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My play Nerve in Asheville, NC

http://www.ncstage.org/pages/on-stage/catalyst-series.php

I Interview Playwrights Part 37: Crystal Skillman

Crystal Skillman

Hometown: Born in San Diego but mostly grew up in Wappingers Falls, Upstate NY

Current Town: Brooklyn!

Q: What are you working on now?

A: I’m currently writing my new play Hack which will debut in the Vampire Cowboy's Saloon Series kicking off Sept. 12th. It's about how three hackers, who all work on the same I.T. team, are forced to pull an all nighter at their big shot company to fight a virus but things get personal when they discover it must have been planted by one of them. I actually just started writing it at the Voice & Vision Theater’s Envision retreat up at Bard this summer. It asks what's more important in these troubled economic times - keeping your job, friends or challenging the system and ultimately climaxes into a kinda showdown of the Good, the Bad and the Geek. When I was asked to be a part of the Saloon Series with the other amazing writers (Dustin Chinn, James Comtois, Brent Cox, Jeff Lewonczyk, Mac Rogers) I thought this idea would be a perfect “serialized play” as the work is shown "episodically" one Saturday a month at Battle Ranch from September to January. It’ll be directed by John Hurley who I’m excited to work with. Also the recent workshops of The Sleeping World (Rattlestick, Side Project in Chicago, MCC Theatre Playwrights Coalition), which is about four playwrights who come together to read their dead friend’s play, have been incredible. I’m on the verge of finishing the next draft that is really exciting.

Q: Can you talk about your musical? What's going on with that?

 A: That’s Andy, about a boy who wants to play Annie, is a musical that I'm working on book/lyrics for with the creative team (Kevin Carter, Bobby Cronin). It's a terrific piece that was conceived by Bobby who brought us together. We've all learned a lot working on the piece over the years and something recently just clicked - there's something about where we all are now creatively that is resulting in some of the best work we've ever done in our development of it this summer. Whole new opening and direction that’s rocking my world. Kevin Carter’s kick booty score blows me away. Like Daniel Goldfarb just expressed in your interview with him – seeing a song or a musical moment come to life that you were a part of is really thrilling. It’s some of the hardest work you’ll ever do because ultimately you’re working hard to create something to exist effortless on all three levels – book, lyrics & music – yikes! - but it can reach people emotionally in a whole new way. And what I’ve always loved about this musical is how it's so unpredictable and fun but asks tough questions about the times we live in. It also features a chain smoking Mary Martin dressed as Peter Pan – and what is there not to like about that? I'm happy to say it'll be directed by Clayton Phillips in a workshop at the York Oct. 6th at 3 PM. It’ll feature a slew of awesome talent including Beth Leavel and Lauren Kennedy.

 Q: You've worked with Rising Phoenix a bunch. Can you talk about the plays you did at Jimmy's No. 43 and your collaboration with Daniel?

 A: If you've met Daniel Talbott, you know he's awesome. If you haven't, then you'll meet him at some point and think - oh, he's awesome! I was lucky to work with Daniel, Artistic Director of Rising Phoenix Rep, as he directed my "ghost story" plays The Telling Trilogy a few years ago which were done at Jimmy's No. 43 by the company. It was an amazingly fruitful collaboration. We’re really proud of the work we did, and of the great actors work on it - for those who haven't checked it out - it's published in Plays & Playwrights 2008, along with two other plays produced by Rising Phoenix Rep (by Daniel Talbott & Daniel Rietz). We also became really close friends over many chai lattes, and various NYC adventures while chatting about plays. This year Daniel directed my two new plays Nobody and Birthday for Rising Phoenix Rep which was a huge step for me artistically. The given circumstances for Birthday – why Leila & Kyle needed to stay in that room – the outside world they were trying to escape - was so clear to me through our process that it really created a believable 45 minutes where two strangers changed each other's lives. It captured a personal truth that was new for me in how it unfolded in the room - a real turning point that I dove back into all my plays with. Rising Phoenix and my work with Daniel is a major part of that artistically for me and it has been really cool.

Q: What's it like to be married to a comic book writer?

A: Super-tastic and full of sound effects like super-tastic! Seriously. How could it not be crazy good fun? Putting my wife-hat aside, Fred is one of the best writers I’ve ever known – his comics, screenplays and short stories continue to be a great influence (now more than ever as I’m working on DougToons, a webtoon online). And it’s the best to hear when a director or playwright friend of mine loves X-Men Noir, Hercules or Action Philosophers as much as I do.

Q: What's your day job now?

A: Part of the reason that Hack, the new play, is so timely for me is that I just found out that I’m going to be laid off from a dayjob I’ve had for about three years as a receptionist in an architectural firm (where I've pretty much written everything from Telling Trilogy to Sleeping World to Birthday). But it’s time. The past year has been a great step for me and almost all my work has been commissioned or paid for. So I’ll be putting my efforts towards writing for a living and developing opportunities for that.

Q: What kind of theater excites you?

A: 1. Theatre that has a personal, unique story told in an original way. 2. That has real truth. 3. That has beer. A play that lets you drink booze while watching is awesome.

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

A: Each new play is another step on your journey. It may get produced tomorrow or in five years. Who knows? Yikes! Write it, and develop it, but also at the same time move on. The answer always seems to be in the next play. And keep sharing your work – that’s how you find the right folks to work with!

 Q: Any plugs?

A: Join me at the Vampire Cowboys Saloon Series – where there’s beer)! (http://www.vampirecowboys.com/index2.htm). And if you like musicals or want to check out That's Andy, play hooky or get canned like I did and come on down to the York Theatre (http://www.yorktheatre.org/) on Oct. 6th at 3 PM.

I Interview Playwrights Part 36: Blair Singer

Blair Singer

Hometown: Woodland Hills, California.

Current Town: Brooklyn, NY (like every other playwright you've interviewed.)

Q: Tell me about your play Matthew Modine Saves the Alpacas which is going up at the Geffen. How did this come about?

A:  I met Matthew while I was working on the TV show "Weeds". I was a big fan of his work prior to meeting him and an even bigger fan after I'd met him. He's not only a brilliant actor but he's a terrific human being. He's kind, he's honest, and he's generous. When I left to come back home to New York, Matthew and I vowed to work with each other on a play. Six months later, I pitched him the basic idea of MMSTA, he loved it, and we were off.

 Q: A friend of mine recently took your TV class. He said you were a great teacher. Can you talk a little about how you set up your class?

A: I focus on the business of making television. I assume that everyone who takes the class can write. I would rather focus on how good writers can break into television and how to become aware of yourself as a commodity to be sold to the marketplace. Pretty much, the class is me talking a lot. I talk about my experiences in TV, good and bad, I share my very strong opinions, and spend the rest of the time begging them to take everything I say with a huge grain of salt.

 Q: What TV shows did you write for?

A: Weeds, Monk, and Book of Daniel.

 Q: What are you working on next?

A: You got a job for me, Adam? I'd love to live in Atlanta and have a free maid! I'm very fortunate to have found Mark Armstrong and the Production Company, an excellent off-off Broadway theater company. I've been named their playwright-in-residence and have written a play for the company called MEG'S NEW FRIEND that Mark will direct at Manhattan Theatre Source in November and December.

Q: Who are your heroes?

A: I am in awe of playwrights. EVERY playwright. I began as an actor and I am always amazed at the unique worlds that playwrights construct. Herb Gardner once said, not to me, but to someone, "How do you ask a kamikaze pilot if his work is going well?" Playwrights are kamikaze pilots, trying to find targets that doesn't exist. How can you not find the lifetime pursuit of an ever-moving target heroic?

Q: You are, like me, married to another playwright. Would you recommend marrying a playwright?

A: I would recommend marrying my wife. She's really spectacular. Everyone should get the chance to be married to my wife at least once.

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

A: Marry my wife. That, and put the name of a famous actor in the title of your next play. Matthew Modine is mine but I think Judd Nelson is looking to do some theater.

Q: What kind of theater excites you?

A: I love watching great acting-- that's why I go to the theater-- so any play that offers actors the ability to stretch themselves excites me. I also like anything written about farm animals. Link for Blair's show: http://www.geffenplayhouse.com/180

I Interview Playwrights Part 35: Daniel Goldfarb

Daniel Goldfarb

Hometown: Toronto, Ontario Canada

Current Town: New York City

Q: Tell me about your play The Retributionists going up at Playwrights Horizons. Who is your artistic team? What is the show about?

A:  We are at the end of our second week of rehearsal and it has been very intense and exciting. I am in awe of the cast and the creative team. Leigh Silverman is directing and it has been the best collaboration. I think she's amazing. Our young, sexy, charismatic Jews are Adam Driver, Margarita Levieva, Cristin Milioti and Adam Rothenberg. Lusia Strus, Rebecca Henderson and Hamilton Clancy play the Germans. And we have an all Tony award winning design team. Derek McLane is doing the set, Susan Hilferty the costumes, Peter Kaczorowski is doing the lights, Jill BC DuBoff the sound. My friend Tom Kitt has written a beautiful original score. Playwrights Horizons desribes the play like this: Spring 1946. The plan was simple: a German for every Jew. Its execution would be swift, clean, its impact undeniable. In this daring new romantic thriller inspired by actual events, a band of young Jewish freedom fighters attempts to avenge a society’s wrongs – if they can keep from tearing each other apart in the process.

Q: How long have you been teaching at NYU?

A: Amazingly, I am about to start my 11th year teaching at NYU.

Q: Are you also working on a musical, tv pilots and screeenplays while writing new plays and raising a family? How do you find the time?

A: The busier I am, the more productive I am. And as I get a little older, the scope of my voice and my dreams have broadened. I love working on musicals - I find the collaborative aspect of it thrilling. And there's nothing like being in a room with talent and hearing a song come to life. It has also been very satisfying to work a little bit in film and television. It's great to stretch those muscles. Having a family gives me perspective and forces me to spend less time on myself, which is so easy and so dangerous for artists. I have actually been more productive since my daughter was born. And fatherhood has been the most rewarding and joyful experience of my life.

Q: Marsha Norman talks about us all having areas of expertise--that there is something specific that each of us writes about really well. What do you think that thing is for you?

A: I am a big believer in 'write what you know'/'write what you're confused about'. My plays tend to focus on various aspects of Jewish identity. Hopefully, in being very specific and personal, the work can find a universal truth.

Q: How would you fill in this blank? The job of a playwright is to ______

A: provoke, question, entertain, challenge.

Q: What kind of theater excites you?

A: Good theatre. It can be anything, anywhere. But I love good acting and great storytelling. Not so interested in too many bells and whistles and concepts.

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

A: Finish what you start. Don't underestimate the accomplishment of getting out a draft. See as much as you can. Be a fan.

Link for the PH show: www.playwrightshorizons.org

I Interview Playwrights Part 34: Heidi Schreck

Heidi Schreck

Hometown: Wenatchee, WA

Current Town: New York City

 
Q: Tell me a little about this play you have coming up. What is it about, who is doing it and what is the artistic team?

A: My play is called Creature and it's loosely based on a 15th century autobiography called The Book of Margery Kempe. It's about a woman who desperately wants to become a saint even though she's totally unsuited to this vocation. Margery is vain, selfish, carnal, gluttonous, a loud weeper, materialistic, jealous, prideful - well, utterly human, really, and the book is a hilarious and kind of heart-wrenching account of her campaign to remake herself. I have great fondness for people who attempt things they can't possibly succeed at, and I fell in love with her and now I have this play. A weird play set in 1401 featuring demons and talking hazelnuts and saints - and rife with historical inaccuracies. New Georges and Page 73 are co-producing Creature which is a dream since I'm a huge fan of both these companies. The brilliant Leigh Silverman is directing and we have a terrific design team: Rachel Hauck is designing the set, Matt Frey, lights, Theresa Squire, costumes and Katie Down is composing music. At our first meeting Leigh made the designers read the play out loud and they were pretty good.

Q: You spent the last year as the P73 Playwriting Fellow. What was that experience like?

A: I'm in the middle of my fellowship right now and it's fantastic to feel so supported. I traveled to Moscow in May to research my new play There Are No More Big Secrets and this week I'm directing a workshop of it myself. P73 has given me great actors, a beautiful rehearsal space, a stage manager, a dramaturg and an assistant director. A whole staff! Also, Asher and Liz are great about helping me organize a writing/development schedule and giving helpful feedback. I'm so spoiled right now. I don't know how I'm going to go back to my regular life.

Q: You are also an Obie winning actor. How does your acting inform your playwriting and vice-versa?

 A: Well, obviously I identify with the actors when I'm working as a playwright and I want to give them interesting things to do onstage. I could never write a character who just brings in the samovar, I would feel too guilty. And when I'm working on a new play as an actor, I feel a tremendous responsibility to the playwright, to do right by their play. Actually, I've had to learn to turn the volume down on that feeling because it can be paralyzing. Sometimes the best way to look out for someone's play is to really look out for yourself, your role. Actors and playwrights have a unique relationship and I'm lucky I get to experience it from both sides. When you're a playwright and an actor shows up and gives life to your play that's a remarkable achievement in human communication. It's better than ESP. And as an actor, when a playwright gives you a great role to inhabit, well, you've seen All About Eve? When Karen asks Eve, "You'd do all that just for a part in a play?" I'm not as evil as Eve, but I totally get her answer, "I'd do much, much more for a part that good."

 
Q: In the nineties, you were a member of the infamous theater company in Seattle, Printers Devil. What was that experience like and what sort of theater foundation did it give you?

A: Infamous? Yikes. We were a small company, so in addition to acting and writing, I got to direct, work at fundraisers, find props, sew curtains, even run the sound board, which they asked me to please never do again. I learned about every aspect of making a play. Also I met great playwrights - Sheila Callaghan, Naomi Iizuka, Anne Washburn, Chay Yew, Erin Cressida Wilson, Dan Dietz. Melissa Gibson and her husband Matt Frey stayed at the apartment I shared with your wife, Adam. And now Matt is designing the lights for Creature. So many of those relationships have come back around in wonderful ways.

Q: Who are your heroes?

A: I have too many, so I'm just going to name one playwright: Maria Irene Fornes. In my twenties, all of my plays were - well I called them homages to Fornes, but really they were blatantly imitative. Also, my mom. She directed me in my first play when I was 7 years old - I was Hermia in A Midsummer Nights Dream. She made me fall in love with theater.

Q: What kind of theater excites you?

A: Good theater? I'm an omnivore. ERS's Gatz is still one of the best things I've ever seen and I also cried all the way through Next to Normal. Tony Kushner, Paula Vogel, Mac Wellman, Caryl Churchill, Chuck Mee, and Craig Lucas have all influenced me tremendously and are the people who first made me excited about playwright. I also love Lev Dodin, Robert Woodruff, the musical Annie, puppet theater, Anne Reinking, and the Oregon Shakespeare Festival, which is where I saw my first play (Macbeth). Plus, I'm a huge fan of so many of my peers, the list is too long. The only stuff I don't like is theater that's predictable, cynical, shoddy, pretentious. Actually, sometimes I like pretentious. Also, I'm in constant peril of making theater I would hate myself.

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

A: Invite friends over to your apartment and make them read your plays out loud. And see as much of your peers' work as you can. By which I mean to say: Find your people.

Q: What advice do you have for actors starting out?

A: Whew. This is the toughest question. I did everything wrong, but I'm pretty happy, so: Skip grad school, move to NYC when you're past a "marketable" age, don't get a headshot until you're 30?

What I did right - and what I recommend to younger actors - is to seek out playwrights and directors you admire and find a way to work with them. My relationships with directors Brooke O'Harra (Two-Headed Calf) and Ken Rus Schmoll (who just won the Obie for Telephone) have been immensely gratifying and provide a sense of artistic continuity in my life as an actor.

Also, when we were living in Seattle my now husband, director Kip Fagan, had a copy of David Adjmi's play Strange Attractors lying on his bed. I picked it up and after reading the first three pages knew that I had to be in it. So, I called Adam Greenfield, who was working at the Empty Space then, and got myself an audition. I'm making it sound more All About Eve than it was. I didn't try to seduce Adam, it was just a phone call. It turned out to be one of the most exciting roles I've ever played.

Q: Link please for your show:

A: http://www.p73.org/programs/productions/creature/

http://www.newgeorges.org/ce.html

Q: Any other plugs?

A: I'll be acting in Annie Baker's terrific new play Circle Mirror Transformation at Playwrights Horizons in the fall. I was working on it yesterday and I'm really jealous of Annie. Her writing is stunningly precise and nuanced, she's able to conjure the private suffering of her characters through these hilarious, often tiny public moments that make you laugh and also feel deeply uncomfortable. .Okay I'm not telling you any more because Circle Mirror Transformation starts previews on September 24 and you should just come see it..

http://www.playwrightshorizons.org/current_season.asp

Next

in Portland, OR

Sept 21

a reading of Food For Fish

http://www.theatrevertigo.org/