I Interview Playwrights Part 65: Sam Forman

Sam Forman

Hometown: Brookline, Massachusetts

Current Town: New York City

Q:  Tell me about your musical F#@KING UP EVERYTHING coming up in the NYMF.

A:  The show's composer / lyricist, Eric Davis (who has been in a bunch of rock bands in the city for many years) had written a first draft of the book for the show as well -- but since Eric comes from a rock background and not so much a theatre background, he wanted a playwright to come onboard with the project and help him restructure the story. I got set up with Eric by our mutual friend -- the lovely and talented director Evan Cabnet -- and also the good folks over at Ars Nova -- and now we've been working together on the show for the last year and we're excited for people to see what we've come up with. It's a hard rocking, heartfelt comedy about young people in Wiliamsburg Brooklyn falling in and out of love with each other. We were shooting for a tone kind of like Say Anything and Pretty In Pink...but it's set in contemporary times and it's got a catchy indie-rock score. Like in most of my plays, this one features a neurotic / self deprecating Jewish protagonist, a gorgeous and amazing girl who he thinks is totally out of his league and a narcissistic, classically handsome Waspy male friend who deliberately attempts to destroy the main character's life...but this one has a much more upbeat conclusion than some of the my other stuff.

Q:  You wrote the book for this but you often write lyrics as well. How is writing a straight play different than writing the book or the songs to a musical? Is it a completely different thing?

A:  I think it really does feel different, yeah. The book for a musical actually has a lot more in common with writing a screenplay or a tv script than it does with writing a straight play. With straight plays -- particularly when I'm writing the first draft -- I feel like I have much more freedom to take the story in whatever direction I choose. My scenes are longer, there are more tangents, I don't really have to adhere to any kind of outline -- the whole thing just feels generally more indulgent and looser structurally. When I'm hired to write a book for a musical I think of myself more as a technician who is basically trying to quickly get from Point A to Point B in as truthful and funny a way as I possibly can. Book writing so far in my experience has mostly been about structure: Making sure to get to the next song every few pages, writing some laugh lines and getting in all the exposition and background stuff that the composer has left out. I think writing a straight play can be much more personal and much more about expressing your own thoughts and feelings about the world we live in. But they're both rewarding in different ways. Writing song lyrics (at least the kinds of lyrics that I usually write -- which are rhyming and often have to scan perfectly to instrumental music that has already been written by the composer) is a whole other thing as well. It can often take me twelve hours to write the lyrics for a three minute song...but once I get to the end, I don't usually go back and change much. I might make a couple little tweaks and change a word here and there...but usually the song that ends up in the show is pretty similar to the first draft -- because with lyrics, you're basically doing twenty drafts each time you sit down to write a song. I'll usually use up ten pages of a legal pad crossing out lines before I come up with the right one.

Q:  What else are you working on?

A:  I wrote the lyrics for a show called Season Preview that I've been developing with Alex Timbers, Sean Cunningham and Eli Bolin -- it's about an insane, theatre loving, Finnish billionaire who decides to buy every Broadway theatre and produce every show as well. We get to see little snippets from all his bizarre ideas (Blinded By Love: The Tragedy of Gay Oedipus, The Who's Miracle Worker, Hello Dalai!, Hindenberg: The Musical, etc) We're doing a reading on October 16th at 3pm at Ars Nova. I'm also writing the lyrics for a musical adaptation of Rob Ackerman's terrific play Volleygirls, which is about a high school girl's volleyball team in Ohio.

Q:  You studied theater at Northwestern for undergrad. How was that? Who else was there while you were there?

A:  I really loved Northwestern -- maybe not the actual classes so much, although some of them were totally interesting -- but the general theatre culture there is very strong and it seems to attract some very talented, unique people. I guess we just had a really good time is what I'm trying to say. And I still work often with a bunch of actors, writers and directors that I met there -- Austin Lysy, Armando Riesco, Billy Eichner, Eli Bolin and Jamie Salka to name a few -- and I think we share a shorthand from having grown up together that makes the process of creating theatre so much easier. When I send one of my plays to Austin Lysy for example -- he just knows exactly how it should sound...and when he does a reading, it's exactly how I meant it to be. You can only really find that kind of connection I think with someone you've known for a long time.

Q:  You and Beau Willimon cowrote a pilot which you sold to AMC a few years back. Can you talk about how that came about and developed and what that process was like?

A:  I got the meeting with AMC through my agent Chris Till (who is now also Beau's agent) It was before they had done Mad Men, actually it was before they had done any original programming at all. And they told me over lunch that they wanted to develop a "period spy drama" --- so I contacted Beau, because he was the only person I knew at the time who I was sure would definitely have an idea for a period spy drama. And he came up with the basic premise of our pilot, HICKORY HILL, which is about a black factory worker in the North during the Civil War who is sent down to South Carolina to pose as a slave (and butler to the "Karl Rove of the Confederacy") and become a spy for the Union Army. We sold the premise to AMC and worked on the script for a year with the development people there and ultimately they decided not to shoot the pilot (mostly because they realized it was just too expensive)...but we got paid well for our time, we got in the WGA and it opened a lot of doors for both of us.

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

A:  I think the most important thing is just finding a way to hear your stuff out loud in front of some kind of audience -- even if it's just about getting your friends together and reading the play around a
table. Apply to a writers group or start your own. I've been in Youngblood at the Ensemble Studio Theatre and Play Group at Ars Nova and many of the people I met there have become my best friends and most valued colleagues over the years. Encourage each other and find a community of people that inspire you. Even if you're doing readings in your living room -- just keep creating stuff -- because it doesn't ultimately matter where you do it. You just have to keep doing it.

Q:  What kind of theatre excites you?

I'm a big cheerleader for my friends and I like to talk about their work and encourage people to seek it out: Annie Baker's new play Circle Mirror Transformation is fantastic...she also wrote one that I think is incredibly good called Nocturama and it's very confusing to me why it hasn't been produced yet. There was a reading of it a while ago at Playwrights Horizons that was one of the best things I've seen in years -- and this was just a reading. I just read Beau Willimon's new play Spirit Control the other day and I thought it was really excellent and totally different from anything I had read of his in the past. Anna Kerrigan's new play Paradigm From California is really superb, chilling and stayed with me for weeks after reading it. I think Amy Herzog and Carly Mensch are also going to be putting up smart, funny, moving plays for the next fifty years or so. Also Liz Meriwether's play Oliver is wonderful and I think it's being up this spring at this great company StageFarm. Some of the slightly older folks who I was inspired by when I first moved here -- Adam Rapp, Christopher Shinn, Lucy Thurber, Melissa James Gibson, Stephen Belber, Julia Jordan, Adam Guettel and Jason Robert Brown -- are still writing terrific plays and musicals and I'm excited to see what they've got coming up this season. Also that Adam Szymkowicz fella is pretty great too.

I Interview Playwrights Part 64: Erin Courtney

Photo by Peter Bellamy   (Check out his upcoming book of photographs of playwrights!)

Erin Courtney

Hometown: Hermosa Beach, California

Current Town: Brooklyn, NY

Q: Tell me about what you're presenting at the Prelude festival.

A: I am presenting a reading of a new play called A MAP OF VIRTUE. Ken Rus Schmoll is directing. A Map of Virtue is a symmetrical play in which a bird statue guides us through a story of coincidence, tragedy and friendship. Part interview, part comedy, part strange middle of the night horror, a group of friends encounter evil and dissect their own responses to it. We have a great cast - Maria Striar, Matthew Dellapina, Birgit Huppoch, Matt Maher, Benton Greene, Matt Korahais and Normandy Sherwood.

Q: What else are you working on?

A: I will have a ten minute play in the Fall at the Flea Theater. The collection of short plays is called THE GREAT RECESSION. My piece is called "severed" and I am a big fan of all the other writers in the project - Thomas Bradshaw, Sheila Callaghan. Will Eno, Itamar Moses and Adam Rapp.

Ken Rus Schmoll and I are looking for a producer or a space to do a run of Black Cat Lost, which is a sort of an "entertainment" about mourning.

Q: Like me, you're married to another playwright. (The wonderful Scott Adkins) Would you suggest playwrights marry playwrights?

A: All playwrights should marry playwrights, but if you can't find a suitable playwright to marry then you should marry a very patient, generous and creative soul who appreciates your need to compulsively go see theater and write at odd hours and spend many hours at rehearsals.

Q: Can you tell me about teaching at Brooklyn College?

A: Teaching at Brooklyn College is something I am extremely grateful for. The genius of Mac Wellman continues to inspire me every day. He is a great mentor as a teacher and a playwright. Also, Mac chooses amazing grad students who are incredibly smart and courageous in their quest for finding new ways to make theater. So, it's a great job because I am continually learning and I never, ever take for granted that there is only way one to think about and make theater. It is an astounding community of artists.

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

A: Write, Dream, Write down your dream when you wake up, go see great and bad and good theater, be nice to other playwrights and actors and directors, listen to good ideas, let yourself fall in love with your own plays, support your friends.

Link to Prelude: www.prelude.nyc.org

I Interview Playwrights Part 63: Gary Winter

(It's the photo he gave me)

Gary Winter

Hometown: Sheepshead Bay NY (Home Town of Vince Lombardi)

Current Town: Clinton Hill, NY

Q: What are you working on now?

A: My aunt was an aerospace engineer through the Mid-1950’s through the early 90’s, so this piece has started out to be about a woman working in the aerospace industry (in L.A.) in the 50’s, but we’ll see what it turns out to be. When you read about the early days of rocket science it’s kind of incredible to find out how seat-of-the-pants the experimentation was. Like, in order to test fuel mixtures these guys would literally go out to the desert, light a rocket’s fuse then dive behind sandbags. I don’t think the play is going to be about that, but the research is fascinating.

Q: Can you talk about the Pataphysics workshops? I've done three: with Paula Vogel, Lee Breuer and Chuck Mee and I learned a ton each time. Can you talk about what they are and who is up next?

A: Anne Washburn founded Pataphysics in 2001 and the Flea has hosted and supported the program, which is run at cost. The goal is to give theater artists an opportunity to sit down with master playwrights whom they ordinarily wouldn’t have access to. I’d say the main thing for me has been to understand the intellectual groundwork of playwrights whose work I had known (like Mac Wellman), or was just getting to know (like Jeff Jones or Erik Ehn). So understanding their ideas, literary and philosophical influences, and the rigor and curiosity with which they approach playwriting has been an eye-opening, expansive and joyful education. It also helps to hear how people talk about their work, and realize that’s something we need to get good at. I suck at it but that’s no excuse.

Jeff Jones teaches a workshop about “building assemblies” at the end of November.

Q: Can you describe the Erich Ehn Pataphysics retreat you were just on?

A: It’s a silent playwriting retreat in the Catskills. One thing about being silent for three straight days is that your mind and body take on a whole new rhythm; that is, you have the time and space to sustain the writing by finding a steady rhythm, which of course is difficult to do in our day-to-day lives. Because I remained focused inwardly without having to think about social niceties or anything like that, I was surprised how much stamina I had. Erik meets with us as a group about 3 times a day and does physical as well as writing exercises, and then talks about what we might process for the next writing period.

Q: For years you were the Lit Mgr at the Flea. How was that? What did you learn from that experience?

A: Lit Manager at the Flea: A fabulous ten years. When I interned at the Flea I was just completing NYU, and the Artistic Director, Jim Simpson, said he wanted a playwright as Lit Manager (a volunteer position). Naturally I was terrified but excited to be part of a really cool theater. Also I didn’t have a theater background, so I was really keen to learn the nuts and bolts of how theater is made. I kind of love process, and being able to sit in on rehearsals and production and design meetings has been invaluable. I’ve met people who have become colleagues and friends-not to mention getting to know an army of talented actors who’ve come through the Flea.

Once you’re in the mix of things-getting to know writers and their work-I think the best thing you can do is be in a position to put that person on the theater’s radar. (and I’m only referring to my experiences at the Flea; I’m sure lit manager’s jobs and influence vary widely). I’d be nuts to think the Flea should produce every play I’m in love with, and that’s the way it should be. But you can call attention to writers, and at least by providing access (ie-readings) you might be able to get other theaters interested in the writer. Of course it’s exciting when all the pieces fall into place. When Joe Goodrich sent me SMOKE and MIRRORS, I loved the play, we did a reading and the Flea produced it. Score! At the same time I didn’t understand Alice Tuan’s AJAX, but Jim did and it became one of our most successful shows. That was sort of a humbling experience, and I realized I will be dead wrong at times, and I won’t always “get” a play by reading it. Also talking to the writer about his/her work is often necessary, particularly if you feel there’s something drawing you in, but you’re still not clear about the writer’s intentions. I had a few such conversations with Tom Bradshaw a few years ago because I didn’t understand why he started one narrative thread and seemed to drop it midway through. His answers were really concise and it’s helped me appreciate what he’s up to ever since.

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

A: My uncle was a fishing boat captain, so we went fishing a ton and I spent a lot of time staring at the horizon, daydreaming, and what else is writing but daydreaming?

Q: What kind of theater excites you?

A: I love stumbling upon plays like you might a new and strange kind of animal. Then I’m like, oh wow, I didn’t know you could do this in theater. In recent years that’s happened with TR Warszawa’s KRUM (at BAM). It was 2:45 of talk and un-flashy but fabulous staging, totally engaging. Irene Fornes MUD (the production she directed at Intar in the mid-90’s) was also like nothing I’ve ever seen before. I didn’t really understand it, but fortunately Irene was teaching at NYU at the time, so the class had a good discussion with her about the play. One thing she said, which I’ll never forget, is that when people tell her they didn’t understand MUD but they had a powerful experience, she responds that it is this “experience” that’s important.

Other performances were Mac Wellman’s FNU LNU at SOHO Rep (I’m still singing the song from that show: “Why the Q in Q-tip”), Susan-Lori Parks’ AMERICAN PLAY and VENUS (The Public), and Len Jenkin’s DARK RIDE (SOHO Rep). I think it’s as much about where I am in life, as anything else that defines what I’ve responded to. I would also add that I admire plays that find an elegant image or gesture that ripples with meaning, such as Ionesco’s RHINOCEROS or Frish’s FIREBUGS, both about fascism of course. I thought Susan-Lori’s AMERICAN PLAY did that wonderfully.

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

A: No secret: Have a fucked up childhood and call me in the morning.

Q: Any plugs?

A: It would be a conflict of interest to plug my play COOLER at the Chocolate Factory in April, or Julia Jarcho’s (13P #9) play AMERICAN TREASURE at the Paradise Theater in November, so I’ll recuse myself from plugging them. But I would like to plug Heidi Schreck’s CREATURE in October and Emily Devoti’s MILK next spring.

I Interview Playwrights Part 62: J. Holtham

J. Holtham

Hometown: Leonia, NJ*

Current Town: New York, NY

Q: Tell me about the play you're having read at EST.

A: Household Name is a big, old-fashioned comedy. For a long while now, I’ve been fascinated by the work of Philip Barry (The Philadelphia Story, and especially Holiday) and I wanted to write a comedy like that. Lots of characters, something about class friction and manners, but with a modern sheen to it. Around the same time, I became similarly fascinated with Martha Stewart. I know, I know. But it’s not like a “Martha Stewart” play. It’s really about her daughter and what it’s like to have a mother who has re-invented herself. I thought it was interesting that Martha Stewart and Hillary Clinton are neighbors in Westchester County and somehow it just came to me. I finished a two-act draft of it last year, but it was missing something. So this version will be three-acts, with a new love interest. And more jokes and slapstick.

Q:  This is a gigantic reading series. Can you tell me about it and how it came about?

A:  Octoberfest is actually one of my favorite events of the theatrical year. It’s been a staple of EST’s season for more than 20 years (I believe). Basically, for one month, the theatre throws open its doors and lets the membership run roughshod over the staff. There are nearly 100 projects, on two stages for three or four weeks, all member-generated and not curated at all, just scheduled. If you’re a member of EST and get your form in on time, you’ve got a slot, two performances for whatever you want to do. I’ve always used it as a challenge, a deadline to hit. Most of my plays have been finished specifically for an Octoberfest reading.

Q:  What else are you working on?

A:  I’m still in the midst of a big writing jag. I’ve written about it a bit at my blog, http://jholtham.blogspot.com, though the summer slipped away from me. I’m trying to write four new plays this year. I’ve finished two and really want to finish two more by the end of the year. The next play in the hopper, which I’ve started, but gotten stuck on, is called Anarchists: A Comedy. It’s about a widowed suburban woman who invites a bunch of radicals into her home ahead of a G20-type meeting. Then hilarity ensues. I’m determined to finish it this November, once the Octoberfest dust settles.

Q:  You've been affiliated with EST for a while. Can you talk about how they have supported you (or you them)?

A:  EST has been my artistic home basically as long as I’ve been in New York. It was the first place I worked, the first place that said to me, “We like you, we like your work, here are the keys, do what you want.” They took chances on me, coming to New York from a less than first tier college (SUNY New Paltz in the house! Go Hawks!), and treated me like a full-fledged artist. Youngblood, their emerging playwrights program, was the first place I was in the company of other writers and felt like I belonged. Most of everything I’ve learned about professional theatre, good or bad, I learned there.
They also took a chance on me, even though I was a playwright, as an administrator. Those jobs usually go to directors, but working with the EST/Sloan Project for five years and running Youngblood for two years gave me insights into the development process and the inner workings of a theatre that more people, and especially more playwrights, should get. While it was sometimes frustrating, regularly exhausting and more than occasionally utterly insane, it was never boring and almost always fun.

Q:  Are you still working in the lit office at NY Stage and Film? What's that like?

A:  I worked for New York Stage and Film for two great summers on the Vassar campus. If EST was the crucible where I was molded as a young theatre professional, SAF was where they dunk you in the cold water and you toughen up or shatter. The work was incredibly intense in a short period of time (the whole season there is about eight weeks) and just plain staggering. But the most amazing things happened there. It slides under the radar, I think, overshadowed by places like the O’Neill as a developmental program and Williamstown as a producing theatre, but it does both things exceptionally well. I watched plays come in, get taken apart and then put back together. The basic philosophy of SAF is so much about the needs of the project that they really put the artists in the driver’s seat and allow them all kinds of latitude. One project we brought up when I was there was a big musical. The creators got together a few days before the cast came up and realized they needed to take the story in a different direction. Now, we’d spent a month casting this thing, brought all of these high-wattage Broadway people up to Poughkeepsie, set up this whole workshop that was being sold to the public as a big deal, but when the creators said we need a couple of days, we sent everyone away, let the writers hole up in a studio with a piano and do what they needed to do. There aren’t a lot of places that take those kind of chance.

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

A:  When I think about my childhood and how I got started on the path of writing, I think about this old Buck Rogers comic book I had. It came out around the time of the old series with Gil Gerard and Erin Gray (one of my first crushes, natch). One Saturday, I was left to my own devices in my dad’s apartment, with only the comic book to amuse me. I’d read it a million times and loved it, but I wanted more from it. So I took my safety scissors and cut out the pictures I liked from the comic book (the fanboy inside of me dies a little bit at the desecration). My dad had this big old Persian rug, and I arranged the pictures on the design on the rug, in a new order, telling a different story. I like to think that way about writing. We all know the old saw: there are only seven stories in the world. We’re all taking bits and pieces of things we love and re-arranging them in some new fashion.

Q:  What kind of theater excites you?

A:  I’m a structure junkie. Really, I’m a sucker for it. You give me a gun in the first act and then some clever way for it go off in the third and I’m happy. It doesn’t all need to wrap up in a tight little bow, but if the ending feels inevitable and shocking at the same time, that’s the holy grail for me. I’m also a sucker for a good joke, well told. I like “actors” plays: a good speech or two, some physical comedy, a well-earned “aw” moment, a good fight, and a lot of drinking. That’s the recipe for a good play, if you ask me.

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

A:  Two things:
1) Write, a lot, while you still have the energy. Don’t worry about making it perfect. Get it down, get it done and, most importantly, get it up. Find like-minded souls and do shows, productions of first drafts, if you can.
2) Do things other than theatre. It’s really easy, especially now that there are so many undergrad and grad training programs, to do nothing but theatre for most of your adult life. Resist that temptation. Take dull day jobs. Cultivate hobbies and weird friends. Collect stories from outside of our little world. And then bring those stories to the stage. We need more real life in our make-believe.

Q:  Link please for your reading at EST:

A:   http://www.ensemblestudiotheatre.org/schedule_by_date.html
PS- I actually forgot! I’m doing a new one-act play as part of Octoberfest After Dark, a mini-festival within the festival put together by Lynn Rosen. It’ll be boozy and fun!

Any other plugs?
Check out my blog! I like it when people read and comment!
http://jholtham.blogspot.com

*Technically, I was born in Brooklyn. I moved to Leonia when I was ten, and my parents have long since moved out, but it still feels like my hometown.

J. on playscripts.  http://www.playscripts.com/author.php3?authorid=76

I Interview Playwrights Part 61: Caridad Svich

photo credit: Ann Marie Poyo

Caridad Svich

Hometown:  Philadelphia, PA

Current Towns:  New York City and Los Angeles

Q:  What are you working on now?

A:  new play commission from NYU's Graduate Acting Program and Mark Wing-Davey (Chair) entitled RIFT. The piece goes up Dec 2-6, 2009 at Tisch Shubert Theatre directed by Seret Scott. Performances are open to the public and tix will be sold on smarttix.com RIFT is an epic story about lives torn by war and its aftermath, by abuse and damage, profit and trade, and the intimate search for beauty and grace. Gender, border, and culturally crossed, RIFT explores the fate of the human animal in a dislocated world and asks the question: how can a body that is torn find a way to heal itself and transform, and thus resist the tyranny of power? It's a violent, erotic, dream-like fable.


Q:  Can you tell me a little about No Passport?

A:  NoPassport is a Pan-American theatre/performance/media alliance and press, which I founded in 2003. The alliance is devoted to action, advocacy and change toward the fostering of cross-cultural diversity and difference in the arts with an emphasis on the embrace of the hemispheric spirit in US Latina/o and Latin-American theatre-making. NoPassport exists a virtual and live forum for the exchange of work and dreams, a live network between theatres and the academy, and a mobile band of playwrights, directors, actors, producers and musicians. The mentoring of younger artists is also a key component of NOPE's (as we playfully call ourselves) mission. NoPassport Press is a division of NoPassport that aims to bring new, challenging playscripts, translations, essays and theatre criticism to the field. Among the works we've published so far: collections from John Jesurun, Amparo Garcia-Crow, Anne Garcia-Romero, Matthew Maguire, Oliver Mayer, Alejandro Morales, single edition text of Antigone Project by Lynn Nottage, Karen Hartman, Tanya Barfield, Chiori Miyagawa and myself. The texts are published print-on-demand and are available from amazon.com and the like. For queries: NoPassportPress@aol.com

Q:  Can you tell me about your translating work? What sort of challenges are inherent in translating someone else's work?

A:  I've translated nearly all of Federico Garcia Lorca's plays and some of his poems as well as works by Julio Cortazar, Calderon de la Barca, Lope de Vega, Maria Zayas Sotomayor and contemporary plays from Mexico, Cuba, and Spain. I've also adapted for US English a Serbian play entitled Huddersfield. Translation is a parallel career and a huge part of my creative life. There are many, many challenges to the art and craft of translation, chief among them the kind of intense cross-cultural work involved linguistically and theatrically. Translations are also temporal acts. You translate it for the audience of today, but who knows how the audience of 50 years from now will respond? It's always a gamble and each decision about word choice is fraught with myriad possibilities. Ultimately you are as respectful and as in the moment with the work as you can be, but it's really a neverending process, if you let it be!


Q:  You also are a frequent editor of books and journals. How did you get drawn to this type of work?

A:  I've edited Divine Fire: Eight Contemporary Plays Inspired by the Greeks (BackStage Books) and Trans-Global Readings: Crossing Theatrical Boundaries (Manchester University Press). I've co-edited Out of the Fringe: Contemporary Latina/o Theatre and Performance (TCG), Theatre in Crisis? (Manchester University Press), Conducting a Life: Reflections on the Theatre of Maria Irene Fornes (Smith & Kraus), and Popular Forms for a Radical Theatre (special issue of Contemporary Theatre Review, Routledge, UK). I'm contributing editor of the international journal TheatreForum, associate editor of Contemporary Theatre Review, and founding editor of NoPassport Press. Right now I'm in midst of editing the collection Out of Silence for Manchester University Press, which should be in print late 2010, if all goes well. I was drawn to this type of work because it allows me to sustain a different kind of creative conversation with scholars and practitioners; it also allows me to advocate for the works of emerging scholars and the publication of not as well represented voices for theatre and performance in a very pro-active way. I love words in print and I love critical exchange, and my work as editor really lets me move between the arts and the academy in a manner that is spiritually rewarding. It also is the kind of work that really makes me focus on the layout of text, how pages are marked and makes me think about language and form in a way that I find vital and challenging.


Q:  Can you tell me a story from your childhood that explains who you are as a writer or as a person?

A:  Hmmm...well, my mom has saved all the tracings I used to do as a child. I loved books and stories so much that I'd actually the illustrations (of children's books) onto paper and then invent my new stories to these illustrations and write them down! Even when I was five years old, I was re-making texts!

Q:  Many of your plays have songs in them. Chuck Mee said, and I hope I'm getting it right, that if you don't have a song in the first half hour of a play, you can't have a songs in that play. In other words you should let the audience know early on that there will be music in the play or otherwise it will be jarring. I recently ignored this when writing a play, perhaps to my own detriment. Do you have any rules self-imposed or otherwise about how you put songs into your plays?

A:  I love songs, and how they can function in a text - as commentary, window into an emotional moment, setting a scene, etc. I love the human voice lifted in time and space. When I write I always leave the possibility of song open in the work. If a song appears, I let it. If it doesn't, then I know it's going to be the kind of play and play-world that doesn't allow for that kind of 'lift.' Sometimes I start with song forms in mind when I write. Alchemy of Desire/Dead-Man's Blues began as a play where I wanted to work with the blues form. Fugitive Pieces and Thrush both began with my interest in folk songs and alt-country. 12 Ophelias began in part with my love of bluegrass and the high lonesome sound. Iphigenia...a rave fable began with my interest in techno, trance and house music and sampling. Lulu Ascending deals in part with cabaret and torch song genre. Prodigal Kiss was written with the Cuban bolero a and guaguanco in mind. The Booth Variations was written in part to work with the symphonic form. There are so many ways to work with songs in the theatre, esp in plays with songs. In The House of the Spirits, I knew pretty early on that songs connected to ceremony would be part of the play (wedding, harvest time) but also lullabies the women in the play sing to their children. In terms of rules, I think letting the audience know early on that there will be live music or at very least live vocalization is important, even if it's through the sound-scape of the play. But I've sometimes broken the earlier is better rule, and decided to surprise the audience with a song late in the play. Ultimately I think what's important is the songs feel organic to the overall vocabulary of the play you're making!

Q:  What kind of theater excites you?

A:  Work that surprises me, that re-awakens me to form and/or content, that challenges expectations of all kinds. My taste is pretty eclectic and egalitarian. I don't privilege uptown over downtown or vice versa. I hate categories. For me, witnessing a piece of theatre/live performance is about deep human engagement - whether it be intellectual, emotional, spiritual or all three. I'm always looking for work that will make me see things differently.

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

A:  Write, write, and write, and then rewrite, and rewrite. Plays are strange beasts. Writing for the theatre is a humbling profession. The work is always being tested and judged. Every night. Don't settle. Stay true to your vision. But also listen, deeply, to the world around you and to what the people you trust have to say. Be open to the beauty of an invitation to make work.

Q:  Any plugs?

A:  The House of the Spirits, based on the novel by Isabel Allende, continues at Main Street Theater in Houston, Texas until October 11, 2009 (www.mainstreettheater.com); it also continues in open run repertory in its Spanish-language version at Repertorio Espanol/Spanish Repertory in New York City under Jose Zayas' direction through the 2009-2010 season (www.repertorio.org). 12 Ophelias (a play with broken songs) continues at Trap Door Theatre in Chicago, Illinois until October 31st, 2009(www.trapdoortheatre.com). My new play Rift runs December 2-9, 2009 at Tisch School of the Arts Grad Acting, 5th Floor. (www.smarttix.com) The next NoPassport theatre conference is February 26-27, 2010 at the Nuyorican Poets Cafe and related venues. Save the dates! In print: "American Playwrights on Language and War in Iraq: A NoPassport (theatre alliance) Virtual Roundtable" with David Adjmi, Christine Evans, Charlotte Meehan, Lisa Schlesinger, Christopher Shinn, and Naomi Wallace, Moderated by Caridad Svich in Theater Vol. 39, No. 3, published by Yale School of Drama/Yale Repertory Theatre.

I Interview Playwrights Part 60: Samuel Brett Williams

Samuel Brett Williams

Hometown:
I was born and raised in Hot Springs, Arkansas. At eighteen, I moved to Arkadelphia, Arkansas, and lived there until I moved to the New York City area just over four years ago at the age of twenty-three.

Current Location:
Hoboken, New Jersey

Q: Tell me about this reading you have coming up at Ars Nova. What's the play about?

A: I’ve wanted to write about corporations and fraternities for a while, but I couldn't find a story to support either topic. Then, I was in Italy last summer -- literally on the steps of the Coliseum, wishing it was run more like a corporate enterprise. No joke, I was in a long line with my uncle (who is from Sicily) and I was thinking a corporation would make the process a little more efficient. They would have specific windows for tours and specific windows for walk-throughs. They would have some process that moved us along a little faster -- I mean, Disney World kind of sucks, but they do keep the lines moving! Anyhow, long story long, once I could take the corporate side -- argue for and against big business -- then I knew I could start. I didn't want the play to be a one dimensional diatribe against Wall Street -- we have blogs for that. That's part of the reason I set it in a Frat House. I see those places as kind of breeding grounds for the big swinging dicks, or vaginas, on Wall Street. I read somewhere that every CEO from the financial district who was fired during the whole meltdown was a former Frat Boy. Also, there is something exciting and disgusting about fraternities -- two prerequisites I always need to write!

Q: Isn't Ars Nova great!?

A: Right out of grad school I went to the O'Neill with my play THE WOODPECKER. That was the first time I felt the theatre community saying, "Welcome." Emily Shooltz was my dramaturg there and when I saw the application for Play Group online, I knew I wanted to be involved. I have been overwhelmed with how nurturing and supportive they have been. They in a sense have welcomed me into New York theatre.

Q: Can you talk a little about your Playwright in Residence status in New Jersey last year?

A: The National New Play Network is amazing. Every young playwright should find a way to get involved. In 2007-2008 they gave me a residency at Playwrights Theatre of New Jersey -- that coupled with some other money from writing allowed me to live off of theatre for a year or two, which was not something I thought I was going to be able to do right out of grad school. The NNPN also sent me to the Kennedy Center to workshop my play THE REVIVAL (which Project Y will produce in the city this summer, hopefully at 59e59). And, I'm currently just finishing a commission they gave me to adapt the New Testament book of Revelation into a play.

Q: Can you talk a little about the Helen Merrill Award you won last year?

A: I was in rehearsals for THE WOODPECKER -- more specifically I was at a bar across the street from Cherry Lane -- when I received a call from a woman, who began explaining the Helen Merrill Award to me. I thought she was asking for money, so I almost hung up, but then she got to the point where I was getting twenty thousand dollars. I will never receive a call like that again. I cried. I mean, three years earlier I was working in a bookstore in Arkadelphia, Arkansas. I could only work thirty-nine and a half hours a week, because they didn't want to give me benefits. I bet I didn't make twenty grand that entire year. I went to the Algonquin where Chris Durang talked about my writing and gave me an award. I guarantee I will never have a happier moment in my life.

Q: You write a lot about where you grew up. I'm someone who can never really write about a place. Places just don't stick with me in the way they stick with some people. Can you describe what it is about that place that keeps you writing about it?

A: I write a lot about where I'm from, because I'm still trying to figure a lot of things out. I went to a Methodist Church, I was enrolled in a Southern Baptist school from kindergarten to my senior year, then I went to a Southern Baptist University for undergrad. My family is VERY religious. I remember going Soul Saving with my friends after basketball practice just because it was the thing to do at the time. I wouldn't trade my childhood for anything -- it made me who I am -- but, I am still trying to understand it, and that certainly comes out in my writing.

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

A: When I was in junior high I first started writing, really writing, and it confused me. I didn't know where the words were coming from or why I was doing it. The work wasn't any good, but it was honest and violent and pretty disturbing for a twelve year old. I would hide my notebooks under my bed, like they were pornography, because I was scared I was going to hell for what I was doing.

Q: What kind of theater excites you?

A: I love pointed irreverence, like McDonagh or Mamet.

I love the experience of Fornes.

And my king of kings is Kushner. I love, absolutely love, to experience the power of his mind. Sometimes I just pick up his plays and sit inside them, if that makes any sense.

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

A: I don't buy into the whole magical aspect of writing. Like anything truly rewarding, it's hard work. You can not control whether other people will like what you have written or not. You can only control the words (in LA you can't even control that). Do it every day, and do it well -- respect the integrity of the story, and do not write just to get produced. Admit that if you don't know what your play is about, you might not have anything to say.

Q: Details about your reading with Ars Nova, please:

October 5 at 7pm. The brilliant Sam Gold will be directing. Come and have a beer with us!