chuck mee teaching and how he won't tell you what's right and wrong

http://theoffcenter.com/2008/08/mr-teacher/

nice post from Don about conscience and health care

http://donhall.blogspot.com/2008/08/right-of-conscience.html

question

Ok, so what ever happened to all the talk about voting machines. Has anything been done to prevent McCain from stealing the election in the same way Bush did twice? If you recall, a lot of votes in Ohio weren't counted. And on the electronic machines people would put in one person and it would count for the other person. There was no paper trail and the company who made the machines was owned by a good friend of W. So were any of these problems ever solved. Anyone?

POW in camp with McCain and why he won't vote for him

http://www.military.com/opinion/0,15202,164859_1,00.html

h/t Joshua http://writerjoshuajames.com/dailydojo

from this month's Dramatists magazine

FROM THE FRONT DESK of Gary Garrison In the May 15 E-newsletter, I detailed a trip I’d taken to Seattle that culminated in one of the most open, honest and frank panel discussions I’ve ever witnessed on large, named theatres producing (or not producing, as is often the case) unknown playwrights that live in the very communities these theatres do business in. Just to catch you up to speed, here is the original narrative: The Backyard Syndrome Like a lot of you, I’ve heard about the perpetual and perennial misting rain of Seattle, the we-did-it-first-Starbucks phenomenon and the almost legendary theatre scene that builds an uptown aura with a downtown sensibility. My Guild visit to Seattle this weekend was a tremendous success: yes, there was the steady rain; sure enough, there was enough coffee to float a small country (but isn’t that now true everywhere?). But it was the gorgeous spirit of the theatre community that just knocked my socks off. A dinner with the Seattle Rep Dennis Schebetta combined with a Town Hall meeting with local artists/administrators and passionate Guild members quickly articulated a common concern among a lot of our members: dramatists can’t get produced in their own backyards. I’ve heard this serious concern announced in Atlanta, Houston, Boston, Pittsburgh, Los Angeles and San Diego. Let me be clear: it’s not about just getting produced in your own backyard, it’s about getting produced by one of the named theatres that’s in your own metropolitan neighborhood. What was extraordinary and different (and incredibly positive) about members talking about this issue in Seattle was the almost instant call – by representatives of the three large theatres: The Intiman, A Contemporary Theatre (ACT) and Seattle Rep – for playwrights to stop focusing on something that’s probably not going to happen for a variety of predominantly economic reasons, and instead to channel that passion and energy in to either co-producing (like 13 P in New York or Playwrights 6 in Los Angeles) or self-producing. To hear representatives of the three big theatres in town say in a straight-forward, no-nonsense but kind way: “Look, we love new writers. But we have twelve-hundred seats that we have to fill or we’ll go under. And base-line economics suggest big commercial names of plays and playwrights are going to sell those seats.” They said it. Out loud, even. They said what other theatres won’t or can’t or don’t want to say in a public way for a variety of reasons (that have to do with mission statements and grant writing, I’m sure). There was something liberating, for everyone in the room, in the truth being spoken out loud. More importantly, there was something very empowering in dramatists realizing that if they want their stories told to a local audience, they’d most likely have to figure out for themselves how best to do that. And they should. They should figure it out because every voice should be heard, and every story desperately needs to be told. Once that ice was broken, all the bigger questions came out: who are we writing for? Is our effectiveness as dramatists determined by the size of the audience and the theatre that serves them? Are we writing for the prestige of an association to a large theatre? To Broadway? To a published anthology? Or are we writing because we have a desire to change the world, be that in front of a crowd of fifty or five-hundred? Where do you want to be: sitting in a small, dark theatre where your story is unfolding in front of an appreciative audience or staring at your manuscript that won’t be produced by a theatre you’ve defined as worthy and successful? Hmmmmm. That’s a tough one. I know. I usually count on twenty or thirty members to always respond to my columns in the E-newsletter, depending on what area of craft, career or spiritual journey I’m writing about. When I receive over a hundred responses from members (like my column on agents, and then this Seattle column), I know that something in the content is resonating in a lot of people. More importantly, I know there’s wisdom, opinion, passion and argument to share with you. Here, then, were some of the responses: (omitted. Check the magazine for them.) I'd love to hear your responses, however. more here

here is a short film

This started out as a play commissioned by Clubbed Thumb the summer of 2006. (Sam directed that too.) it was subsequently produced by Howling Moon Cab Company and Marisa Viola in New York then by my friends at Theatre of Note in LA and my other friends at Bluebox in New York. the film is directed (and filmed) by Sam Buggeln and stars Susan Louise O'Connor and Michael Chernus.

now, i bike everywhere I go

This week I read White Teeth, Neverwhere and the Confessions of Max Tivoli. I did some writing on the novel, turned in a draft of a pilot, visited the Walker Art Space during the day. Next week I start temping. My life of leisure had to end eventually. And then later that week, Freeman comes to town to show me how to party down at the state fair. What are you up to? I need a new book to read. any suggestions? How about a Gaiman recommendation? I loved Neverwhere.

I'm trying again to write a novel

head over here for more:

http://szymkowicznaked.blogspot.com/

scotland

Oh and if you're at Edinburgh, I have a short play there now:

http://www.fringemediacentre.com/theatre/bitesize/index.php

August 2nd, 5th, 8th, 11th, 14th, 17th, 20th,23rd

Friday I'm getting old

I finished the first draft of a pilot today. Last night K and Adjmi and i wandered around the sculpture garden at night. Here are some visuals--none of these photos were taken by me though. Tonight there is talk of bowling. I'm reading 13 ways of looking at a novel by Jane Smiley. It's a cool book. Anyone else read this? She basically got stuck while writing a book and read 100 novels and then wrote about them and about novel writing in general. It's specific to the novel but much of what she says is relevant to all artforms.

playwrights

apply to play group

http://arsnovanyc.com/play_group/

in new york

http://www.ps122.org/performances/a_day_in_dig_nation.html

I saw it last year and it was really cool. You should check it out if you can.

attention music lovers like Travis

Minneapolis has like the best radio station I have ever heard. I generally get annoyed with all radio pretty fast, but they play a good selection of good new and old stuff. Head over here to stream it: http://minnesota.publicradio.org/ It's called the Current. Up top on the right.

Minneapolis is beautiful

in the summertime. Yesterday K and I spent the day riding around on our new bikes all over town. There are bike trails everywhere in this so-called city. And lakes. A fuckload of beautiful lakes. Like this one. Later that night we went to a party thrown by a playwright couple. There is a sort of Jerome mafia here and my social calendar is already full by hanging out with the likes of these talented cool-ass individuals. Am trying to write something new and am trying not to think that I have to get a job soon. So far we moved in, had some fine minneapolis cuisine, including some great ice cream, saw one fringe show (a fine play by Trista Baldwin) and built some shelves for the living room. In Minneapolis the living is easy. (in the summer)

Attention Playwrights--Ars Nova Play Group

http://fishunderwater.blogspot.com/2008/07/if-i-were-playwright-id-hammer-in.html

today

All my things that fit are in one of these now on the way to MN. The things that don't fit are no longer my property. Thanks Herbert, Isaac and Larry, and parents of min!!

McCain and Big Oil

https://pol.moveon.org/donate/29guesses.html?r=3987&id=13350-6686652-e1zlBqx

the thing that people don't understand is that drilling is not going
to make our gas prices go down. It will only affect the world supply
of gasoline. And it will not affect it in a significant way.

wow

this article (h/t Daisey) blew my mind. As someone who went to public high school, and then a state school and then went to Columbia and Juilliard for grad school, I have noticed some of this first hand and then not noticed other parts of it that have been insidiously working inside me unaware. I am aware working at Columbia that despite all the bluster, many of our work studys are rather dumb, and I've noticed with envy the connections and support the rich kids have. I've seen the talented not succeed and the untalented but connected succeed in ways I don't understand. Adn now, as someone with feet in both worlds, with a day job that has prevented me from being the intellectual I've wanted to be, I feel both sad for what i can't have and triumphant on what I have allowed myself to be. Anyway read this article about class and Ivy league and the vast gulf that we see today in economics and class. and ask the big questions. (whatever they are) because if you don't, who will?

WTDWYHAYF

Looking forward to this. Have you seen it yet? From Variety: "The worst thing about this silly, stellar production is that it's puttering along at a tiny theater off the beaten track in Midtown. Kunofsky has an intensely theatrical gift for comedy, and his cast and crew have risen to the challenge of his smart, heartfelt play. Why then isn't this play at a great big nonprofit Off Broadway house? Kunofsky and Krueger should see if they can at least get a grant to hand out bullhorns to the audience so they can spread the word as they leave, massaging their aching sides."

saturday is packing boxes day

I just came back from Bennington College in Vermont where I had a reading of Incendiary with the LAByrinth folks. It went extraordinarily well. It was an amazing cast and they fed off the audience and the whole thing was a love fest. I'm still buzzing off it. All the readings of this play have gone well, but this one especially so. It's one of those things where I know it works. I'm just waiting for a theater to realize it and put it up.

So now I'm back and I need to pack up the apartment and get ready to pitch my pilot. So that's what I'll be up to.

Here is a monologue for you (with bonus song) that may or may not be in a new play:

SANDY
Hello everyone. Thank you for this interview. I am a traditional girl. I believe in the separation of church and state. I am a strong believer in fair treatment for everyone and a workplace free from sexual harassment and all other kinds of harassment. I think harassment has no place in the workplace. Or anywhere else actually.

There are times when you can’t stop harassment in life, but we think of a workplace as a utopia of sorts, even our workplace, so we think harassment can be stopped. Identified and stopped. Really the identifying is the problem. One person’s harassment is another person’s good time.

But the bigger problem is, I think, a lack of respect. When people are ignored or talked down to or looked down on by other people those people become unhappy and it leads to a non-productive environment for everyone. It makes everyone assholes. The people who don’t respect the other people are assholes and then the people who are treated badly become assholes to the original assholes in response to the assholic treatment they receive.

For that reason I come here today not to get this job but to get Eric fired. Eric is an asshole. Like the biggest asshole around. You may not know that but it’s true. He yells at me for things I have nothing to do with and then doesn’t apologize when he’s wrong. He tries to foist off his work on me and then when I complain, Elizabeth tells me to just do it. Well, that won’t happen anymore, because Elizabeth got away from him but that doesn’t change the fact that Eric is a big asshole and you need to recognize that and fire him.

In addition, because I have you here and you’re a captive audience, I would like to take this opportunity to sing you a song. Up until now, I have been to scared to get in front of people and sing, even though deep down I think I’m talented. I figure I can do it now and then if it goes badly, it’s no big deal. This is a song I wrote when I was commuting to work. It’s called commuting to work.

Commuting to Work

SOMETIMES I’LL LOOK UP
AND I’LL SEE A FRIENDLY FACE
IT MIGHT BE A HOOK UP
IF WE WERE IN ANOTHER PLACE

BUT WE’RE ON THE TRAIN
UNDERGROUND
THIS LIFE IS A DRAIN
ALL AROUND
OH, WE’RE ON THE TRAIN
I FEEL I’M GOING TO DROWN

COMMUTING TO WORK
ERIC IS A JERK
COMMUTING TO WORK

SOMETIMES I FEEL ALARMED
WHAT’S THAT DIGGING INTO ME
IS THAT YOUR ARM
TELL ME IT’S YOUR KEYS

OH WE’RE ON THE TRAIN
UNDERGROUND
THIS LIFE IS A DRAIN
ALL AROUND
OH, WE’RE ON THE TRAIN
I FEEL I’M GOING TO DROWN

SOMETIMES I CAN’T BREATHE
IT SMELLS LIKE SOMETHING DIED
IS THAT A DISEASE?
ARE YOU EATING SOMETHING FRIED

BUT WE’RE ON THE TRAIN
UNDERGROUND
THIS LIFE IS A DRAIN
ALL AROUND
OH, WE’RE ON THE TRAIN
I FEEL I’M GOING TO DROWN

COMMUTING TO WORK
ERIC IS A JERK
COMMUTING TO WORK

Thanks for listening. You guys have been great. Give me the job. Fire Eric. Thanks a lot!

Al Gore's speech

Read about it here. or here. “Our dangerous over-reliance on carbon-based fuels is at the core of all three of these challenges – the economic, environmental and national security crises,” Mr Gore said. “We are borrowing money from China to buy oil from the Persian Gulf to burn it in ways that destroy the planet. Every bit of that’s got to change.”

also

check out my plays

http://www.amazon.com/by-Adam-Szymkowicz/lm/R3K2ERA2M01VQ1/ref=cm_lm_pdp_title_full

transition part 2

I've seen a lot of bloggers come and go. Remember that surge a while back when everybody you knew suddenly had a blog? (Everyone I knew anyway.) And there were some vastly entertaining posts, great stories, cool new points of view, and then one by one they all stopped writing. At the same time of course, new people are constantly popping up. And some people do stick around. I got so many blogs right now on my google reader I can't keep up.


I feel myself fizzling out right now like so many bloggers before me. Mostly I just link to other people's stuff now. My readership is down. There are other things to do. Things like facebook and youtube. Also, I feel like my writing here has become less vital. I am disenchanted with theater. I haven't been involved in a show in over a year (though some of my plays are happening in various places). But I feel like I have nothing more to say really about theater except that I'm not enough a part of it and I'm frustrated my plays aren't getting done more by larger theaters. but that gets tiring to read and tiring for me to write. So I've been only half here on the blog this past year or so.


And I've stopped sharing my writing so much. Which is something that kept me coming to the blog. But this is partially because I've been working on TV and film stuff and wasn't sure it was a good idea to share that stuff. I mean, who wants to read my 30 Rock spec really? And the screenplay should be shrouded in secrecy as should the pilot stuff I'm working on now. Because it's still evolving and I don't want to say it's this and have it be that.


Which is all just to say that if this blog is to continue, it will have to change. Maybe from now on, it will be a blog that is solely photos of donkeys.

I don't know. Maybe I'll start reporting on the Minneapolis theater scene. Maybe I'll spend next year writing that novel and that's all you'll hear about. Maybe I'll only write about TV and/or film. (If that is even allowed) It's really hard to say. stay tuned. or, you know, watch youtube instead. I'll have a youtube video or two coming out soon.

your tool for the coming november

What is true and what is lies:

http://www.factcheck.org/

transition

K is at this moment driving across the country to our home base for a year--Minneapolis. Our cat is riding shotgun in her '91 honda station wagon. The apartment is very quiet without them. Work is also very quiet right now. The new guy we hired is doing all the work I would normally do. I'm working on my pilot pitch. I have to say, I'm getting kind of excited about it. I hope someone will pay me to write it. I've also figured out how to revise a lot of things that need revising. I wonder when I'll get to that. Soon, I hope. So much to do. Here's a song for you: The world's about to end You're my only friend There's not much more we can carry And the light go down on this bombed-out town I don't know how much more we can carry So I look at you We've done all we can do and I say to you Let's get married Let's get married Let's get married The morning sun creeps in over our loss or win There's not much more we can carry But I grab your hand and we cross the sand I don't know how much more we can carry And I look at you There's much more we can do Let's get married Let's get married Let's get married

US terrorist watchlist now has more than 1,000,000 names

http://www.boingboing.net/2008/07/15/us-terrorist-watchli-1.html

two more about working in the arts and making a living

http://parabasis.typepad.com/blog/2008/07/rehtfa-i-making-a-living.html

http://www.avltheatre.com/forte/2008/07/featured_post_writers_need_act.html

vow of poverty?

Lots of theatrosphere talk about making a living making art. Mark has
a nice post here:

http://mrexcitement.blogspot.com/2008/07/in-defense-of-artistic-director.html

you on facebook?

Join my blog network here:

http://apps.facebook.com/blognetworks/blogpage.php?blogid=13186

Ken Levine's take on Musicals

http://kenlevine.blogspot.com/2008/07/what-i-learned-on-my-first-musical.html