asked what was wrong, I told her I had just realized I was the youngest person in my family and might be the last to die. She told me not to worry; “that's why people grow up and get married, so they don't die alone.”

Then I think we watched I Love Lucy.

Q:  If you could change one thing about theater, what would it be?

A:  As most of your readers know, a lot of producing organizations operate under the bizarre misconception that a play will be more successful if it involves "name talent" than if it retains the artists who built it from the ground up. "Bizarre," because name talent in this context usually refers to actors who are only marginally recognizable at most. This model makes producers feel safe and keeps casting directors in business. But it's poisonous to artists, their partnerships and the work they make. I also strongly believe that it's economically short-sighted. Nurturing fiercely committed ensembles and prioritizing artistic integrity and raw expression would make plays more popular and profitable in the long term and would help revive theatre as an industry. Superior TV networks and platforms have realized how important it is to let creators control their own projects and ensembles. If theatre wants to enjoy a golden age like the one happening in television, more large and powerful producing organizations need to risk doing the same.

Q:  Who are or were your theatrical heroes?

A:  Chekhov and Ibsen may be a boring answer, but their plays do exactly what I want my plays to do. They mine contemporary suffering for truthful, precisely timed and often uproarious comedy. The uproarious part isn't always achieved in translation or performance, but it's there.

Chaucer is huge for me, too. I studied medieval poetry for several years, and the greatest thing I got out of that experience was the chance to spend time with Chaucer's comedy. It's rooted in hyper-specific and multidimensional character studies, a special sensitivity to the intelligence of women, and minute attention to language and cultural context. Chaucer taught me that, paradoxically, you have to polish the hell out of written language in order to make something honest and raw out of it. I can't think of a more masterful performance piece than THE WIFE OF BATH'S PROLOGUE.

More heroes: Amy Poehler and other innovators of longform improv, Madonna as a live performer, the actress Layla Khoshnoudi and the director Stephanie Ward.

Q:  What kind of theater excites you?

A:  Writing that's crafted and acting that's raw. Fierce ensembles like The Debate Society and Lesser America, who prioritize clarity in storytelling. The playwright Chiara Atik for infusing her twenty-first-century comedies with literary tradition. DAISY, her recent adaptation of Henry James' DAISY MILLER, makes me giddy.

Q:  What advice do you have for playwrights just starting out?

A:  I'm going to steal Amy Herzog's succinct answer, because I couldn't have said it better: “Be patient. Be happy for your friends and colleagues. Avoid reading theater news; read novels instead.”

Q:  Plugs, please:

A:  For tickets to SINGLES IN AGRICULTURE at The Brick this June, check www.bricktheater.com or call 866-811-4111, and keep an eye out for us in September at dixonplace.org. You're gonna love it.

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Apr 17, 2015

Ways To See My Plays

PUBLISHED PLAYS



UPCOMING READINGS

Colchester
Primary Stages
NYC, NY
May 21, 2015 4pm


Project Y Theater
NYC, NY
May 17, 2015 3pm

UPCOMING PRODUCTIONS of My Plays--


Hearts Like Fists





Production #14 of Hearts Like Fists
Know Theatre of Cincinnati
Cincinnati, OH
Opened March 27, 2015


Production #16
Clark University
Worcester, MA
Opens April 15, 2015

Production #17
Actors Bridge Ensemble
Nashville, TN
Opens September 11, 2015


Clown Bar


Production #6 of Clown Bar
The NOLA Project
New Orleans, LA
Opens October 22, 2015

Adventures Of Super Margaret

Production #1
Oddfellows Playhouse
Middletown, CT
Opens May 28, 2015.

Nerve

Production #17 of Nerve
DePaul University
Chicago, IL
Opens June 5, 2015

New Play (TBD) 
Workshop production
Chance Theater
Anaheim, CA
August 19, 22, 23

Pretty Theft

Production #10 of Pretty Theft
James Madison University
Harrisonburg, VA
Opens April 26, 2016

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Apr 16, 2015

I Interview Playwrights Part 737: Josh Drimmer



Josh Drimmer

Hometown:  N/A. My family moved about the Americas, including Guayaquil, Ecuador, Curacao, Mexico City, and….Connecticut.

Current Town:  Brooklyn, NY for over 10 years now. It feels like home, but there’s also a giant new apartment building going up on my block as we speak, which makes my building feel a bit like the doomed little building in Batteries Not Included.

Q:  Tell me about your show with Sanguine.

A:  the lighthouse invites the storm is about two people who feel something powerful and uncontrollable for each other, the two times they meet—once at 16, at a Vermont pre-college program, once at 32, with the scars to prove it—and the ways, each time they meet, it’s the right and wrong time, whether due to the presence of a boyfriend, child, or wife, or simply because being together with someone is always difficult. It’s a character-driven piece, and Sanguine has assembled an excellent cast to occupy it, and a director in Logan Reed who knows how to turn the literary elements of the script human. So it’s definitely been a nice couple of months.

Q:  What else are you working on now?

A:  I’ve been writing a first draft a year since 2009, although this year’s challenge, When I’m/ When You’re/ When We’re Gone, a triptych on different forms of death partially inspired by the last days of James “J-Dilla” Yancey, may be the play that breaks that streak; then again, I’ve said that at once every year since this began. Other plays I’m currently tinkering with include a boxing play (Puncher’s Chance) and a re-telling of Othello in blank verse and modern New York (Iago, of W. 95th Street).

Q:  If you could change one thing about theater, what would it be?

A:  There are many dream answers I could place here, from the existence of so many ( Blank ) The Musicals, the degree of star power over substance in New York theater, and the way ticket pricing shuts out younger and more diverse audiences no matter how many rush offers are put out there, but no easy solutions exist to any of these.

What doesn’t seem impossible to change is the general concept that a new American play should be 2, 3, maybe 5 characters as most: lighthouse happens to fit into this box, but many of my scripts do not, and those will remain hard to produce. I understand that theater sometimes needs to be broad to strike at a wide audience, but it’s a shame that new plays, no matter their subjects, are frequently, instantly forced to be narrow.

Q:  Who are or were your theatrical heroes?

A: Henrik Ibsen can be an inspiration to anyone, because all of the prose plays he’s known for were written when he was in his late 40s and beyond: at their best, they are also message plays that actually work as plays, although I have a fondness for his later, darker oddities like John Gabriel Borkman and When We Dead Awaken. Caryl Churchill is another hero of mine for the daring way she plays with and invents form. I wish I had the chance to see Love and Information more than once to figure out more of the ways that play’s playlets connected to each other, because what could have been just an advanced form of sketch comedy there really built into something bigger.

Q:  What kind of theater excites you?

A:  A couple years back there was a Richard Greenberg play at MTC with the unfortunately bland title The Assembled Parties that wasn’t perfect that touched so many of the things I seek in theater. It was funny, it was sad, it had radically different first and second acts yet everything connected, it seemed to create a world as detailed as a novel yet it left many elements elusive and unspoken. The play even had a revolving set that served a genuine purpose, evoking the many rooms of the play’s giant apartment setting.

I enjoy a good farce or a lead-heavy tragedy every now and again, but even The Iceman Cometh has some genuine zingers, and even The Odd Couple has suicide. Work that is hard to categorize has an actual chance of surprising an audience,

Q:  What advice do you have for playwrights just starting out?

A:  Absorb as much theater as you can: while you’re young enough for the plethora of ticket deals available to students and semi-students, take advantage of them to see anything even vaguely interesting, and if you can afford to, join TDF and similar organizations. Read plays, consciously paying attention their structures and what does and does not work about them, and read globally rather than specifically: get a library card and purchase any collection of plays you find at a thrift store.

Join writing groups and classes so your work doesn’t only remain on your computer, where it is perfect but meaningless. If you have actor friends, get them to do kitchen table readings of your drafts when you’re ready to face them. Just be good to your actor friends, and don’t forget to buy alcohol. And cake.

Q:  Plugs, please:

A:  the lighthouse invites the storm runs from April 30th through May 17th at the Chain Theater in Long Island City: for tickets go to lighthousestc.brownpapertickets.com For more about me and my work, go to joshdrimmer.com, or attempt the various social media. My Instagram captions are among the best writing I do, sadly.

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Apr 15, 2015

I Interview Playwrights Part 736: David Meyers



David Meyers

Hometown: Fort Lee, NJ

Current Town: New York City

Q:  Tell me about Broken:

A:  BROKEN tells the story of a mass shooting from the shooter's perspective. It's a two-character pressure cooker between the shooter and a prison psychiatrist (who also has ulterior motives).

I read a review of The Library last year, which was a play that also touched on the topic of mass shootings. The reviewer praised the play for not making the "mistake" of trying to find clear motivations for the crime.

While I agree that there isn't a single answer or neat explanation as to why someone commits an act like this, I think we need to explore what motivates these shooters if we ever hope to learn why they did it. And if we hope to learn what - if anything - we can do to prevent similar acts in the future.

BROKEN doesn't offer easy answers - but it does offer some troubling thoughts about society's role in these killings. And most importantly, I hope the play will open up a debate on the subject.

Q:  What else are you working on now?

A:  I've got a few other projects coming up - including a play I'm very excited about called "We Will Not Be Silent." It's an incredible, true story that takes place in Germany during World War II - but has nothing to do with the Holocaust or Jewish persecution. We'll be doing a reading on Cape Cod this summer, and I'm really excited about it.

Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  When I was in elementary school, I loved musical theatre. All I wanted to do was to sing and perform. But the school music teacher hated me. She was never encouraging; in fact, she was the opposite. Once when I was cast in a production, she told me to mouth the worlds during group numbers because my singing voice wasn't strong enough (I was 9).

Then she retired and a new music teacher came in. Not only was he encouraging, but he thought I was talented - and was soon giving me tons of solos and opportunities to perform.

It's a lesson that's been relevant to almost every aspect of my life: one person's trash is another person's treasure. And if someone doesn't like you, there is probably someone else out there who does.

Q:  If you could change one thing about theater, what would it be?

A:  That there were more opportunities for us to do what we love as a full-time occupation - whether it's act, write, direct, etc. Most people I know (even the very successful ones) are always hustling to find time and money to do these things...

Q:  Who are or were your theatrical heroes?

A:  I don't want to sound cliche, but I am constantly inspired by everyone I know who is still pursuing a career in theatre despite every reason in the world not to.

Seeing other people continue to write, act, and produce their own work in the face of an industry that is constantly telling so many people that they shouldn't be doing this truly inspires me - almost every day.

Q:  What advice do you have for playwrights just starting out?

A:  I've read this blog many times - and people have given so many great answers to this question. I'm also, of course, starting out myself.

Among the advice that has stayed with me: rejection (even lots of it) doesn't mean your work is meritless; spend as much time as possible thinking about things outside the industry; don't give up - the only way you are guaranteed to fail is if you stop trying.

And the best piece of advice I ever got is the one I was most resistant to: don't wait for others to give you opportunities, make them yourself. It's hard - but incredibly worth it.

Q:  Plugs, please:

A:  BROKEN runs from April 9-26 starring Broadway's Michael Pemberton (who you'll see a lot on "Veep" this season).

All details are at www.BrokenThePlay.com . If the the subject matter interests you, come join us - and please say hi after. My favorite part of working in the theatre is meeting people in the community.

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Posted by Adam Szymkowicz at 4/15/2015 01:28:00 PM No comments:
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