I Interview Playwrights Part 413: Caitlin Montanye Parrish

Caitlin Montanye Parrish

Hometown:  Atlantic Beach, FL

Current Town:  Los Angeles, CA

Q:  What are you working on now?

A:  I just wrote a short play called 10 Dimensions for Ten at The Gift Theatre in Chicago, and I'm also writing a new full-length called Uncanny Valley that will be workshopped this summer in the DCA Incubator series. I'm also writing a number of TV pilots. And doing homework. And producing a monthly live variety show, the LA chapter of The Encyclopedia Show (originally created by Chicago geniuses Robbie Q. Telfer and Shannon Magnuson).

Q:  How would you characterize the theater scenes in Chicago and LA?

A:  I don't really feel qualified to comment on the LA scene, yet. I've been in grad school, and any spare time is immediately commandeered for sleep. The Chicago scene is my favorite environment on Earth, a loving and bracing community of insanely talented people with long memories: they remember who brought whiskey to strike, and they also remember who was a jackass to the crew. Forever. And, you can't beat the variety or quality of shows.

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

A:  My grandmother, a deliciously boozy WASP who somehow ended up in the South, told me when I was seven that you weren't really well-read until you'd read all of the Bible and all of Shakespeare, and decided which one to believe. And then she taught me how to make martinis. The combination set me on a direct course to theatre.

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

A:  I'd make it required in schools.

Q;  Who are or were your theatrical heroes?

A;  The playwrights I re-read the most are Mickle Maher, Tom Stoppard, Caryl Churchill and Margaret Edson. There's a heightened quality to their work that's always fun to revisit, because I know it's highly unlikely that I've caught every trick they've snuck in. I really wish Margaret Edson would write a second play.

Mike Daisey. Genius.

Robbie Telfer, Shannon Magnuson, Christopher Piatt, and Ian Belknap run three of the most original shows in Chicago. They're not theatre, per say, but they're sure as hell theatrical. The Encyclopedia Show (Robb and Shannon) is an amazing monthly combination of vaudeville and literature. The Paper Machete (Christopher) is a weekly live periodical, a salon in a saloon, he would say. And WRITE CLUB (Ian) is a monthly, three round, bare-knuckle writing match. All these shows boast a wide variety of contributors, many of whom spend the bulk of their time in Chicago theatre. All three shows are challenging the notion of what performance can and should be. Go see them.

Anyone who shows up and gives their all to a play, for little to no money, is my hero. Anyone who shows up and gives their all to a bad play is a hero by any standard.

But Erica Weiss, who's dramaturged and directed almost every play I've written, is my theatrical hero. She is the most steadfast and intelligent director I've ever encountered, and no one understands scripts better. No one. Any playwright who works with her is better for it. I understand when writers are reticent to take suggestions from directors - not every director knows what's best. But, I can count on one hand the number of times I've refused one of Erica's suggestions, watched it play out, and been right. It's like she has absolute pitch for theatre. She hears it and knows immediately if it's right or wrong. She's also very, very funny. And makes me tea when I write. She is, in short, a total baller.

Q:  What kind of theater excites you?

A:  Urgent, and current, and intelligent, and fraught. That's the sweet spot.

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

A:  Write. Constantly. Get feedback. Take feedback. But most importantly:

If and when you are lucky enough to have a play produced, it will have been the result of unbelievably hard work on the part of lots and lots of people. You did not do it all yourself. You are not magic. Thank every single person in your cast, on your crew, on the design team. Thank everyone who helped fundraise. Thank everyone who offered to run the box office for one night. They are showing up, and stepping up, because they love theatre. They are giving you a gift you cannot repay. All you can do is strive to be worthy of their faith, and their aid. If you are an asshole to the people who have helped you, because you are laboring under the delusion that you are the most important, sparkly cog in the theatre wheel, then you are useless, and you have failed as a human.

Q;  Plugs, please:

A:  Ten at The Gift Theatre, in Chicago, starting January 5th. (http://www.thegifttheatre.org/now.html) Pretty much go see anything they produce, their track record is ridiculous. My play A Twist of Water is going to be in New York at 59E59 in October of 2012, please come see that. And every month I host The Encyclopedia Show LA (http://www.theencyclopediashowla.com/), along with a number of wonderfully strange Angelinos. Please come and have a drink with us.

I've finally updated my blog to the new modern kind of blog

With all the buttons, etc.  Unfortunately, when I switched over it imported an old blogroll.  So I think some people are missing.  Am I missing you?  Pls tell me if I am.

I Interview Playwrights Part 412: France-Luce Benson

France-Luce Benson

Hometown: Miami, FL

Current Town: Brooklyn, NY

Q: Tell me about The Talk.

A: One might describe it as a Caribbean /Immigrant take on an After School special gone horribly wrong. Seriously, it’s a comedy/drama about a woman who never had the freedom to explore her own sexuality confronting her adult daughter who after many long years of ambiguity has finally embraced her own. It also explores how time and loss can begin to bridge the gap between mothers and daughters. As a first generation Haitian-American, I always write from that perspective. It is who I am, what I know, and an important piece of my artistic mission. So this play continues my examination of culture clash, identity, and the complex social conflicts specific to immigrants of foreign lands. Manu, the mother, comes to realize that while holding on to the traditions and conventions that preserved her cultural identity – she sacrificed her own desires as a woman. I also thought it would be fun to write a middle aged woman from a foreign country trying to figure out how to use a sex toy.

Q: What else are you working on?

A: Boat People, a full length play about a family in 1980’s Miami who illegally shelter a political exile from Haiti. It is set against the backdrop of the Duvalier dictatorship in Haiti, and the increasing tensions that existed in Miami during this period. Hundreds of Haitians were risking their lives to escape the brutality of the dictatorship, only to be imprisoned under inhumane conditions in detention centers. Meanwhile, immigrants from other countries seemed to be welcomed with open arms. This was also when the A.I.D.S. epidemic sky rocketed in America. There was still not much information and research and the C.D.C. at one point declared it a Haitian disease. The protagonist in the play is a teenage girl ashamed of her heritage and we follow her journey into acceptance and pride. I am currently developing this play in the New Perspectives Theatre’s Women’s Work Lab.

I am also honored to be working on a screen adaptation of Edwidge Danticat’s “Caroline’s Wedding”. It’s a feature length film produced and directed by Easmanie Michel.

Finally, I’ve just submitted a proposal for a commission from the Alfred P. Sloan grant to write a stage play based on Jean Dominique.

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

A: I don’t know that I could pinpoint one defining moment. I do know, however, that when I was growing up there was a lot of discrimination in Miami and the Haitian community was the target of a great deal of negative stereotyping and even aggression. Many Haitian-American kids tried to hide who they were out of fear and shame. I regret to confess that I was one of them. But as I got older, and more informed, I started to appreciate my culture. I began to understand the historical reference point for the aggression. My turning point came when I wrote my first full length play in college. Silence of the Mambo was about a family living in Haiti on the night the Duvalier dictatorship was overthrown. I did extensive research writing this play; studying not only Haitian politics, but history, dance, music, spirituality- all things Haitian. I was fascinated and for the first time I felt an indestructible pride in who I was. It was then that I decided that I would write plays that would celebrate and elevate my culture, and educate others about Haiti’s rich history, legacy, and people.

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

A: More accessible/less elitist.

Q: Who are or were your theatrical heroes?

A: Anton Chekov, August Wilson, Lorraine Hansberry, Christopher Durang, and Lorca (just to name a few, but I have many). And, of course, my beloved mentor Milan Stitt.

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

A: Write, write, write. Write everyday, without fail, and make sure you write when you are at your best. Give the best of yourself to your writing.

Q: Plugs, please:

A: The Talk opens on Jan. 19 as part of The Fire This Time Festival

Caroline’s Wedding, my screenplay adaptation begins shooting in 2012

A staged reading of Boat People will take place in 2012 at New Perspectives Theatre

I Interview Artistic Directors Part 5: Marty Stanberry

Marty Stanberry

Hometown: Charleston, IL

Current Town: St. Louis, MO

Q:  Tell me about HotCity Theatre.

A:  HotCity Theatre was created from the merger of two small Equity Theatre Companies in 2005; HotHouse Theatre Company which was founded in 1997 and City Theatre which had its roots in a long-time community theatre which became professional in 2002. The company is dedicated to the development of new works as well as producing at least one modern classic per season. Plays must have an “edgy” quality to them in theme and/or subject matter.

Q:  How do you create your season?

A:  The season consists of 4 mainstage productions – one is “usually” a modern classic with some “name” recognition; one is a premiere of a script chosen from our “New Play Festival” the prior season and the other two are “usually” new plays straight from Broadway/Off-Broadway or Regional (such as The Humana Festival of New Plays). Our main theatre is a “less than 100 seat blackbox” so criteria includes size of cast (and cast-ability within the St. Louis artistic community) and technical requirements.

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

A:  I grew up in a small university town in Central Illinois. I was a child during the Vietnam Was era in the late 60’s/early 70’s and I remember all the cultural clashes going on in our country and on the local university campus. I had an Aunt who was very much into the arts and she would take me (along with siblings and cousins) to many of the university productions – one in particular was a version of Cinderella where somehow the production team had created a bubble around Cinderella during her transformation(s) – I remember being awestruck as a 6 year old, wanting to live in that magical world – a world that seemed more real to me than the one I was witnessing outside the theatre!

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

A:  This is a “domino” issue: More importance on the art of theatre as a cultural element which would come from our education system and government support as it is in Britain and Canada.

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

A:  A larger venue. We were formerly in a large blackbox (200+audience capacity). The smaller venue has limited our play selection choices and design options.

Q:  What kind of theater excites you?

A:  Plays with action (drama is happening rather than discussed); Plays that challenge social mores, Plays that stimulate conversation and foster multiple points-of-view.

Q:  What do you aspire to in your work?

A:  To emotionally and/or intellectually affect our audiences.

Q:  Has your practice changed in the last ten years? Do you see changes in technology and culture changing how you work in the next ten years?

A:  Yes, we are much more focused on new works which has willingly forced us to keep on top of technological and cultural changes as they happen. We recently received a grant from PNC Bank to develop a new script where social media is the topic. Luckily we have a plethora of local university staff and resources to borrow/rent from.

Q:  What advice do you have for theater artists wishing to work at your theater?

A:  Visibility! All production personnel are paid, including box office and running crew and NO ONE is turned away who wants to volunteer for on-going or special event planning/running. Rarely is someone hired based on resume alone.

I Interview Artistic Directors Part 4: Russ Tutterow

Russ Tutterow

Hometown: Straughn, Indiana

Current Town: Chicago

Q:  Tell me about Chicago Dramatists.

A:  Chicago Dramatists is a producing theatre and playwrights' workshop. We work with hundreds of playwrights every year, almost all from the Chicago area. Most of our work is done with our member playwrights. We have two playwright memberships: Residency (for accomplished playwrights) and The Playwrights Network (which any playwright can join at any time). We conduct a great variety of year-round programs to develop their plays and nurture their growth and careers: productions, workshops, private readings, classes, talent coordination, career guidance, panels, fireside chats with theatre leaders, and a public staged reading in our signature Saturday Series, every Saturday at 2:00.

Q:  How do you create your season?

A:  We choose the strongest plays from all the plays we have in some manner worked on from the last several years.

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

A:  I have been asked if there was a time when I knew I was a director. My usual answer was "in college." But then I realized I was actually 'directing' stories on the playground when I was maybe eight years old. I have always wanted to make things.

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

A:  Lower ticket prices.

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

A:  Higher salaries and fees for everyone.

Q:  What kind of theater excites you?

A;  Theatre that is full of suspense and surprise.

Q:  What do you aspire to in your work?

A:  Perfection.

Q:  Has your practice changed in the last ten years?

A:  Yes. Because of computers and the Internet.

Q:  Do you see changes in technology and culture changing how you work in the next ten years?

A:  Yes. But I have no idea what to expect.

Q:  What advice do you have for theater artists wishing to work at your theater?

A:  Come here. Attend our readings and productions. Introduce yourselves.

I Interview Playwrights Part 411: Kirsten Childs

Kirsten Childs

Hometown: Los Angeles, California

Current Town: New York, New York

Q:  What are you working on now?

A:  Right now, at this very moment? A musical exploration of the African-American experience in the Wild West.

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

A:  Wilmington, North Carolina. Summertime. Visiting my grandparents. Happy as a clam, spinning around on the dirt road out in front of their house, singing a paean to the sun and sand and sky – the opening number to a nascent musical. Interrupted mid-spin and mid-song by the realization that my aunt was peeking out from the porch, watching me. Mortified, running to hide behind a vine gnarled fence.

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

A:  Its accessibility.

Q:  Who are or were your theatrical heroes?

A:  Edward Albee, Michael Bennett, Jerry Bock and Sheldon Harnick, Anton Chekhov, Will Marion Cook and Bob Cole, Bob Fosse, Pamela Gien, Micki Grant, Lorraine Hansberry, John Jesurun, Cherry Jones, Sarah Jones, Ben Katchor and Mark Mulcahy, La Chanze, Frank Langella, James Lapine, Arthur Laurents, Robert Lee and Leon Ko, Audra MacDonald, Moliere, Lynn Nottage, Mandy Patinkin, Bernadette Peters, Gerome Ragni, James Rado and Galt MacDermot, Chita Rivera, William Shakespeare, Diana Son, Stephen Sondheim, Joe Stein, Stew, Peter Stone, Nilaja Sun, Ivan Turgenev, Gwen Verdon, August Wilson, George C. Wolfe.

Q:  What kind of theater excites you?

A:  Theater with music, dance, story. Theater that is not ashamed to be theatrical.

Q:  What advice do you have for playwrights, composers or lyricists just starting out?

A:  Keep writing.

Q:  Plugs, please:

A:  Very excited to be working on a project with Lynn Nottage and Steve Cosson (The Civilians)