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1100 Playwright Interviews

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Dec 31, 2014

my 2014 in review


It was a busy year.

This year I wrote 2 full length plays, 3 half-hour long plays, finished the screenplay I was writing last year, wrote a screenplay version of my play Hearts Like Fists, wrote a season of a web series and contributed to the season of another.  Also wrote some short corporate training films for money.  Wrote some new clown songs for the Clown Bar preshow (which Adam Overett improved and set to music.)  I also continued making at least one Toys In My House comic a day every single day.  



And I took care of our kid most days.  He's almost 16 months old now.


Was able to take a trip to CA to see Hearts Like Fists at Cal State Fullerton (what a fun show! photo below) and to hang out with director Oanh Nguyen and the folks at Chance Theater who did a reading of Sarah Sarah Sarah.



Also went to Bennington with Primary Stages again for the writing group retreat and went to the Flux Ensemble Theatre retreat in PA.  Wallace came along for that last one and Kristen was there too with her own play.

There were 10 productions of my full length plays in ’14 led by the fancy remount of Clown Bar in NYC.  Nerve was done once -- and has been done once or twice every year since it was published 7 years ago.  (It was written 11 years ago, my thesis play at Columbia)  Hearts Like Fists had 8 productions, the most I've ever had in the first year of something being published.  Clown Bar was published this year by Sam French and Hearts Like Fists was included in the Geek Theater anthology.  






Violent Bones and Super Margaret were read at Primary Stages.  The Amoralists did a reading of Fat Cat Killers.  Rare Birds was read at LCT3.

I taught two semesters of Web Series Writing at ESPA.  I'll teach there again next year and at Playpenn in Philly.  There may still be slots open in PA if you want to take the class.  I hear the class at NYC is overfull.

I passed the 700 playwright interview mark this year too.  Here are the first 700.  There were 85 playwright interviews this year.  Speaking of the blog, I am about to hit 1 million page views.  It should happen sometime today or tomorrow.

Flux (who did my plays Pretty Theft and Hearts Like Fists) did a stellar job with my wife’s beautiful play “Once Upon a Bride ThereWas A Forest” and it was one of maybe 6 plays I got to see this year.  I used to get to see 30-50 plays a year when I was living in NYC. Such is the country life and the life of a parent of a small child.


What's next?  I have 4 play publications coming in the new year.  Along with 7 play productions scheduled, led by Clown Bar at The Pasadena Playhouse.  And 3 readings scheduled for early in the new year of Where You Can't Follow in NYC and Mercy in Philadelphia and Providence.  And a new play workshop at the Chance Theater as part of their new lab series.

Still plugging away.  Wishing you a wonderful 2015.

UPDATE:  My previous year in reviews, in case you are interested
2013
2012
2011
2010
2009
2008
2007

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Dec 29, 2014

2 Readings!! NYC, Providence

upcoming play readings of new plays of mine

Jan 6, 8pm, New York, NY

Where You Can't Follow
with Barefoot Theatre Company

Directed by Paul Schnee

with
David Deblinger
Sol Crespo
Kenneth King
Charlotte Pines

Westbeth Community Room
55 Bethune Street (or enter at 155 Bank Street, 1 block south)
NYC, NY

Admission is $5 and includes drinks and snacks

Please RSVP to confirm your reservation as space is limited. To RSVP send an email with play title, number attending and contact info to: barefootrsvp at aol.com


Matt learns he has only a few weeks to live and tries to live the life he has always wanted. Most of all, he wants to fall in love before he dies. He leaves his old life and flies to Paris where he meets Josette, who says she will teach him what love is.


Feb 3, 7:30 pm, Providence, RI

Mercy at Wilbury Theater Group

Southside Cultural Center
393 Broad Street
Providence, RI 02906

directed by Josh Short and Ben Jolivet

Starring Christina Saad Wolfskehl and more TBA

When Orville’s pregnant wife is hit by drunk driver, they are able to save the baby but not her. Orville’s father moves in to help with the baby and Orville tries to get his life back together. And then he happens to see the drunk driver on the street one day. He befriends him under an assumed name and buys a gun. Will Orville take revenge, kill himself or just have inappropriate sex with his boss?

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Dec 28, 2014

UPCOMING (my plays)

Upcoming Productions of My Plays--



Clown Bar 

Production #4 of Clown Bar
RedWhite + BlueArt Productions 
redwhite+bluezz @ The Pasadena PlayhousePasadena, CA
Opens January 8, 2015

Production #5
Indiana Players 
Indiana, PA 
Opens March 20, 2015


Hearts Like Fists



Production #13 of Hearts Like Fists
Outcry Theatre
Dallas, TX
Opens March 19, 2015



Production #14
Know Theatre of Cincinnati
Cincinnati, OH
Opens March 27, 2015

Production #15
Stephens College
Columbia, MO
Opens April 9, 2015

Nerve

Production #16 of Nerve
DePaul University
Chicago, IL
Opens June 5, 2015



Production #8 of Pretty Theft
Western Illinois University
Macomb, IL.
Opens May 10, 2015

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Dec 19, 2014

Two Web Series Writing Classes I'm Teaching



Anyone want to learn Web Series Writing with me?

Spring Semester at ESPA in NYC.  (My third semester teaching this 10 class course.)

Mini course at Playpenn in Philly. (Pre conversation and two classes)

Both start in Feb.

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Dec 18, 2014

I Interview Playwrights Part 712: Chiara Atik




Chiara Atik
Hometown: San Diego, CA

Current Town: NYC!

Q:  What are you working on now?

A:  I’m writing a play called “I Gained Five Pounds”. About a girl who gains five pounds.

I'm doing a SuperLab with Clubbed Thumb/Playwrights of play called "Daisy: A Study of Americans Abroad," which is about a girl studying abroad in Italy. (Loosely based on Henry James' Daisy Miller.)

And I'm thrilled to be in rehearsals at EST for "Five Times in One Night," which opens Feb 14th!
Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person. 

A:  In 8th Grade, I wrote a parody newspaper of our school newspaper “The Middle Scoop”, which I called “The Middle Snoop.” Biting commentary about the school curriculum, homework loads, and -- this was my downfall -- middle school gossip. (Which I didn’t claim was true, I was merely printing what people were saying…..)

I got in huge trouble but I learned important lessons about humor, brevity, and marketing. And building an audience!! (Did I peak in middle school???)

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

A:  MANY more theater critics. I’m traveling through Peru right now, and I’m obsessed with TripAdvisor. It’s so democratic -- everyone can weigh in about a restaurant or hotel, and you can read lots of different opinions. Leave your own opinion if you feel strongly! Ratings are based on cumulative opinions! Tourists look to that to decide where to go.

Maybe a TripAdvisor for Theater??

Q:  Who are or were your theatrical heroes?

A:  David Cromer, Annie Baker, Amy Herzog, Paula Vogel, Lin Manuel Miranda, Playwrights Horizons, Henrik Ibsen, Rodgers & Hammerstein and Julie Andrews.

Q:  What kind of theater excites you?

A:  Short theater!!! Haha, jk. Sort of.

Well, I always find it very exciting when a production has something that feels theatrical in a primal way -- BIG moments. Walls crashing down! Musical numbers out of nowhere! A complete and unexpected shift in perspective or structure! I love a real show.

But I think ultimately what is most exciting to me in theater is when I see something tiny, and intimate, and quotidien that I recognize from my own life reflected back to me from the stage. Weird example, but in The Great God Pan, there’s a scene where a character has to stop talking to his mom because he’s about to go into the subway. I’ve had to end 10,000 phone calls in my life for that reason, and never thought twice about it, so seeing it onstage, something from my life, that happens to me, seems so revelatory.

And in Clare Barron’s You Got Older, a character has to get up very early in the morning and says “I feel like I’m about to go take the SATs.” I love that line. Because I know exactly what she means!

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

A:  Get on Twitter!!! Oh, I have lots of esteemed peers who flat out disagree with this. But it’s a way to reach an audience! And don’t all playwrights, especially the ones starting out, need an audience?

Q:  Plugs, please:

A:  I just read Sarah Ruhl’s book of essays and thought it was so so so fantastic and inspiring, a must-read for any playwright.

I’m a fan of the Maxamoo podcast and blog! They’re a group of young reviewers/theater fans who see a TON of theater and discuss it in a fresh, fun, intelligent way.

And come see my play! “Five Times in One Night,” at Ensemble Studio Theater, February 14 - March 6th.

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Dec 10, 2014

I Interview Playwrights Part 711: Guy Picot




Guy Picot

Hometown: Brighton, UK

Current Town: Los Angeles

Q:  Tell me about The Christmas Present.

A:"The Christmas Present" is a seasonal comedy about a man who checks himself into a hotel and hires a prostitute for Christmas. The three characters are the man, the prostitute, and the prostitute he was hoping for, so it alternates between fantasy and reality. It's been done a few times in the UK and this is the third time it's been done in the US, it feels super Englishy here.

Q: What else are you working on now?

A:  A play called "The Life You Wish For", which has a twenty-five year intermission We meet some ambitious twenty-somethings in the first act, then see what they become in their late forties. One of them starts out as a comedy hypnotist and ends up as a motivational speaker, hence the title.

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 remember going to see "A Midsummer Night's Dream" as a field trip when I was maybe thirteen. The actor playing Puck climbed a scaffolding spider's web to spy on the lovers. A light socket hung down from the grid and he playfully batted it. In class the next day, the teacher brought up the moment, saying that the actor was pretending it was a vine or something. I knew he was wrong, the actor was reminding us that we were in a theatre. And that was good.

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

A:  Your spelling of it.

Q:  Who are or were your theatrical heroes?

A:  Beckett and Pinter.

Q:  What kind of theater excites you?

A:  I love spectacle, you go to see a play, not just listen to it.

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

A:  When writing your brilliant play, remember to write brilliant parts. In small scale theatre, plays get done because actors want to be in them.

Q:  Plugs, please:

A:  The Christmas Present is at Theatre of Note Dec 9-24th. www.facebook.com/events/834816729912224/


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Dec 4, 2014

Upcoming Productions of My Plays


Upcoming Productions of My Plays--



Clown Bar 

Production #4 of Clown Bar
RedWhite + BlueArt Productions
Pasadena, CA
Opens January 8, 2015

Production #5
Indiana Players 
Indiana, PA 
Opens March 20, 2015


Hearts Like Fists


Production #13 of Hearts Like Fists
Outcry Theatre
Dallas, TX
Opens March 19, 2015




Production #14
Know Theatre of Cincinnati
Cincinnati, OH
Opens March 27, 2015

Production #15
Stephens College
Columbia, MO
Opens April 9, 2015

Nerve

Production #16 of Nerve
DePaul University
Chicago, IL
Opens June 5, 2015




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Dec 1, 2014

I Interview Playwrights Part 710: David Bucci





David Bucci

Hometown: Providence, RI

Current Town: Seattle, WA

Q:  Tell me about Possum Carcass.

A:  The play was first commissioned in the early 2000s by Woolly Mammoth Theater Company and the New Play Network. Possum Carcass is a “cover” of The Seagull. I’ve always been a huge Chekov fan, and I wanted to see what I could learn by compressing the play to six characters and relocating it to New York City. Ultimately the goal was to write a play that let a theater audience see The Seagull in a new way and a non-theater audience to enjoy a this dark-comedy without being alienated by the distant time and location in which it is set. In the ten years since I first wrote the play, it’s been read or work-shopped at Woolly Mammoth (DC), Clubbed Thumb (NY), University of Maryland, Kitchen Dog Theater (Dallas), Knitting Factory (NY), and Annex Theatre (Seattle).

Q:  What else are you working on now? I hear you have retired from playwriting. What is that like and how has it changed your perspective?

A:  These days my main creative project is my band.   I started playing music and writing plays at about the same time, but I’ve always been much more passionate about music than theater. Playing music allows me to write, direct, and perform in a much more nimble creative unit than a traditional play production, and it allows for more concrete documents of the work (recordings and videos). In my experience, music draws a much more varied audience than theater. I was disappointed by how few working class or non-theater artists seemed to attend plays in New York.

Since moving to Seattle in 2007, I’ve been able see a lot of strange and provocative performance work at On the Boards, who host wide variety of national and international artists. I’ve worked as a sound designer, musician, dramaturg, and performer in some short works at OtB, but that is about the extent of my theater work these days. As far as writing goes, I’ve been focusing on short fiction, comic strips, and screenplays.

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

A:  My very first memory is of a music class my mother brought me to when I was five. The class was in the form of a puppet show about classical music. Apparently I was transfixed.

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

A:  The audience.

Q:  Who are or were your theatrical heroes?

A:  “Heroes” is strong word. But I’ve been most inspired by Chekov, Brecht, Sam Shepard, Paula Vogel, Mac Wellman, and Ruth Margraff.

Q:  What kind of theater excites you?

A:  I’m more excited by broken narratives and performance art than conventional theater productions these days. Last year I got see Kristen Kosmas’ “There There” at OtB and it was amazing. OtB is bringing Richard Maxwell this season, and I’m excited to see some of his work again.

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

A:  #1 Be born into a wealthy family. Use that privilege to pay for housing, food, and health insurance.

#2 Go to an obscenely expensive private east coast college. Use that network to find collaborators and funders for your work.

Q:  Plugs, please:

A:  Possum Carcass at Theatre of NOTE in LA: Dec 2-22th and Jan 2-10th http://theaterofnote.com/

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