I Interview Playwrights Part 571: Katherine DiSavino

Katy DiSavino

Hometown:  Lancaster, PA – although my mother always told me I should tell everyone I’m a “child of the world.” This makes me sound a little crazy, but at least people don’t ask me if I’m Amish when I tell them this. They just back away slowly.

Current Town:  Brooklyn, NY

Q:  Tell me about Things My Mother Taught Me.

A:  It’s a romantic comedy about a young, unmarried couple moving into their first apartment together. One of the producers of the premiere called it a modern “Barefoot in the Park” which I found really fitting and flattering. It takes a generational look at relationships, the expectations we all have, and the lessons we learned from the people who raised us (even if we didn’t realize they were teaching us anything). And besides all the touchy-feely stuff there’s furniture stuck in doors, stolen property, a delightful superintendent and two very drunk dads at one point. It’s a piece that’s close to my heart because it’s about me, my boyfriend and our families. It’s my love poem to him (and to all of them) and I was so excruciatingly nervous the first time they all saw it because, obviously, a lot of humor comes from these unflattering moments the characters find themselves in – but they all loved it and are still talking to me, and as far as I know I haven’t been written out of any wills!

Q:  What else are you working on?

A:  My partner and I are working on a new holiday comedy called “Seasonal Allergies” – it’s premiering at The Rainbow Dinner Theatre in November 2013. It’s all about the holidays, relationships, and what happens when a friend in need overstays his welcome during this joyous (and extremely stressful) time of year. I’d tell you more, but we’re honestly just diving into the piece. I’m pretty sure there won’t be any live animals or car chases or anything like that, but it’s really too early to tell.

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 parents own and run a theatre in Pennsylvania, so I quite literally grew up in the theatre. Some of my earliest memories involve sneaking into the ladies dressing room in the middle of a show (when all of the women were on stage) and just raiding their makeup kits like a pill addict set loose in a pharmacy. They’d come back after curtain call and I’d be wearing their clothes, and teasing my hair and my face would look like a cross between Bobo the Clown and Renee, your local hooker with a heart of gold. As I got older, I started finding ways to make secret hide-away spots behind the sets. Any play that required a staircase was, like, a god-send. I’d pull every spare blanket and pillow I could find from our props storage and pack it into the space underneath the stairs and would spend the entire show just hiding in there, listening to the actors clomp around me, and the audience laugh, and thinking that I was the luckiest kid in the world. And you know – looking back? I still think I was. A weird kid, but a really lucky one.

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

A:  I’m almost afraid to broach this because I don’t want to sound as if I’m speaking as an authority of any kind, but in my personal experience, I’ve come across a number of people who look down on comedies and comedy writers. I’ve gotten the sense that many people think that comedy is easy to perform, easy to write – a lesser art, if you will. I grew up around comedies. My parents run a theatre that only produces comedies. I’ve spent many of my formative years watching my father and mother get into fights because he stepped on her punch-line, or she didn’t give the right cadence on the set-up.

I especially feel that farces get the shortest end of this stick because it’s so easy to be distracted by the physical comedy and the rapid fire pace – but, structurally, farces are actually some of the most complex theatrical pieces around. There’s the timing, there’s the sheer physical requirements to pull off a farce and there’s a level of acting required – because, let’s face it – a farce is ridiculous. But the characters in a farce need to believe – they need to think that whatever is happening to them is life and death – because that’s where the humor comes from. In BOEING-BOEING, Bernard has managed to have three flight attendant fiancés for years that never knew about each other, until one day they all show up at his apartment and he has to keep them separated. This sound ludicrous, but Bernard (bless his heart) LOVES them, and they CANNOT find out about each other because it would be HORRIBLE – and the more Bernard sells his desire that these three women never cross paths, the funnier all of the antics surrounding stopping that inevitable moment becomes.

I guess what I’m trying to say is that making a room full of strangers laugh at the same thing is not easy. Think of how different people’s senses of humor can be. Rousing an audience to laugh out loud requires an understanding of the commonalities we all share as humans, and utilizing that to get to your joke. If there’s one thing I could change about theater, it would be this perception that comedy is easy. I think Charlie Chaplin said it best, “Anyone can make them cry. It takes a genius to make them laugh.”

Q:  Who are or were your theatrical heroes?

A:  I’ll stick to playwrights here because if I start naming actors we’ll be here for days, so to start: Neil Simon. Oh my goodness I love Neil Simon. I think if I ever had the chance to meet him in person I’d fall over myself. The way he approaches comedy – that sadness and bitterness that runs underneath “Barefoot” and “The Odd Couple” – it’s something audiences from any generation can relate to. We all get that. And of course Sarah Ruhl is a hero of mine – it’s so easy to say you fall in love with someone’s writing – their dialogue or characters for example – but I fell in love with her stage directions and the way she approaches her vision of a play and communicates that to her readers. Her readers, mind you – not her audience – they don’t see those beautiful words on the page – they feel them through the performance. Amy Herzog would be another one, and Ray Cooney – and Billy Van Zandt and Jane Milmore (that’s the side of me that worships farces). And my parents, who introduced me to all of these writers (in text form, not in person. They aren’t thatcool).

Q:  What kind of theater excites you?

A:  This is so corny – honestly? All theatre excites me. Sitting in an audience, waiting for a play to begin, knowing that what’s going to happen will unfold LIVE right before your eyes? That sense of the unknown – of the potential. Incredible. Theatre that KEEPS me excited tends to surprise me over and over again – comedies, dramas, musicals – the genre never matters. I don’t need to be punched in the gut, or laughing so hard I’m in the aisles – I just love when I don’t know what’s around the next bend.

Specific pieces of theatre that have recently excited me in NYC? HANDS ON A HARDBODY, HEARTS LIKE FISTS, EL AMOR EN LOS TIEMPOS DE COLERA and (these are from a while ago but I STILL obsess over them) THE BEREAVED, TIGERS BE STILL and SHE KILLS MONSTERS. Just to name a few!

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

A:  Write. Write an hour every day. Does your day job make you tired? Tough. Drink an espresso on your way home from work and write for an hour before dinner. Or after dinner. Or when you wake up in the morning. Or on your lunch break. It’s not a punishment – it’s a favor. It’s a gift that you’re giving yourself – time to be alone with your characters and to tune out the world and just write.

Q:  Plugs, please:

A:  You can check out the Facebook page for my first play, NANA’S NAUGHTY KNICKERS here: http://www.facebook.com/nanasknickers, and if you’re ever in Pennsylvania, you should totally see a show at my Mom and Dad’s theatre, Rainbow Dinner Theatre (the only all-comedy dinner theatre in the US!): http://rainbowdinnertheatre.com/

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I Interview Playwrights Part 570: William S. Yellow Robe, Jr.

William S. Yellow Robe, Jr.

Hometown:  I was born and raised on the Fort Peck Indian reservation located in northeastern Montana. The reservation is often referred to as Assiniboine and Sioux. I’m enrolled as a member of the Assiniboine Tribe. We were the last to sign the Fort Peck Treaty. People will often say how they have never heard of my Tribe, which is fine, because we’ve probably never heard of you. I lived in a small township called Wolf Point. It has a duality of how it was named. I actually mention it in the first play I wrote called, “Sneaky”.

Current Town:  Presently, I live in the home town of the great playwright, Eugene O’Neill, New London, CT. It is a small city. Small in populations but facing the problems of a big city.

Q:  Tell me about Wood Bones.

A:  “Wood Bones” is not your typical haunted house story. In fact, it isn’t about a haunted house. It is about a form of energy that humans have created over the years inhabiting this one space. It is sort of what is left behind. This energy starts to manifest and becomes conscience. Sort of similar to like a  computer become self-aware of itself, a form of artificial intelligence but in this instance an organic intelligence is created. The problem in writing the play was to present a collection of characters that didn’t judge themselves, or the audience would be able to be quick to judge. It is a multi-cultural cast because like America, we are diverse. It is the Native American Tribal communities that bear the weight of these various communities, as does the house energy/spirit character, 121, does in the play.

Q:  What else are you working on?

A:  I’m working on doing a series of rewrites on several one act plays and some poetry. I’ve been wanting to do a collection of poems in an e-book form. I hope to have it done soon. I’ve also just published a short fiction story, Miracle of 12-12-12, that appears in anthology dedicated to the late Native Scholar, Vine Deloria, Jr.

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 late mother was what people refer to as an ‘elder’. She spoke with fluency the language of our people, practiced the culture, and nurtured the community and environment, but she would never claim the title, or status of being an ‘elder’. She was very humble. I don’t claim any title. I follow her ways in that I try to be a good listener and observer, as she was. This has been a gift to my skills as a playwright. There are so many people to thank in influencing my development. There are so many relatives and friends that made contributions, what an honor it is to say that to recognize them.

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

A;  The biggest issue at the present time is acknowledging American Theater is an art form of privilege. The resources are still limited to a certain group, or groups of people. When is the last time you were in a major city and pointed to the theater that hosts the Native American Theater company? When was the last Broadway play written by a Native American produced? When was the last time you saw a Tony Award being presented to a Native American. In a local reality, when was the last time you saw a Native Tribal play, written by a Native Tribal person, featuring a Native Tribal cast produced? There aren’t that many. In another reality, how many non-Native Tribal people have taken from Native American cultures, spiritualities, and used these exploited elements in their plays, or productions? There are one or three productions a year being done by Native Tribal people themselves and to those folks I am very proud of them and admire their efforts. They give me a strong sense of hope for a better future for all of us.

The other element being introduced and rearing its face in a lot of large theater companies is an element borrowed by the Hollywood cousin. They are now determining what is Native, what a Native looks like, what a Native play should be like, what themes are found in Native plays, all this without any experience working or being involved with a Native community. In other words they have brought the “Poses With Hair” make believe Indian onto the American Stage which is a dangerous precedent.

I don’t speak for all Native Tribal theater artists. These are my observations and there is room for disagreement. The major factor and final one is; communities. You have to acknowledge and respect the communities which are the catalyst for this wonderful work and yes, it is American, not ethnic or minority. Native Tribal theater is Indigenous, we are not ethnic. American Theaters must begin to respect and develop better relationships with the communities that make up their environment.

Q:  Who are or were your theatrical heroes?

A:  My influences have been diverse. I think the first professional play I saw was a production of O’Neill’s “Moon for the Misbegotten”. It was done by the Montana Repertory Theater. August Wilson’s work has made a major impact on my life. David Henry Hwang’s “FOB and Other Plays”, Philip K.G.s’, “Yankee Dawg You Die,” Jose Rivera’s “The Promise,” Hanay Geiogamah’s “49” and other plays. So many incredible playwrights and plays and theater artists like Lou Bellamy, Hanay Geiogamah, Roberta Uno, the late John Kaufman, Bruce Miller.

Q:  What kind of theater excites you?

A:  Original works are always exciting. New voices means new perceptions. Theater is a means to see the heart of a community. New plays and productions allow people to see something fresh and new.

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

A:  For any new playwright just staring out I think the most important step is to start developing a community. A play, unlike published poetry or other forms of literature, needs a community to survive. Start making friends with actors, directors, technical directors, stage managers, literary people. You play will start to help in creating that community.

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Episode 7 of Compulsive Love

Episode 7 of Compulsive Love is here!  Watch it and previous episodes on Koldcast or Blip or Daily Motion or Boomtrain or Youtube or JTS.

Embedded #7

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I Interview Playwrights Part 569: Myra Slotnick

Myra Slotnick

Hometown: Winthrop, MA.

Current Town: Provincetown, MA.

Q:  Tell me about The Weight of Water.

A:  The story takes place nine days after Hurricane Katrina, in the destroyed home of a woman by the name of Pearl Haynes, where two rescue workers try to remove her from the only home she has ever known for over forty years. As they come to realize, however, Pearl is the real force to be reckoned with here, and it just might end up being these two lost souls in need of rescuing. I wrote The Weight of Water as a very human impulse, to the visceral response that I had in seeing, witnessing, a class of people marginalizedand disregarded...or rather, discarded. I thought to myself, "this is the year 2005! What is happening here?! Why doesn't anybody go and help those poor people! They are dying!...dying. I could not reconcile what I saw happening, so I needed to express this in the only way I knew how. As it turns out, the characters had a thing or two to say about the story-line and tone of the play and, based on their many inadequacies, it is even pretty funny in places. Katrina is the backdrop of this play, but the story is quite character-driven, quite personal.

Q:  What else are you working on?

A: If I tell you, I'll have to kill you:) I tend not to talk about my current works in progress, as I feel it diffuses the creative energy around it. I will say that it is set in Provincetown, in 1953.

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

A:  I was a very antisocial child who would rather hang out and play with a pack of wild neighborhood dogs, than humans.

Q:  Who are or were your theatrical heroes?

A:  It would be impossible, living in Provincetown, to not feel beholden to, or influenced by, Eugene O'Neill and Tennessee Williams. Arthur Miller, also. But the truth of heroes, to me, lies in the actor. Nothing inspires me more than great acting and, I could not tell you how this is done, exactly...only that when I experience someone great, I know it...I am transported, I am changed...I now understand something that I, previously, did not. And change is what great theatre is all about.

Q:  What kind of theater excites you?

A:  This is going to be a boring answer, but I love all kinds of theatre....musicals, plays, short one-acts, readings, improv. classics...you name it. If it is written well and executed well, there is almost no experience that theatre will allow that is not inspiring in some way.

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

A:  READ. Read lots of plays and books on the subject, also novels, poetry, anything you can get your hands on that inspires you. Write every day at the same time of day, no matter if it is even an hour, ...after a while, your subconscious will yearn for it and be ready. And pray. Pray that your characters tell you something that you don't already know. And let them write the play.

Q:  Plugs, please:

A:  I prefer the three-pronged.


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I Interview Playwrights Part 568: Clare Barron

Clare Barron

Hometown: Wenatchee, WA

Current Town: Brooklyn, NY

Q:  Tell me about your Summerworks show.

A:  BABY SCREAMS MIRACLE is a play about a freak windstorm that blows down all the trees in a small town in eastern Washington state. I started writing the play for Clubbed Thumb’s Biennial Commission contest. We were supposed to incorporate all these different ingredients into a 10-page sample. I can’t remember everything but some of the ingredients that inspired this play were: the PBS documentary “Unforgettable Elephants,” Joan Baez’s “Tears of Rage,” the character of the Matriarch, a man in uniform, and body parts that don’t work right. I also wanted to write a play about religious people who use prayer to deal with their emotional/existential/relationship problems, so there’s a bunch of prayer in there too. I’m so excited to have Portia Krieger directing! And Maria Striar and Clubbed Thumb are gifts from God.

Q:  What else are you working on?

A:  I’m acting in a piece about Mars and Russian cosmonauts and video games spearheaded by the awesome Ben Vershbow. I just got back from Beirut where I was working on an Arabic-English production of Maria Irene Fornes’ MUD with a theater company called Masrah Ensemble, and we’re looking for new homes for the production outside of Lebanon. Sometime between June 2nd and June 22nd I’ll be frantically writing a new full-length play and having a Bloodworks reading for Youngblood. I have no idea what it’ll be about but I think it might involve ballet…

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

A:  It was the last day of 7th grade, and a group of girls and I wanted to hold a mud wrestling competition to celebrate. We didn’t have any mud so we each whipped up a big batch of chocolate pudding and carted it over to Jennifer’s house in tupperwares and dumped it in this little kiddie swimming pool. I forgot my swimming suit and so I had to borrow one of Jennifer’s. Jennifer was athletic and golden brown and wore bikinis that were much higher cut than my sad, floral tankini so my pubic hair was tufting out all over the place. Everyone wrestled. It was super fun and I kept falling down and it was hot and the pudding was beginning to stink. A car circled past Jennifer’s yard once. Then it circled again and stopped. The man inside rolled down the window. "What is that?" he asked. I sauntered over to the car – covered head-to-toe in brown goo and so, so proud – and told him it was pudding. He looked at me and then he reached his arm out the car window and said, "Come closer. I wanna touch it." There was a moment and then we were all screaming and shrieking and the whole pack of 12 girls was sprinting down the middle of the road covered in brown goo. I remember pushing my way to the front of the pack and my legs felt so strong and the asphalt was so hot against the bottom of my feet and I was filled with total terror and total glee. Running away from Pudding Man was one of the shining moments of my adolescence. I don’t think I’d ever felt that powerful.

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

A:  More neighborhood and community theater! I think it’d be cool if neighborhoods and small towns did plays by local writers. I also think it’d be cool if people did theater just for fun like when kids put on shows for the neighbors but with grown-ups.

Q:  Who are or were your theatrical heroes?

A:  I’ve learned a ton from Deb Margolin, David Herskovits, and Annie Baker. I think they’re three of the most singular, daring and smart theater makers out there.

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

A:  Here’s some advice that’s helped me: write whatever you want, write from desire and don’t be afraid of writing stupid. Love yourself and show love to everyone else. Support other artists. Find people and read your work out loud. Find people you love to work with – this is the most important and meaningful thing.

Q:  Plugs, please:

A: Come to Summerworks! clubbedthumb.org

BABY SCREAMS MIRACLE
by Clare Barron
directed by Portia Krieger
May 24 - June 2

PHOEBE IN WINTER
by Jen Silverman
directed by Mike Donahue
June 7 - 16

LA BREA
by Gregory S. Moss
directed by Adam Greenfield
June 20 - 29

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Come to the Youngblood Brunch this Sunday! And come to Bloodworks this May & June! ensemblestudiotheatre.org
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And this Thursday I’ll be reading scenes from Syrian playwright Mohammad Al Attar’s recent play COULD YOU PLEASE LOOK INTO THE CAMERA? as part of Masrah Ensemble’s Doomed By Hope Theatre Series. It’s at The Hagop Kevorkian Center for Near Eastern Studies at NYU at 5PM. masrahensemble.org

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Episode 6 of Compulsive Love

Episode 6 of Compulsive Love is here!  Watch it and previous episodes on Koldcast or Blip or Daily Motion or Boomtrain or Youtube or JTS.

Embedded #6:

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I Interview Playwrights Part 567: Jona Tarlin

Jona Tarlin

Hometown: Palo Alto, CA

Current Town: New York City

Q:  What are you working on now?

A:  A play called Black Dicks. It’s about a 15-year-old girl, Erin, who finds her dad’s very large collection of interracial cuckolding porn. She corners her neighbor, Vivienne, after ballet practice to get a second opinion on whether her father is racist. Vivienne suggests she create a fake boyfriend named Dante who plays on the basketball team and see what her father says.

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

A:  In 5th grade my teacher asked a group of student volunteers to help write a play about the Revolutionary War. I don’t remember if we divvied up scenes from an outline or we just wrote whatever but I wrote a scene about a sewing circle gossiping while blood from the war splashed against the window behind them.

I have always had twisted sense of humor and a love of stage blood.

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

A:  Beyond lowering tickets prices and livable wages for artists, I would say no more plays that hinge on a large secret coming out. I think it’s lazy storytelling and ultimately much less satisfying than building solid characters that deal with circumstances in the present with the audience.

Q:  Who are or were your theatrical heroes?

A:  My first hero was Michael Litfin who directed and wrote most of the productions at the Palo Alto Children’s Theater. He cast me in my first play and was my introduction to theater. He showed me that playwrights were living breathing people and not just names on scripts.

The playwrights who are heroic to me are Tony Kushner, Edward Albee, Eric Overmyer, Gina Gianfriddo, Robert O’Hara, Sam Hunter, Annie Baker, and The Debate Society.

My writing is also influenced by the work of William Gibson, Penn and Teller, John Darnielle, Woody Allen, Quentin Tarantino, Paul Verhoeven, Bill Waterson, Jim Henson, Trey Parker and Matt Stone.

Q:  What kind of theater excites you?

A:  I am excited by anything dark and funny with a distinct voice. Plays with rich characters struggling with extreme situations in a realistic fashion. Plays where a character can behave horribly and I will still love them.

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

A:  Celebrate when you finish a draft. You accomplished a huge, awesome thing and it’s easy to lose sight of that. After you celebrate, take some time away so the play is fresh again when you’re ready to start rewriting.

Work with the smartest actors you can. They’re gonna fight for their characters and force you to think about your play differently.

Q:  Plugs, please:

A:  I have a reading of my play In Antarctica, Where It Is Very Warm coming up in May with Blowout Theater Company. You can find out more information about that and any of my other plays at jonatarlin.wordpress.com

 
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I Interview Playwrights Part 566: Jill Campbell

Jill Campbell

Hometown: Massapequa, NY

Current Town: Stuvesant Town, New York, NY

Q:  Tell me about your play at LaMaMa.

A:  It's about a mid career conceptual artist who is nominated for this huge grant, but there's a catch - she must create a new work in order to collect. When she's out celebrating with her best friend, ex-boyfriend and mentor, instead of being happy for her, they all seem to want a piece of her success which prompts her to question what success really means to her and to others. As she begins to work on her piece, these “friends” invade her process until she is totally stifled. She gets over this by a decision to put each of them in her work, turning the tables and flipping the play in on itself.

We're creating the actual art onstage with some cool designers and a video artist. I always imagined this as a collaborative piece and left a lot of room for my collaborators and director George Ferencz's magic. There's also an intense scene at MoMA that might get me banned from there and a hipster boy toy who creates beer bong video art. Nothing about this play is safe, so it is making me really nervous but hopefully in a good way.

Q:  What else are you working on?

A:  I've been collaborating on a play called r u nobody 2 ? with playwrights Marya Cohn, Andrea Lepcio and Kim Merrill and directors Allyn Chandler and Elysa Marden for our theatre company, NewShoe. It's about teenage bullying. We workshopped it in the "room" at New Georges last year and after about 3 years of intense collaboration it's ready for production.

I'm also collaborating on a play with a scientist about Crystallography called Bernal's Picasso, and I'm editing a documentary I filmed in London about my playwriting mentor Bernard Kops.

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

A:  Everyone seems to make fun of Long Island, but Massapequa was a very theatrical place to grow up in. Gambino was on one side of the canal and Jerry Seinfeld's family was on the other, so as you were daydreaming about the scary mob shit going down behind the marble facades, Jerry's dad would drive by in an antique car (which I think he collected.) These sightings were the bees knees, because his dad was one of those warm hearted men who loved kids and life and got a kick out of us standing on the corner gawking at him in his eccentric car. Plus I came from a theatrical family, everyone sang show tunes and played piano and loved Streisand, and my favorite activity when I was a kid was to play "house," which I forced my friends to play with me. I was obsessed with rearranging furniture and dreaming up scenes where I was the bad teenager about to runaway. And then there was the beach club where everyone gossiped and they put on The King and I one summer; I was cast in the chorus and had the most exquisite costume, but I got an ear infection on opening night, and my mother sent me home, alone, screaming my head off (I was like 7). I cried and cried alone in my room not because I was scared, but because I was missing the party. My revenge came when I was 11, and I put on a striptease for some neighborhood boys while standing on a Cadillac in one of their garages, until someones dad caught us. Then there was Boces Performing Arts High School which saved me from some bullies at my high school which led to my BFA and theatre, theatre, theatre, until I got so sick of it all that I quit at 25 to become a New Jersey housewife. That lasted for 6 years until I wrote my first play Superbia ... and 15 years later I'm having my NYC debut at La MaMa, so it was all worth it!

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

A:  I would make it less conservative. We've seemed to make this crazy ass flip with TV where Tony Soprano is allowed to shove a woman against a wall in a bar and screw her from behind, but if we try to put that on stage (in a non-exploitative way) it's vulgar. It seems like some people are too afraid to offend their audiences or subscribers, which I think is an insult to the intelligence of those subscribers and audiences who would probably be open to being challenged by cutting edge theatre. I know there are lots of theaters that do do this, but I wish even more would. If what you're doing is authentic, people will want to see it. Which is why so much on HBO is so hot. Can we bring that back to the theatre?

Q:  Who are or were your theatrical heroes?

A:  Ibsen, Caryl Churchill, Sarah Kane, Shepard, Rapp, Guirgis, Shanley and Young Jean Lee.

Q:  What kind of theater excites you?

A:  Challenging, funny, intellectual,risk-taking work that lingers in my mind long after I've left the theater.

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

A:  When you think you're done, you're actually just beginning.

Q:  Plugs, please:

A:  www.chemistryoflove.net , May 2-19 at La MaMa also check out my website www.seagullink.com.




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