Adam Szymkowicz

Jun 6, 2009

I interview playwrights part 5: David Adjmi

David Adjmi

Hometown: Brooklyn, NY

Current Town: toggling Minneapolis and Brooklyn

Q: Tell me about your play Stunning.

A: It's a play set in the Sephardic-Syrian Jewish community in brooklyn, which is where I was raised. It's sort of like an Edith Wharton novel, but with Syrians.

Q: It's going up at Lincoln Center, right? That must be exciting.

A: It's really frightening and exciting, and I've never had a play on in New York before so I definitely feel the pressure. We're all working like dogs.

Q: You're one of those playwrights who write more than one play at a time. What's the most that you've had going at once? Do you have a bunch you're writing right now? What are they about?

A: Well I usually only am actively writing 2 plays at once, and I work on one in the morning and usually rewrite the other at night. And I'll jot ideas or dialogue for other plays while I'm doing that. But these last plays I wrote that way were kind of intense and I got really sick for writing sixteen hours a day so I had to stop that. Now I'm doing just one at a time. I'm writing a commission for Berkeley Rep which is sort of about the oil industry, and I'm working on a screenplay which is sort of about Shirley MacLaine, but that's all I'll say.

Q: What kind of theatre excites you?

A: Well I prefer not to be bored, so non-boring things. And I like non-literal theatre, I like metaphor, I like plays that form their own worlds.

Q: What do you look for in collaborators? (actors, directors, etc.)

A: Well with my director I need to work with someone who gets that my plays have very specific needs and really works to figure out what they are. I also like to work closely in the process and I need a director who's going to help carve out for me what my role is in the process. I don't like the ambiguity in the room of "oh, who is this scary playwright? why is he talking to us??" I like directors who are secure in who they are and in their work. In terms of actors, I love really generous actors who are deft with my style, which is not easy, and also have a real raw emotional access

Q: Do you have advice for the playwrights who read my blog? Is there anything you wish you had known a few years back that you could impart on the masses?

A: Well my plays and my experiences I think are specific to me and how I work and what I need, and we all have to come to it individually I think. That said, I think patience and faith and commitment to process both with yourself and your collaborators is enormously important. I didn't always have those things. I panicked quite easily and capitulated quite easily. I don't like to make choices out of fear -- in my writing or in production. There's always a moment where things can go south in production, or in development and it's usually when you are being asked to abandon your instincts when something doesn't work. It's extremely important for YOU, the AUTHOR, to understand for yourself WHY something doesn't work, and feel it on a gut level, before you change or abandon anything in the writing. That takes a kind of fortitude I didn't have when I started writing.

Q: You have a book of plays coming out, don't you? Can people pre-order that?

A: Oh gee, I don't know. I don't even have the galleys yet. It's not coming out til early 2010 so there's time.

Q: Where can people go to buy tickets to Stunning?
A: You can get them on the website for Lincoln Center, which is http://lct.org/showMain.htm?id=185, or at the box office of the Duke Theatre, which is where we're playing.

I interview playwrights part 4: Dominic Orlando

Dominic Orlando

Q: Tell me about this one man show you're performing. What is it about?

A: It actually started with a small idea, what KRAPP'S LAST TAPE would look like now, with video and sound and all the ways we can preserve and augment our memories. The Red Eye Theater here in Minneapolis has an amazing works in progress series and I got into it last year and explored that idea and it didn't interest me all that much--until Paradise Lost started creeping into it--I'm not sure how, exactly, but something about the pride of Satan, and his inability to see that being a King in Hell is not such a great deal--the idea of how stubbornness and misplaced pride can destroy your life. Maybe because of the Beckett influence, the main character also has trouble telling his story, so part of the drama of the event is can this guy get his shit together long enough to finish a sentence, never mind communicate these complicated ideas and thoughts.

Q: How did it come about?

A: I did it for The Red Eye's Works-in-Progress last year and they commissioned me to expand it this year for Isolated Acts, which is part of the same festival, but now I'm on the bill for an entire weekend, all by myself. Very new experience for a writer--I'm used to hiding behind many, many more people.

Q: Is this your first one person show?

A: Oh, yeah.

Q: Is writing a solo show for yourself to perform vastly different than writing a play?

A: This is a somewhat bizarre question coming from a playwright, but it's hugely different. Mostly because you can "compose" literally on your feet--basically write, act and direct (sort of) at the same time. And of course the structure is different, whatever the sense of--why are you asking me this, you know the answer already.

Q: I guess I just meant tell me how it’s different. Before Minneapolis, where were you living?

A; Brooklyn Heights

Q: You came to MN for a Jerome Fellowship, right?

A: yup.

Q; Do you think you'll stick around in MN for a while? What do you like about it?

A: There's a remarkable community of playwrights & theatre artists here--I'm not sure if it's because it's smaller (though, coming from a life spent in NYC, seeing "pop. 387,000" still gives me a kick)--but there's definitely a different vibe--the community feels more present. Of course, it could just be me, I was kind of a lunatic most of my time in NYC (a word we don't use lightly in my family). But it does seems unique. And I became a professional writer here, meaning I weaned myself off any kind of "survival job" so it will always have place in my heart because of that. I live in an actual house, and it takes me fifteen minutes (or less) to get to the airport. Which is really important because more than half my work is out of town--but, of course, New York is New York--so we'll see. And San Francisco/Berkeley is creeping into the mix as well.

Q; What kind of theater most excites you?

A: You know, The Walker used to send fellows free tickets, and we went to the first of Cynthia Hopkins' trilogy, and we walked in and I saw the set-up and I thought, "God, this is going to be unbearable"—but of course it was incredible. And I had the same feeling going into a Guthrie Production of "View From A Bridge"--which had some serious flaws, but overall knocked me out. So I think we're past the point of, you know, there's some Rule, or we should all pick a team and stick to it. There's definitely stuff that turns me off automatically, but I think most important is where is the artist coming from, is this the real deal or are they just shitting around or fucking with me or being fashionable (or trying to be)--so I guess "don't waste my time" is my only standard at this point.

Q: What advice do you have for my playwright readers about the business or act of playwriting?

A: Don't think of them as two different things. Other than that, it's extremely personal, how you work and how you deal with "selling" yourself (though you have to do it, there's literally no way around it). And maybe I'd come off my answer to the last question and say, Don't let some jackass from any school of thought tell you what a play is supposed to look like.

Q: What is the information for people who want to go see your show?

A: It's at The Red Eye Theater: http://www.redeyetheater.org June 11th, 12th & 13th @ 8PM.

Jun 5, 2009

I interview playwrights part 3: Matthew Freeman

Matthew Freeman

Hometown: I’m from all over. Grew up in PA, mostly.

Current town: Brooklyn.

Q: So tell me about this new play you have going up.

A: It’s called Glee Club. It’s about a group of men who want very much to sing well, despite their obvious, crippling flaws.

Q: Are you going to be sued by Fox?

A: I doubt it. I heard of their show well after I started working on mine. And mine is called Glee Club. You see the difference there?

What’s odd is that I’ve never heard of a high school “Glee Club.” I usually hear about high schools having show choirs or jazz choirs or whatever. Choirs. Glee Clubs, in my experience, are generally for adult hobbyists or colleges.

But what do I know? I’m just this guy, you know?

Q: You know that TV show was co created by a NYC actor who was in a couple readings of mine. Cool guy.

A: Didn’t know that. I thought this interview was about me, though. You’re bringing up the TV show and how you know people that worked on it. Would you rather talk about TV? It’s making me feel uncomfortable. I’m sweating a little. It’s like you’re just using this to name drop. Do you even really care about me at all?

Q: Do you think you're better than him?

A: Well..yes. I think so. I mean, I don’t know the man, but it’s my default response to strangers.

Q: You work with a lot of the same actors over and over. What are the pros and cons of that? Can I assume Matt Trumbull is in this?

A: He is. He’s awesome. So is David DelGrosso. Every actor in the show is someone I’ve worked with prior to this production.

I can’t think of any cons really. I love the guys I work with. They’re brilliant. I’m always looking for new people to add to my mental list, but I already know a ton of really spectacular actors. I believe in them, they believe in me, we all do our best for each other. That’s what it’s all about.

Q: Are you in it, singing?

A: No. I just wrote it. I sit in the back and eat ice cream and watch them sing.

Q: Oh. Well then when is the next time you're going to be in a play I can see, preferably about your life, starring you?

A: Probably never again. I did it before as a joke on pretentiousness. Doing it again would be, well, actually pretentious.

Q: What kind of theatre excites you?

A: I don’t really know. Whatever has a lot of life, I guess. I don’t like watching plays that feel like exercises in certain theories, or try to impress us with their dexterity. I like watching writers who appear to be enjoying themselves. Some of the darkest plays out there have a real passion in them, virtuosity. Some guts. I like theater that’s got internal organs.

Q: And this show is with Blue Coyote. How many shows have you done with them? The last one was published by Samuel French, right? Where could people buy that? (link please)

A: Um… this is something like my eighth production with them, if you count smaller stuff.

The last one was published by Samuel French. That’s called When is a Clock. You can buy that one here: http://www.samuelfrench.com/store/product_info.php/products_id/7515

Q: Many of my readers are playwrights. Do you have any advice for people who write plays?

A: Don’t listen to people that try to give you advice, I guess. They’re also in the dark.

Q; And where can people buy tickets to come see Glee Club?

A: They can buy tickets here! (Thanks for the plug!) https://www.ovationtix.com/trs/cal/122/1243909800000

Or get more info at http://www.bricktheater.com

Jun 4, 2009

I interview playwrights part 2: Anna Ziegler

Anna Ziegler

Hometown: Brooklyn, NY

Current Town: Brooklyn, NY

Q: Tell me a little about the play you have going up at Cherry Lane.

A: Dov and Ali follows the changing relationship between a Jewish high school teacher (Dov) and his Muslim student (Ali). Unfortunately, it's not a racy teacher-student romance. (Sorry, lovers of Notes on a Scandal'—and I am in your ranks, I assure you.) In this play, the two men help each other come to some important decisions regarding faith and love. The catalysts for these decisions are Dov's non-Jewish girlfriend, Sonya, whom he’s been hiding from his parents, and who all of a sudden wants to make their relationship more serious, and Ali's sister, Sameh, to whom something has happened that Ali can't discuss. Over the course of the play, these situations are blown wide open, forcing the men to reconsider everything they held dear.

Q: This play was just done in London. Were you able to go see it? What was that like? How were their American accents?

A: I actually was able to go over to London last summer for the entirety of the rehearsal period. I had a blast. The whole rehearsal process felt a little more laid back than I've been accustomed to over here -- until tech, that is, when there are only two days allotted to adding all the design elements into the play, as opposed to the luxurious three days that are typical over here. Getting to work with a British director and British actors on a play about a Jewish schoolteacher from Detroit was as fascinating and strange an experience as you would imagine it was. It was very different than working on the same play in New York. And their accents were great! It was funny to be there while the actors struggled with certain words. Just as there will always be one line that an actor gets wrong, there was one word each actor couldn't help but speak in a British accent.

Q: How did you come to write this play?

A: This play came from a number of places. First, I was teaching Lord of the Flies to my high school English class, as Dov is at the top of the play. I was working at a Jewish day school outside of Washington DC and was around a greater number of religious people than I ever had been. Inevitably, I began to question things based on the experiences of my colleagues and students. How are we supposed to handle situations in which things we want directly conflict with what our religion is telling us to do or be? Like Sonya, the non-religious character in the play, I started seeing religion as not simply something that comforts people in times of need and reassures us when we fear death, but as a source of difficulty and confusion. Particularly in the post 9/11 years, it seemed pertinent to write a play that questions the value of religion -- without, I hope, deriding it or those who choose to live by its rules.

Q: What are some of your other plays about?

A: All my plays are pretty different. I've got a play that's an adaptation of the Greek myth of Theseus and Ariadne, called The Minotaur; a play about Rosalind Franklin, the scientist who helped discover the double helix but whose work (controversially) was stolen by Watson and Crick; a play called Variations on a Theme about the aftermath of a break-up of a young couple in New York, among others...All my plays seem, however, to deal in some way with loss, forgiveness and the question of love's ability to endure.

Q: What kind of theater excites you?

A: I love theater that plays with language and creates worlds on stage that aren't quite naturalistic but aren't completely magical either -- lyrical places where realistic events or everyday matters take on new, heightened meaning. This is why I love Sarah Ruhl's work, Melissa Gibson's work, Rinne Groff's work. Anne Washburn's work. A totally incomplete list but those are the folks that popped to mind.

Q: Are there any plays up right now that you would recommend people go see?

A: Ruined. The Amish Project. The Norman Conquests. Others I haven't seen but want to: Night Sky, Our Town, Mary Stuart, Exit the King, The Dishwashers, West Side Story, Next to Normal, Into the Hazard, The EST Marathon...

Q: Where can people go to buy tickets to your play?

A:

http://www.playwrightsrealm.org/Home.html

Jun 3, 2009

James Comtois--interview one

Remember how I said I wasn't sure where this blog would go next? Basically, I said most of what I wanted to say about playwriting. I was wondering if I would continue to blog. Well, now I've decided to start something new where I interview playwrights. I'm starting off with the delightful James Comtois.

Photo by Randi Rosenblum.

Hometown: Candia, NH

Current town: Brooklyn, NY

So what do you have going on right now?

A show called Infectious Opportunity, playing at the Brick Theater's Antidepressant Festival. It's about a screenwriter who fakes being HIV-positive to boost his career. Is Infectious Opportunity autobiographical? No. How did you get into playwriting? Do you like it still? what makes you write?

I got into playwriting in college after a few aborted attempts at writing comics and screenplays. I still like writing plays a great deal. I think the two main factors that fuel my writing are the ideas behind the scripts themselves and the fact that, through my production company, Nosedive Productions, I know the scripts are going to see the light of day via production in a very short period of time. It's always good motivation to write something when you know it'll be staged within 4-8 months of completing the final draft.

What kind of theatre excites you?

Different kinds, although I mainly enjoy theatre that provides either a visceral or hypnotic experience. And if it can provide both? Hotness. Pure hotness. I think my favorite productions are those that find a way to immediately hook me in and make me forget I'm watching a play, and make the real world seem a bit distant and unreal after curtain call.

You're one of those playwrights with his own theatre company (Nosedive Productions). What are the pros and cons of starting and running your own theatre? How many shows does Nosedive do a year?

Nosedive produces two shows a year on average. As I mentioned before, it's always nice to know that your work will be staged in the very near future. Plus, it's cool to be able to oversee and be actively involved in the productions, which ultimately offers me more creative control of the work. In terms of downsides, I guess running a theatre company means an increased workload. You can't just write a script then send it off and be done with it. You need to participate in the legwork in getting the thing staged (which is both a pro and con). Also, you're partially responsible for either paying for the production or getting the money for it.

Many of my readers are playwrights. Do you have any words of advice for playwrights? Things to do, things not to do?

I think the best thing to do is to keep writing and to keep writing different things. If you write a script that you think stinks, don't spend all your time and energy rewriting it or fretting over it: just finish it, put it away (either for the time being or indefinitely, it's up to you), and write a new script. Perseverance and tenacity are pretty good traits to have when being a writer.

You work with a lot of the same actors over and over again. How does that feed into your creative impulses (or not). (or what are the upsides or downsides to that?)

It's always a lot of fun to be putting on theatre with a team, especially a team that knows each other really well. Even though I rarely (if ever) write for a specific actor in mind, it's good to know that members of the cast & crew will be familiar with my work and overall style. But sometimes we like to mix it up. I always like to have at least one or two newbie cast members for any given show. Oddly enough, most of the cast members for Infectious Opportunity are new to Nosedive.

And what's the show information for those people who want to see your show?

Infectious Opportunity is playing for four performances at the Brick Theater on 575 Metropolitan Avenue in Williamsburg, Brooklyn: Sunday, June 7th at 5pm; Tuesday, June 9th at 8pm; Wednesday, July 1st at 9pm; and Friday, July 3rd at 7pm. You can get your tickets here

May 31, 2009

Jimmy Comtois and Matt Freeman

Podcast about Jimmy's new play and other cool things.

http://www.nytheatrecast.com/pcast/nythpod289.mp3

May 26, 2009

Pretty Theft is over but don't despair. Here come some more shows of mine. May 28-June 28, Miami and Ft. Lauderdale, FL, my short play Snow. (production #12 or so of this play)

July 10-26 Echo Theatre, St. Louis, MO, a production of Nerve (production #5)

June 16th, Jobsite Theater, Tampa, FL, a reading of Nerve

no picture

July 5-August 1, Essential Theatre, Atlanta, GA, a production of Food For Fish. (production #8)

July 15-July 26, Doorway Arts Ensemble in the DC Fringe, Washington DC, a production Herbie: Poet of the Wild West. (production #1)

If you can't make any of those, but don't want to feel left out, Nerve and Food For Fish are published here and here. Also found at Amazon and other fine online bookstores. Also I have a short play in the NYTR '09. Get your copy soon.

May 23, 2009

another summer show

I also have a short play at City Theatre in FL opening May 28

http://www.citytheatre.com/in_theatres.htm

Empire

Headed to NYC for a couple days to work on a play, and see Coraline.

May 20, 2009

your favorites please

In response (sort of) to the conversation going on over here I would like to make a list of some of my favorite female playwrights who I would like to see produced more. Please add your own favorites in the comments section. In no particular order, an incomplete list Kia Corthron Annie Baker Anne Marie Healy Anne Washburn Lisa D'Amour Liz Meriwether Liz Flahive Bekah Brunstetter Boo Killabrew Kristen Palmer Julia Cho Crystal Skillman Gina Gionfriddo Lucy Thurber Jenny Schwartz Sheila Callaghan Brooke Berman who else?

also this summer

These folks are doing a couple short plays of mine in Chicago July 17-August 9

http://www.lightsouttheatre.org/

May 16, 2009

summer shows

Photo: Isaiah Tanenbaum. Pretty Theft. Tonight and tomorrow, last two performances of Pretty Theft in New York. (production #4 of the play) June 5-June 20 Echo Theatre, St. Louis, MO, a production of Nerve (production #5) June 16th, Jobsite Theater, Tampa, FL, a reading of Nerve July 5-August 1, Essential Theatre, Atlanta, GA, a production of Food For Fish. (production #8) July 15-July 26, Doorway Arts Ensemble in the DC Fringe, Washington DC, a production Herbie: Poet of the Wild West. (production #1) If you can't make any of those, but don't want to feel left out, Nerve and Food For Fish are published here and here. Also found at Amazon and other fine online bookstores.

May 15, 2009

Pretty Theft sold out last night

get your tickets now. www.fluxtheatre.org

May 13, 2009

from Move On

5 THINGS YOU NEED TO KNOW ABOUT OBAMA'S PUBLIC HEALTH INSURANCE OPTION The choice of a public health insurance plan is crucial to real health care reform. But right now, it's being smeared by conservatives and insurance-industry front groups. Here's what you really need to know: 1. Choice, choice, choice. If the public health insurance option passes, Americans will be able to choose between their current insurance and a high-quality, government-run plan similar to Medicare. If you like your current care, you can keep it. If you don't—or don't have any—you can get the public insurance plan.2 2. It will be high-quality coverage with a choice of doctors. Government-run plans have a track record of innovating to improve quality, because they're not just focused on short-term profits. And if you choose the public plan, you'll still get to choose your doctor and hospital.3 3. We'll all save a bunch of money. The public health insurance option won't have to spend money on things like CEO bonuses, shareholder dividends, or excessive advertising, so it'll cost a lot less. Plus, the private plans will have to lower their rates and provide better value to compete, so people who keep their current insurance will save, too.4 4. It will always be there for you and your family. A for-profit insurer can close, move out of the area, or just kick you off their insurance rolls. The public health insurance option will always be available to provide you with the health security you need.5 5. And it's a key part of universal health care. No longer will sick people or folks in rural communities, or low-income Americans be forced to go without coverage. The public health insurance plan will be available and accessible to everyone. And for those struggling to make ends meet, the premiums will be subsidized by the government.6

May 12, 2009

last week of PT in NYC

photo by Isaiah Tanenbaum www.fluxtheatre.org

May 8, 2009

my actual bio

ADAM SZYMKOWICZ graduated in May of 2007 from The Juilliard School's Lila Acheson Wallace American Playwrights Program. In 2004, he received his playwriting MFA from Columbia University where he was the Dean’s Fellow. His work has been produced throughout the U.S., and in Canada, England, The Netherlands and Lithuania. His plays have been presented or developed at such places as MCC Theater, Ars Nova, South Coast Rep, Playwrights Horizons, LAByrinth Theater Company, The Lark, Kitchen Dog, HotINK, Theatre of Note and Studio Dante among others. Plays include Deflowering Waldo, Open Minds, Anne, The Art Machine, Pretty Theft, Food For Fish, Hearts Like Fists, Herbie, Incendiary, Old Fashioned Cold Fusion, Bee Eater, Temporary Everything, Susan Gets Some Play, Fat Cat Killers and Nerve. Several of his plays have been published by Dramatists Play Service. Szymkowicz is a two-time Lecomte du Nouy Prize winner, a member of the Dramatists Guild, the MCC Playwright’s Coalition and was a founding member of the Ars Nova Play Group. For more, go to www.adamszymkowicz.com.

Nerve in St. Louis

http://broadwayworld.com/article/Szymkowiczs_Dark_Romantic_Comedy_NERVE_Plays_6520_At_Echo_Theatre_Company_20090508

The bio is wrong, but I guess that happens. I never claimed any of those folks produced me.
Update: It's been fixed.

May 4, 2009

Hart

"I have had many successes and many failures in my life. My successes have always been for different reasons, but my failures have always been for the same reason: I said yes when I meant no." — Moss Hart My friend Anna told me about this quote. It's a good one. I've always found it to be true.