http://www.dramatists.com/text/newplays.html

I may never again see my name next to John Patrick
Shanley or David Ives. Sorry if that's annoying I
keep bringing it up. I'm just so fucking psyched.

where it's at--right here bizatch

I am of late hugely optimistic about what's going on
in theatre. I've seen some great plays lately by
Julia Cho, Anne Washburn, Adam Bock, Mike Batistick.
I've heard some great plays in class, at Ars Nova, in
my writing group. I read a book of awesome plays by
Sarah Ruhl recently and am very excited by what my
friends are writing and the energy in general at the
moment around new theatre.

and tonight and Sat there is this:

SIX FIGURES THEATRE COMPANY'S ARTISTS OF TOMORROW
FESTIVAL presents

ALL THE GIRLS LOVE BOBBY KENNEDY

by Kristen Palmer
directed by Sarah Cameron Sunde

In the spring of 1968 Gracie dreams of Bobby and he
dreams back to
her. A play about young love, idealism and Robert F.
Kennedy.

with
Deborah Knox*
Marielle Heller*
Travis York*

Presented as a Staged Reading with Sound

Thursday, November 16, 7:30pm
Saturday, November 18, 8:00pm

Festival Tickets, $15
smarttix.com

Equity Actors free with AEA Card.

The West End Theatre
Located upstairs in the Church of St. Paul and St.
Andrew
263 West 86th St. between Broadway and West End Ave.

accessible via the 1 train at 86th St.

Handicap accessible.

scales of living

I'm having trouble balancing the novel writing and the play writing and my playgoing and my life in general. What i want to do is write a play and a novel at the same time and also go to plays regularly. This is not easy. If I could only take the day job out of the equation--but perhaps you've heard this theme from me before. it would be nice to have an extra hour int he day. if i coud have one hour dedicated to the novel and one to whichever play i'm writing, that might work out ok. I have to figure this out.

Take Back the Criticism From the Man

Other bloggers pot about the Internationalist:

http://www.nytheatre.com/nytheatre/inte3817.htm
http://parabasis.typepad.com/blog/2006/11/happy_internati.html
http://obscenejester.typepad.com/home/2006/11/in_praise_of_de.html
http://jasongrote.blogspot.com/2006/11/tough-crowd-or-tale-of-two-audiences.html
http://www.ghunka.com/index.cgi/2006/11/15#internat
http://playgoer.blogspot.com/2006/11/reviews-thugs-internationalist.html

The Internationalist

Ok, so i've never really written a review on my blog
before but here is the first in what might be more
than one blog review.

I saw the Internationalist at the Vineyard. If you
have never seen this play, you should go see it. This
is actually the third time I saw it. (I saw the 13p
production in New York and then I saw it when it went
to CT as well.) i have to say I had a renewed respect
for this play and for Anne Washburn. I really enjoyed
it the last couple of times but usually if you see
something more than once, you can start to see the
holes. This play stands up to scrutiny and more than
that, is just as entertaining and thought provoking
the third time around.

As for the production, the set was outstanding, the
lights kept the magic the play needs. In fact
visually this incarnation is more magical than the
previous ones. it was a different experience seeing
it with a mostly older cast. They were also more
grounded which at times i liked and at times I didn't.
i had the odd sensation of watching Liam Craig play
the parts Travis York had played in a near identical
way although Craig is older and like the other actors,
the dial was turned down. Sometimes I wish Schmoll
had turned the dial up a bit more. Gibson Frazier was
the only actor that made it over on the transfer to
the Vineyard stage. He was excellent then and he is
excellent here too. Zak Orth who takes on the main
character, is likable, fumbling. It took me a while
to warm up to him in this part but his performance was
ultimately satisfying and the notes he hit were right
within the score of the overall show Schmoll created.

The problem with this show, and it is a problem, is
that Heid Schreck is sorely missed. Now, Heidi is a
friend of mine I should probably say. That said, she
brought an energy to this play in the first two
incarnations that could have made this production
transcendent. Annie Parisse, try as she might, is
just not able to fill these shoes. I don't know that
I can even put it into words exactly what Heidi
brought to the part that Annie didn't. I want to say
that Annie is not a character actor and when she put
on a wig to play an old woman it didn't work. But
that's just a small part of it. An Annie is a capable
actress but her storyline fell back a little for me
wheras Heidi brought it forward which is more what i
think the play needs.

That said, if you have not seen this play go see it.
The Vineyard made a good choice when they programmed
Anne's play.

Thank you Callaghan!!!!!!

my website is finally updated

http://www.adamszymkowicz.com/

new scripts, new photos, newest resume

good times.

a scene

here is a scene from my new play. first draft as
always. this time it's in response to the joshua
james challenge.

http://playwrightjoshuajames.com/dailydojo/?p=225

(In the desert, JONES and SARAH)

JONES
I've been wanting to talk to you?

SARAH
Oh?

JONES
Yeah.

SARAH
What about?

JONES
I've seen you looking at me.

SARAH
What do you mean?

JONES
You know what I mean.

SARAH
What do you mean?

JONES
It's OK. You don't have to pretend. I know how you
feel and I dig it.

SARAH
You dig it?

JONES
Yeah, because I have a soft spot for you. This kind
of thing happens to me over and over in my life.
People fall in love with me. I'm used to it. It's
become a bit of a theme for me. Although it never has
worked out. Sometimes it will work out for a while
but in the end, it never works out because when it
comes down to it, I never feel the same way about them
as they feel about me. Which is how this is different
though. Because I have strong feelings for you.

SARAH
You do?

JONES
I want you to know however strongly you feel about me,
I feel just as strongly about you, or almost as
strongly in any case. It's the way you laugh… more
than anything it's that. The way you laugh, I feel
that all inside me. And I just know. I'm not really
sure why. It's the volume of your laugh maybe or the
snide thing you say before it that adds to it. The
way your face crinkles up. I'm not sure what exactly
but it grabs me by the throat and squeezes everything
out of me. You could kill with that laugh.

SARAH
Thanks.

JONES
Yeah, so I just though you should know. You don't
have to hide the way you feel. Because I feel that
way too and maybe from now on we could find more ways
to spend time together alone like this getting to know
each other better.

SARAH
Yeah, see . . .

JONES
You don't have to say anything. I can see it in your
eyes.

SARAH
I think I should say something though.

JONES
You don't have to though. Don't say a word. Just
close your eyes.

SARAH
Um.

(JONES kisses SARAH)

SARAH
Oh.

JONES
You can do better than that. Let's try that again.

(JONES leans in and SARAH pushes him away.)

SARAH
I don't think so.

JONES
What? Too much tongue?

SARAH
No. Yes. The thing is that I don't really feel that
way about you.

JONES
You don't have to pretend.

SARAH
I'm not pretending. It's just that you're not really
like the kind of guy I usually date.

JONES
Well I am one of a kind.

SARAH
That's not what I mean.

JONES
You aren't serious that you're not into me.

SARAH
There's someone else I have feelings for.

JONES
What, like back home? Because back home is far far
away.

SARAH
Here.

JONES
But I'm the only man around any woman could seriously
consider.

SARAH
Except Hank.

JONES
Yeah but . . .

SARAH
And I'm sorry it won't work out for us but I have to
say I am impressed with your confidence. It's
inspiring. In fact, I think I should follow your
example.

JONES
Yeah but—

SARAH
I've waited long enough. I need to tell him how I
feel. Don't you think?

JONES
Yeah, but he's gay.

SARAH
No, he's not. Hank?

JONES
Oh, come on, you seriously don't know that he's gay?

SARAH
But gays aren't allowed in the military.

JONES
Sarah, seriously. You don't know that he's gay?

SARAH
I know the way he looks at me.

JONES
I know the way he looks at me.

SARAH
You're wrong.

JONES
OK.

SARAH
You just see. He's going to marry me and then you'll
see.

JONES
Oh, like that will prove it.

SARAH
You'll see. I will tell him how I feel about him and
then he and I . . .

JONES
Listen, the only way either of us is going to have any
sex is if we're fucking each other.

SARAH
I'm going to go find Hank.

JONES
If you're honest with yourself, really honest, I think
you'll find that you're really into me.

SARAH
I don't feel that way about you.

JONES
Really?

SARAH
I just don't.

JONES
I think you do.

SARAH
(Exiting)
No.

JONES
(Following her out)
Oh, come on. Really? Well, we can still have sex.
Hey, Sarah, we can still have sex! Come on!

plays written

>From time to time i like to write down all the plays
I've written. I feell like I may have forgotten one
but for the life of me i can't remember what it is or
when I wrote it.

i started writing plays sometime in college. i think
it's safe to assume I've been writing plays for about
10 years now, 7 or 8 of them seriously. i guess i
average somewhere in the realm of 2 full lengths a
year although there are years with only one and last
year there were 3. Here is my list.

Long Plays

1. The Backstage Camel
2. Hotel West
3. Deflowering Waldo
4. Cats and Dogs
5. The Relationship Game
6. Someone I Don't Know
7. Open Minds
8. The Art Machine
9. Anne
10. Nerve
11. Pretty Theft
12. One Wednesday at West Haddam High
13. Food For Fish
14. Herbie: Poet of the Wild West
15. Incendiary
16. Bee Eater
17. Never Again

Plus 6 one acts, 25 or 30 short plays, 1 screenplay
and another co-written screenplay. Not to mention the
reams of started and discarded plays.

Some people think i write a lot. It feels to me
always that I'm not writing fast enough.

godot

got this from Mike Daisey's site.

for the Godot fans.

http://www.thestranger.com/seattle/Content?oid=97961