I Interview Playwrights Part 103: Dylan Dawson

Dylan Dawson

Hometown: Minneapolis, MN

Current Town: Brooklyn, NY

Q: I just saw a reading of a play of yours with Naked Angels. Can you talk a little about that play and how it came about and the horrible discrimination tall people have to deal with?

A: Yes, thank you, Adam, it’s a serious problem. “TALL (A TALE)” stars and centers around Will Rogers – the actor soon to be seen in Lincoln Center’s When the Rain Stops Falling, not the vaudevillian cowboy – and what happens when he decides to have his shins removed in a questionable (and completely non-existent, I hope) medical procedure so that he can star in a major Hollywood film. Having once been a struggling actor “of height”, I thought it would be nice to write something for a bunch of similarly un-stunted actors, and finally reveal some hard truths about what it’s like to get hit in the face by umbrellas all the time. People just don’t know.

Q: What else are you working on?

A: I just wrote a short little something for the 52nd Street Project, which is where all the cool 9 to 18 year old kids in Hell’s Kitchen hang out apparently. I started mentoring there a few months ago, and fell completely in love with the work they do. It’s great to see kids learn about conflict resolution through the creative process of making a play. And selfishly, it’s good for me to be reminded of the freedom theater allows, like, oh I can write a play about a pair of dice, and the problems they face while randomly doling out the fate of others! You know, or something…

I also have a short play coming that’s a part of the goddamn incredible Ars Nova’s Play Group show, Missed Connections NYC. The evening is based on those guilty pleasure craigslist posts of the same name. Mine is titled “Chuck E. Cheese” and explores a meeting that takes place in the seventh circle of Hell that is that loud and grimy institution. There might be a full length in there, who knows?

Other than that, I’m trying to choose what next to write. I tend to go off of titles, and so far I have “Models In Space!”, “…I’m Going To Find Out!” and “These HANDS!” Something with an exclamation point at the end of it. We’ll see. I’m also working on a play about a pair of dice and the problems they face while randomly doling out the…no I’m not, just kidding. Maybe.

Q: Are you still driving a truck or do you have a different day job?

A: I am no longer driving trucks at the Public Theater, no. You know someone just reminded me that it was about three years ago this week when I knocked down pretty much the entire scaffolding structure they have out front there, endangering the lives of dozens of hip and innocent Under the Radar patrons in the process.

No, these days I’ve been doing work as a documentary researcher, or rather rockumentary researcher as the subjects I’ve been dealing with thus far have been the Beatles and the Rolling Stones, exclusively. It’s a sweet job, ideal for me as a writer really. And I work from home, so the only life in jeopardy is my own.

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

A: I don’t know what it is with kids and potions, but when I was in kindergarten, my friend and I agreed to make these secret magic potion thingies that we thought, or rather decided, would turn us into werewolves. And by potion I mean just every awful thing I could find around the house. Pickle juice, chocolate sauce, rubber cement – I think my mom stopped me just in time from adding Clorox or something. And then I drank like two unfortunate sips and waited, and at dinner when nothing happened, I broke down crying because I wasn’t the Wolf Man. So my mom did the logical thing and took me to the store to get werewolf makeup, which I immediately applied and ran outside, howling at the moon for the rest of the evening. I proceeded to tell my friend the next day that my potion had worked brilliantly and that I couldn’t understand why his hadn’t.

I don’t know if that explains my writing, but as a person I’ve matured very little since then.

Q: What kind of theater excites you?

A: Boy, you know, I’d like to say something important here, but really just anything that entertains me or keeps me riveted in the theater excites me. Anything that doesn’t make me wish I was at the movies instead. Maybe that makes me part of the problem, I dunno. I just saw L’effet de Serge at Under the Radar, and that was about the most entertaining thing I’ve seen all year, but entertaining in a way that could only happen in a live, shared space. L’effet de Serge and Avatar. That’s entertainment.

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

A:  I still consider myself very much starting out, and therefore feel weird giving out advice. Writing is such a different shitshow for everyone. All I’d say is share your work. When you finish a draft of something, buy three bottles of wine, invite your friends over, get them as drunk as you can while making sure they’re still cognizant enough to be critical, and just have them read the damn thing. My other motto is “If you’re the smartest person in the room, you’re in the wrong room.” So be sure to get people who challenge and even intimidate you to take a look at what you’re doing. Also, apply for everything, and don’t worry about getting rejected. I love collecting things, and am garnering a fine collection of rejection letters, I must say. All I can hope is that someday they’ll be worth something.

Q: Any plugs?

A:  The aforementioned:

YOU ARE HERE: NEW PLAYS IN NEW PLACES at the 52nd St Project. The other writers include: Carly Mensch, Don Nguyen, Lloyd Suh, Karen Trott, and Emily Chadwick Weiss. All shows are free, but reservations are strongly recommended. You must call 212.642.5052 to book seats

Friday, January 29 @ 7:30 pm
Saturday, January 30 @ 7:30 pm
Sunday, January 31 @ 3:00 pm

MISSED CONNECTIONS NYC at Ars Nova. The other writers include: Annie Baker, Bekah Brunstetter, Kristoffer Diaz, Zayd Dohrn, Tasha Gordon-Solmon, Amy Herzog, Sam Hunter, Branden Jacobs-Jenkins, Steven Levenson, Matthew Lopez, Janine Nabers, and Samuel Brett Williams. (You are missed, sir!)
January 27 – 30th at 8pm. Tickets at https://www.ovationtix.com/trs/pr/704705.

I Interview Playwrights Part 102: Pia Wilson

Pia Wilson

Hometown: Hillside, NJ

Current Town: Montclair, NJ

Q:  Tell me about the reading you have coming up in Harlem.

A:  I'm going to be a part of Classical Theatre of Harlem's Future Classics reading series with my play, RED ROOSTER. We're going to be at The Schomburg Center on January 20th at 7pm. 

I really love this play.  It's about a Hurricane Katrina survivor and her hopes for a new home.  It was inspired by a trip I took to New Orleans about 18 months after Katrina hit.  When I went into the Ninth Ward, it looked like Katrina had hit the day before.  Talking to the people, they said they needed the story told.  They didn't think people in the rest of the country knew how much they were still suffering.  This is partially my way of telling the story.  The play is also infused with family stories, since both of my parents were from the South: Mom, Alabama, and Dad, South Carolina.

Q:  You're a part of the Public's Emerging Writers Group.  What's that like?

A:  It's like being part of this really talented family.  Before I was in the EWG, I was sort of an island in the theater community.  With the EWG, I'm part of an intimate community of artists, and through the EWG, I was introduced to the NYC theater community at large.  And the theater community is just full of some fun people!

During our year, we met some fantastic playwrights.  We also got to observe two shows behind the scenes.  So, I got to watch Oskar Eustis direct HAMLET and Liesl Tommy direct THE GOOD NEGRO.  They were amazing experiences, and I got to work with Liesl on my EWG reading in June 2009.  Don't ask me what kind of deal I had to make with the Devil to make out like that.

I really view The Public as my artistic home.  Mandy Hackett, Liz Frankel and Lisa Kopitsky all worked so hard to make sure we felt like a family.  And we do!

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

A:  Well, there is no one story that explains who I am as a writer. I meandered about, experimenting with different kinds of writing, until I hit on playwriting, which was right for me.

If I remember correctly, I started writing poems in a class in grade school because we were making calendars for our parents.  The teacher really loved my poems and so did my parents.  From that point on, my mom and dad pretty much decided writing was my gift from God and that it should be encouraged.  My entire family -- brother, aunts, uncles and cousins -- pretty much accepted that as fact, and there was never a moment I wasn't encouraged to write. 

I remember one line from a poem I wrote in 7th or 8th grade.  I was in the Hillside Enrichment Program, and some of us got to take a summer course at Montclair State University.  The courses were just for us kids though.  We were asked to write a poem in which each line of the poem described a color in the rainbow.  I don't know what kind of dark rainbows I was looking at, but the last line of my poem said, "Black is silence."

Q:  What is Pia Quarterly?  Where can I get my copy?

A:  Ha! Pia Quarterly is my blog for now, though I do plan to publish an issue or two!  You can help me write it. 

Q:  What kind of theater excites you?

A:  I am a big fan of plays with rich characters and a message.  I like political plays, and that doesn't mean you're getting lectured. For instance, I think David Henry Hwang's YELLOW FACE is a brilliant discussion on race.  It's funny and has a strong human element.

Tracey Scott Wilson's THE GOOD NEGRO was a great piece of work to me.  Well-crafted with a beautiful realism to it.  I actually felt like I was watching a piece of history unfold on stage.  The story was strong as was the message behind it.

I like plays with heart like Eisa Davis' ANGELA'S MIXTAPE.  It also asked the question of "Who am I in relation to my family?" It was a fun, engaging piece. 

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

A:  For writers just starting out, I'd advise them to read some books on drama writing.  Look at your scripts with a hard cold eye.  Read them out loud to hear them.  Then start rewriting.  The writing is in the rewriting.  Don't hand over a piece of work, promising to fix it later. 

On the fun side, get out at mix and mingle.  Go see plays and get to know the community.  The New York theater community is wonderful. 

Oh! And write how you write -- not what you think people are going to produce.  Have an artistic vision and be yourself.

Q:  Any plugs?

A:  Aside from the reading with The Classical Theatre of Harlem, I'm also going to be a part of three short play festivals in February:

- A GODDESS ONCE will be part of Horse Trade Theater Group's The Fire This Time Festival (Feb. 4-7) in NYC.
- WHATEVER AND DELICATELY will be part of Teatro del Pueblo's Political Theatre Festival (Feb. 18 - March 7) in Minnesota
- THE OTHER SIDE OF THE RED SEA will be part of Three Monos Ensemble's Minutes Before... Short Play Festival (Feb. 28) in NYC.

I Interview Playwrights Part 101: Theresa Rebeck

Theresa Rebeck

Hometown: Cincinnati, Ohio

Current Town: Brooklyn, NY

Q: Can you tell me a little about The Understudy now at Roundabout?

A: It's a backstage comedy about an understudy rehearsal for an undiscovered Kafka play which is running on Broadway, starring two action stars. It was a complete fluke that our play ended up running in New York at the same time Daniel Craig and Hugh Jackman did A Steady Rain. We thought that was pretty funny. Anyway we are running now until January 17. The play stars Mark Paul Gosselaar as Jake, the movie star, Justin Kirk as the understudy, and Julie White plays the stage manager.

Q: What else are you working on?

A: I'm working on a new play for The Magic Theater in San Francisco. It's based on a one act I wrote in 1992. I'm also working on commissions for Denver Center Theater and Cincinnati Playhouse in the Park.

Q: You have also written TV, films and novels. What sort of mental adjustment has to be made to move from one medium to another? Which come(s) most naturally?

A: Well, it is easiest for me to write plays. I like every aspect of working on them, the first draft, the characters talking in my head, taking it all apart again for later drafts, readings and rehearsals. On the other hand I HATE the politics of New York theater and it's really taken a toll on my interior life. I like writing novels because it takes so much more time and it's a much less brutal world, politically. My editor and publisher, Shaye Areheart at Random House is extremely rigorous with me but so kind and supportive--which finally I feel like writers need. And then there's television, which can be brutal as well. But I like how fast television is, and right now I'm working with collaborators who are wonderful.

Q: The life of a writer has ups and downs. Do you have any advice on how one navigates that?

A:  I actually have written a whole book about this, Free Fire Zone. So for my full answer to this question you should go read that book. The thumbnail answer is that Show Business truly can and will drive you crazy and so you have three choices: 1. Quit; 2. Stay in it and be driven crazy; or 3. Stay in it and figure out how to be happy and sane in spite of the horrors. For me that means a lot of things like going to the gym, taking yoga classes, meditation, reading the Tao Te Ching, going to the movies. Trying not to care that other people are more famous and successful than me. You just have to work on it every day: Don't get driven crazy by Show Business.

Q:  What kind of theater excites you?

A:  I like theater that tells a story, that has great acting, that has beautiful language and at least a few really good laughs. I want to be emotionally moved and intellectually provoked. I want to see something that opens my spirit and moves me to empathy.

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

A:  I think that young playwrights should spend more of their time working on the basics of playwriting--scene work, dialogue, character, action. I think they should try to hear the rhythms of language in their own idiom. I think that they shouldn't worry so much about being "unconventional." A friend of mine recently confessed that younger writers are being taught, in some programs, that anything "conventional" is not cool. I think that's catastrophic thinking. Too many young writers spend so much time trying to be post modern that they don't finally write about anything at all.

Q:  Plugs please:

A:  I have a new novel coming out in May, Twelve Rooms With a View. Also I want to reiterate that I think Free Fire Zone really is a good read for anyone in this crazy business. I tell a lot of funny stories about horrible things that have happened to me, and there's also lots of useful information in it, like what the difference is between a studio and a network, or how to talk to movie stars. You can get them both on Amazon, or Barnes and Noble.com.

requests, please

Who are the playwrights you would most like to see interviewed that I have not yet interviewed?  I can't do everyone, and not everyone may necessarily want to do it but I am interested to hear who you want to hear from.

my 2009 in review

In ’09 I had a total of eight productions of six different full length plays.  I was able to attend six of them.  Four of the productions were from published plays.   I also had another play published in ’09 and managed to get my first TV job.

For the first half of 2009 I was still living in Minneapolis looking for 12 dollar an hour temp work, riding my bike everywhere so I didn’t have to pay two dollars for the bus. I was also in New York twice for extended periods because of two shows I had that went up.  We left MN at the end of June and I was in CT for about two weeks and then I headed to Atlanta to work on that TV show and was there for about five months working extremely long hours and getting paid two to three times more than I ever made as an administrative assistant in New York. Now I’m in a cottage on a lake in Connecticut.  It’s been kind of a crazy year.

Oh, and I interviewed 100 playwrights, many of whom are friends of mine.  What else?  I wrote a couple new plays and five or so episodes of that show.   Kristen and I bought a car.  Again, I have the feeling like I didn’t do enough this year.  I’m impatient at how long it takes to do everything.  I have a lot to write and don’t know when I will get to it. 

Anyway, Happy New Year.  I don’t know what is next for any of us but I hope for an adventure.

Stop Whatever You're Doing

and read this book!!

Are you a playwright or an artistic director?  Thinking of starting a theater company?  Thinking about going to grad school for playwriting?  Read this first.

It's depressing, surprising, astounding and a must-read.

(full disclosure:  I was one of the 30 playwrights interviewed for it in a round table a little while back.)