I Interview Playwrights Part 242: Leslie Bramm

Leslie Bramm

Hometown: Mostly San Francisco.

Current Town: Washington Heights, New York City.

Q:  What are you working on now?

A:  A children’s play for adults. “Molly Jones Steals Home”. I’ve been reading a lot of Joseph Campbell lately and wanted to write a hero’s journey. I do so in the context of this 9 year old girl, who’s terminally sick, and trying to, as the Irish say, “have a good death”. She must escape the clutches of the hospital bureaucracy, and her zealous parents and doctors, all bent on keeping her alive out of their own fear. I like the idea of a children’s play, because it will force me to keep the structure, dialog, and metaphors as simple and pure as possible. Plus I’ve never written one. So, the break from my “usual” is very stimulating. If it weren’t for the encouragement of one of my publishers I don’t know that I would have.

Q:  Tell me about Diz Dam.

A:  We were an Indie Rock Band in the 80s and 90s, made up of film star Kevin Corrigan, and our dear, late friend, Angelo Alvanos. We wanted to live out a rock n’ roll fantasy and boy did we. We played around the city, recorded some songs and even got a little radio play. We played CBGB’s which is a great memory. Standing on that stage, surrounded by all the graffiti, knowing who had been there, it was an honor to paint another layer of sound on those hallowed walls. In the middle of one number the drum kit fell apart. Angelo was able to keep the beat on just the high hat. He reassembled the kit with one hand while we covered him. He never missed a beat. The gallery next door, CBs 313, was a theatre and I had a play produced there. So I actually gigged CBs as a playwright and a musician. I’m very proud of that. I was walking down Bowery the other day and it looks like they turned it into a Citi Bank, or something. Very fucking sad.

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 Aunt gave me my very first Beatle Album. “Beatles ’65”. I placed the needle (yes it was vinyl) on a random track. “No Reply”. I was hooked ever after. My Lennon obsession has guided me through adolescence and adulthood. Every great piece of writing should strive to capture the details and emotions textures of a Strawberry Fields/Penny Lane combo.

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

A:  I’d make all tickets, for every show, anywhere in New York, 25 bucks. Make them accessible to everyone. I’d beg the audience to raise their standards and redefine what entertainment is. Once they demand better, deeper, more raw and real art, theatre makers will change the way they create.

Q:  Who are or were your theatrical heroes?

A:  Don’t have any. I don’t mean to sound smug, but the hero idea, in real life, makes me feel like an imitation of an imitation. Two plays drew me into wanting to be a writer. “House of Blue Leaves”, and the “Pirates of Penzance”. Other wise my muses come from the most unlikely, often no-theatrical places. I thank the Gods for them.

Q:  What kind of theater excites you?

A:  That’s tough to put into proper prose. So let me throw some adjectives out there. Raw, bold, daring, human, emotional, messy, cheeky, abstract, real, hilarious, compelling, truthful, beautiful, provocative, political, imaginative, and almost anything that has a couple of comp tickets attached to it. Rock my world with your work. For the 90 minutes I’m in the world of your play, make me forget about my real world. Entertain me.

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

A:  Drop out of college. Forget Tisch. Forget Yale Rep. Leave Julliard in the dust. Those institutions are fine, but they teach you how to write safely. How to make correct theatre. I’ve seen an awful lot of safe, academic plays out there. They lack dare, emotional courage and a sense of gamble. If you want to write great plays sit down and write them. Write, and write and write. Write and fail, write and fail better. Have the guts to give them to actors, and then give them to the world. Let the theatre scene hammer them like there’s no tomorrow. Then go back and rewrite, rewrite, rewrite. Stack page on page. Eventually, if you have the chops, a certain kind of magic will start to happen. Elements and characters will start peeking through your blur of words. Your voice will begin to emerge. If you must read a book, then I suggest Aristotle, “The Poetics”. It’s a great guide for the practical mechanics on how to make a play.

Q:  Plugs, please:

A:  VENUS AND MONA is currently running in the New York International Fringe Festival. Fringenyc.org, venusandmona.com, and check out nytheatre.com for our great review. Here’s a teaser so you can get an idea of what the play’s about:

“Junky/drunk's dying, there's a demon in the heap, and the Tredwater twins are trapped on the roof of their mother's doublewide. They slug it out in this black comedy, about the battles fought to grow up and learn love.”

The play is directed by the amazing Melissa Attebery, with fight direction supplied by Carrie Brewer. Two heavy hitters in the Indie Theatre scene. We also have a stellar cast.

I Interview Playwrights Part 241: Jennifer Maisel

Jennifer Maisel

Hometown: East Rockaway, N.Y.

Current Town: Los Angeles

Q: What are you working on now?

A: I’m tinkering with OUT OF ORBIT – the play I workshopped at The Sundance Theatre Lab at Mass MoCA this year. It’s about a woman who is a scientist at JPL (Jet Propulsion Lab), working on the Mars Rover Expedition. When the rovers first landed on Mars the scientists and engineers lived on Mars Time (a martian day or sol is about 39 minutes longer than an earth day) and I became obsessed with the theatricality of these people living on Mars Time while their families were living on Earth Time. So the play focuses on the scientist and her teenage daughter who are going out of sync with each other and living on different planets. It’s very much about exploration on a personal and universal level and the yearning for connectivity in our increasingly disconnected world. This is one of those plays that I kept getting stuck in and going back to and getting stuck in again for years, and the Sundance Lab created a huge opening for me where I got through that stuck-ness and the play took off in an absolutely unexpected direction. I can’t believe I finally I have a full good draft – I was sure it was going to be one that was stuck in the drawer forever.


And I’m about to dig in to rewrite my newest piece, MATCH. It’s about altruistic kidney donors who are not necessarily so altruistic. It’s a journey into the underbelly of bartering for organs and explores the question of whether there really is any such thing as a gift with no strings attached.

Q: You also write TV and film. Do you have to mentally adjust when writing for the screen vs theater?

A: In the ideal world one feeds the other. A play’s form is more organic and writing one can be incredibly freeing after working in the stricter structure of television and film, but I also find that having practiced the craft of screenwriting makes my story and structure stronger for theatre. I am always about bringing a great depth of character to the screen work – and people in that arena credit my theatre background for it - but it may just be me, I like character, I need to know what makes people tick in order for a story to satisfy me.


Some of the mental adjustment comes in who I’m writing for – when the stars align and the film/tv writing is a paid gig there may be a huge number of cooks weighing in on the process who I must listen to because I’m doing it for them. In theatre I’m doing it for me – the cooks may weigh in but I have the final say.


I do tend to find myself yearning to work on one when I should be working on the other. A great form of procrastination.

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 grew up in a picture perfect suburb where every house on our side of the street was the same. I came home one night when I was in high school and parked my mom’s station wagon, only to have to go back to the car when I realized I forgot to lock it. Then next morning – it was February and freezing - I went out to walk the dog and there was a dead man in our driveway. The rest of the day unfolded in a bizarre comedy of errors that culminated in my high school boyfriend telling me he loved me for the first time. I felt like I was trapped in a surreal nightmare where no-one stopped to think about this person whose life ended so sadly. We never could find out who he was - but for years after he came to me in my dreams, telling me if I hadn’t gone back to lock the car doors he would have been able to keep warm inside and would still be alive.

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

A:  I’m on a council for the college I went to for undergraduate and it’s comprised mostly of these incredible professional women in very high-powered, well-compensated careers ( I’m one of their few artists). I got into a conversation with one woman, a corporate lawyer I believe, about the intricacies of theatre in Los Angeles and which of the smaller theatres she liked. It came up that the actors in showcases make about $7 a performance. She gasped in horror and said “why would they do it then?”. At the time I thought, oh she just doesn’t get that that’s what theatre is about – it’s not about the money. She doesn’t get the love for it. That we have to do it. It’s the only way to do it. But now her reaction resonates in me as a deeper response – one that opens up the door for questions about what is valued and how value is assigned. A long way of saying “the ability to make a living as a theatre artist”.


By the way, we never even got to how often playwrights are compensated with the phrase “you should just be honored we’re reading your play.”

Q:  Who are or were your theatrical heroes?

A:  Maria Irene Fornes, Paula Vogel, Joseph Papp, Tom Stoppard, the late great Los Angeles actress Pamela Gordon who I am still writing parts for…


- and every single one of the playwrights that belong to the playwrights groups I’m part of - The Dogear Playwrights Collective (http://www.dogear.org), Playwrights Ink and Circle Rising (originally formed out of Paula Vogels ASK Theatre Projects Bootcamp). These playwrights are my greatest champions, I am their biggest fan. Their work always inspires me to better mine. Their support, friendship, honesty and challenges have gotten me through many dark periods in my life and in my writing.

Q:  What kind of theater excites you?

A:  Theatre that’s written for the theatre – things that couldn’t be done anywhere else. Scenes that are impossible to stage staged. Those moments when the play crystalizes and you become enraptured.

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

A:  Form a writers group. Stick by those people. They will be your constant.


Write for actors you know will speak your language as if it is their own.


Be open to someone doing it in a way that is absolutely not how you pictured it.

Q:  Plugs, please:

A:

KINGDOM OF IF – a short kids play written specifically for my fabulous 15 year old actress, commissioned by the Virginia Avenue Project this weekend in Los Angeles

http://www.virginiaavenueproject.org


THE LAST SEDER at Park Square Theatre in St. Paul

http://www.parksquaretheatre.org/plays/2011_lastseder.php


An upcoming reading of THERE OR HERE by KPCC and Pacific Stages and a reading of OUT OF ORBIT in Ensemble Studio Theatre – LA Project’s Winterfest, dates to be determined.

I Interview Playwrights Part 240: Jon Steinhagen

Jon Steinhagen


Hometown: Chicago

Current Town: Chicago

Q: What are you working on now?

A: I'm spinning a bunch of different plates at present. Currently, my play THE ALTOONA DADA SOCIETY PRESENTS THE VELVET GENTLEMAN is playing at the New York Fringe, produced by the fabulous people at Playlab NYC - performances continue through August 26th. Here in Chicago, I'm deep into rewrites for ACES, a "Las Vegas comedy" that will open in May at Signal Ensemble Theatre. Next week, Raven Theatre is presenting a 3-performance workshop production of my play DATING WALTER DANTE. This October, Marie Kemp is directing a black box production of my play SOMETHING MORE COMFORTABLE at Syracuse University. Sometime this fall there will be a second reading of a new play that was recently read at Chicago Dramatists, BLIZZARD '67. In the hopper is a first draft of a play called MENDICITY CITY - which manages to combine Depression-era Chicago and vampires - and a bunch of short stories burning to be written, but - alas - time is at a premium, so they ferment as notes only for now. I'm a resident playwright at Chicago Dramatists, so I'm also working to get my next project ready to be read at our Saturday Series readings, which happen every weekend (barring holidays, of course) and are enormously fun and helpful in the development of the plays!

Q:  You are also an actor. How does your writing affect your acting and vice versa?

A:  I learn something new about storytelling with each new role I play and from every actor with whom I share a scene. I recently ended a long run of Neil Simon's THE ODD COUPLE - I played Felix - and I was amazed at the rhythm of the language, the pacing of the humor...but also found another layer to the play I didn't suspect was there. I don't know that I would have found it had I not been physically engaged in the story. I just opened Tom Stoppard's THE REAL INSPECTOR HOUND at Signal Ensemble Theatre - I'm playing Birdboot, the philandering critic - and the richness of the language and the density of ideas is astounding. As if closing one show and opening another in a space of nine days isn't crazy enough, I began rehearsals this week for CAT ON A HOT TIN ROOF, in which I'll be playing Big Daddy. Table readings have been amazing. That play's got the best second act of any play I know - maybe one of the best acts anywhere, really. Essentially, performing these great roles in these great plays reminds me, always, that as a storyteller myself I ought to focus on the "what happens next?" of the story, seek urgency, and examine my story ideas in terms of "what makes this day [in which the play's action begins] different from all the others?" And - as a playwright - it has always been of utmost value to me to have informal, table readings of my new scripts, because nothing replaces hearing how an actor speaks the dialogue. Lastly, because I'm an actor and know so many fantastic actors, I tend to lean towards peopling my stories with characters that I'D want to play: male, female, young, old...anthropomorphic...

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

A:  When I was eight or nine years old, I won a prize in a state-wide poetry thingamajig - one of those conferences where schools are solicited for entries from students. I had written a poem called "Toast," which was essentially an brief ode to toast, the text shaped like a piece of toast. I got to go to the conference, which I remember very well for so long ago - the guest speaker (I do not recall who she was) spoke on creativity, and illustrated a point about imagination by posing the basic of a situation and asking the students to come up with the backstory. Evidently, I raised my hand and concocted a rather lurid and racy response (something about a dogcatcher's wife poisoning the dogs as an act of revenge for divorce proceedings). Everyone laughed at me because that came out of the mouth of a child. I recall being somewhat upset by the laughter because I was being dead serious. Nowadays, I'm not so upset.

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

A:  I'd love to see more collaboration between theater companies. I realize that's a very tall order - the logistics of co-producing a show, getting the opportunity organized, getting the talent lined up...but I think it would be huge fun and an excellent way for those who tend to be a little isolationist within the bound of their theater company to meet new people, get new perspectives on stories and audiences...and maybe even have the wherewithal to produce new and established plays that require larger casts.

Q:  Who are or were your theatrical heroes?

A:  I started out writing music and lyrics for musicals, and Frank Loesser's work inspired me at the outset and continues to be a golden hallmark. I tend to have influences and heroes from many disciplines, not just theater but movies and literature as well: Woody Allen, the collaboration between Alfred Hitchcock and John Michael Hayes, Steven Millhauser, Kevin Wilson, Will Eno, Agatha Christie...Edward Albee looms large in my life and thoughts...Mia McCullough's work made me consider attempting plays as well as musicals - she's the playwright I wished I could be...Theresa Rebeck is brilliant, as she does wonderful work in theater, television, and literature (her two novels are prizes)...

Q:  What kind of theater excites you?

A:  All kinds, I find all of it inspiring, from "The Bald Soprano" to "Abe Lincoln in Illinois" to "The King and I" to "Next To Normal" - that, and everything that's happening now and tomorrow. I'm always keen to find out what's coming up next, what playwrights are writing, how they're writing it, and how they are telling their stories. I am very lucky to be living and writing during a very inventive time.

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

A:  Get involved with a theater company, somehow. Even if you can't act, find some way to connect with the people who will someday be directing, acting in, producing, designing, and marketing your work. Keep lots of notebooks. See as much as you can. Read the old and the new. Ask people how they're doing. Ask them what they're working on. Encourage them to tell you their stories, and they will ask you to tell them yours - it's the best and easiest way to determine if what you're dreaming is going along in a way that energizes you and someone else. Be a person people are happy to see. I'm reminded of a Gertrude Stein quote, which I shall now paraphrase and probably misquote, but: start with a small audience - if they understand you, they will make a big noise.

Q:  Plugs, please:


A: 
Playlab NYC presents
THE ALTOONA DADA SOCIETY PRESENTS THE VELVET GENTLEMAN
at the New York International Fringe Festival
through August 26th (Venue #15)
http://web.mac.com/playlabnyc/Site/Home.html

Signal Ensemble Theatre presents
ACES
opening May 2011
http://signalensemble.com

I Interview Playwrights Part 239: Leslye Headland

Leslye Headland

Current Town - Los Angeles, CA

Q:  Tell me about your play that is at Second Stage and just got extended

A;  Bachelorette is a play about the in-between space. The place you are when you're reconciling who you thought you were gonna be when you grew up with who you've become. The place when partying starts to look a lot like addiction. The moment you used to pass off as a bad night of drinking, sex and mistakes has suddenly extended into a bad life of drinking, sex and mistakes.

This production was produced by the Second Stage Uptown series which is an incredible program that gives younger, less-established playwrights a chance to see their work on its feet professionally. It was directed by Trip Cullman. It stars an incredible group of young actors: Tracee Chimo, Carmen M. Herlihy, Celia Keenan-Bolger, Fran Kranz, Eddie Kaye Thomas, and Katherine Waterston.

Q:  What else are you up to?

A:  I'm in the middle of writing a play called The Accidental Blonde in which the two lead characters live out their frustrations on either side of the stage. It's like a split-screen play. So there are two stories going on at once. In my Seven Deadly Play series, this is the sin of "Envy".

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 always planning productions that never happened. I would just decide one day that me and my friends would do "Peter Pan" and then I would enlist all of them to help me make posters, hold auditions, try to find a public space to perform in... all before dinner. Then I would have to let go of the whole idea because it was never gonna happen and I'd eat my dinner sad that I wasn't old enough to direct and produce plays.

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

A:  I wish some sort of Federal Theatre Project-type thing that could exist and employ thousands of theater artists. But that's impossible to do without government censorship or interference. So I guess I would just outlaw musicals based on old movies or an artist's catalogue of songs.

Q:  Who are or were your theatrical heroes?

A:  John Cassavetes, Sarah Kane, Hallie Flanagan, Brian Wilson, Charles M. Schulz,

Q:  What kind of theater excites you?

A:  The complete opposite of what I write. I love stuff that takes risks narratively especially non-linear re-magining of classics. My favorite theater is directed and produced by Janicza Bravo, a brilliant artist living in LA.

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

A;  You need to get your heart broken. Otherwise, what you're writing is bullshit. Also, quit your day job as soon as possible.

UPDATE from Leslye:  a better way to put it is Quit the Job You Think You Need. obviously you gotta pay the bills. but I'm always encouraging other writers to make writing their full time job and do whatever you need to do to pay rent. If you have to work 50... hours a week to make rent, THEN MAKE YOUR RENT LOWER! I lived on a couch for two years so I could write Mon-Thurs from 9-5 and work 14-hours at minimum wage Fri-Sun. I saved money by not getting a car in LA. And any LA-native will tell you is NOT a public transportation/walking city. But I did it for years. Even after I started getting paid for writing.

I'm not flippantly suggesting that people quit their jobs because i'm some sort of trust-fund case without any grasp of what living in the real world is like. I did it! I quit my job, wrote full-time and I survived. It paid off! I got an agent and a young theatre company started producing my plays. I can't promise that'll happen to everyone but I know it never would've happened if I'd stayed answering phones 50 hours a week, writing on the side, and trying to get my theatre companies/agencies to read my unsolicited submissions.

Q:  Plugs, please:

A:  Tune in to TERRIERS, a show I wrote on this year, premiering Sept. 8 on FX. Created by Ted Griffin (Ocean's 11). Produced by Shawn Ryan (The Shield).

The Accidental Blonde will premiere Oct. 8 in LA. Go to www.iamatheatre.com for details.

You will have to wait a week or so

for the next interview.  I am going out of town on a silent and unplugged writing retreat so there will be blog silence. 

I Interview Playwrights Part 238: Kate Tarker

Kate Tarker

Hometown:
I am bits and pieces of lots of places – but I lived in a small town in Germany for what really felt like forever. No offense, small town in Germany.

Current Town:
Brooklyntown. Crown Heights edition.

Q:  Tell me about The Green.

A:  In brief:
Leeann has lucked into her dream job: She’s managing a chimpanzee sanctuary in the wilds of Africa. Surrounded by poachers, antagonistic adolescent chimps and an eccentric boss, she finds it difficult to balance caring for people and caring for animals. With human allegiances unraveling and chimps running a wild mock, the line between humans and animals dissolves under the canopy of the African jungle.

In very brief:
The line between humans and animals dissolves under the canopy of the African jungle.

It was/is being developed at ESPA, which is an incredibly supportive place for emerging playwrights. You want to go to there.

The seed of this play came from my own experiences volunteering at a chimpanzee sanctuary in Africa. It’s a play of course – so of necessity, it has abandoned real things as they were – but the emotional core of it is centered around my own memories and feelings of a place and situation, and I think it’s all the richer for that.

Q:  What else are you up to?

A:  This weekend I am going on a silent playwriting retreat, devised by Erik Ehn. I am mad excited to start something from silence and without any preconceived play ideas.

And then in the fall I am going on a pilgrimage to Berlin for a week, and I want to wrap a play around that. My basic impulse is to write something about some expat US Army employees on vacation in Berlin. So we’ll see how that goes. Vacation behavior is much more interesting to me than living room behavior.

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

A:  When I was a little girl, I was sick all the time in the hospital and I day dreamed a lot in the forest by the castle ruins where the men yodeled and my uncle’s dog attacked me so my uncle died of leukemia and my parents divorced and I read a lot of feminist theory and at times thought I was descended from royalty until that was a lie but we lost my toy poodle out there and I read the Brothers Karamazov and so I had to get 200 stitches.

Also-
I was a painter for a while
Until I was in a strange situation where I couldn’t get my paints
Due to the customs office and some lies here and there
And so I listened to things instead
And became a writer.

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

A:  I think it is a huge problem that theatre actors have a union but playwrights just have a guild (lovely as that guild may be). On a practical level we’re just not on the same economic playing field. The number of characters we write is directly influenced by the expenses imposed on us by equity -- which means fewer actors in plays, fewer roles for actors, and smaller stories. I’m not sure anyone’s winning here. I think there should really be a way to make it possible for playwrights to have a union without taking away their copyright on their material. Or else the actors’ union needs to compromise more, at the very least on the off-off-Broadway level; they’re making it harder and more expensive than it should be to play around and experiment.

Q:  Who are or were your theatrical heroes?

A:  Pinter. Albee. Churchill. Orton. Tessa LaNeve.

Q:  What kind of theater excites you?

A:  I enjoy plays in which you are pitched somewhere between hilarity and despair, and sometimes don’t know the difference between the two.

I also enjoy all other plays, if they surprise me.

I love it when plays become huge cross-disciplinary collaborations between visual artists and musicians and dancers and writers.

I rarely enjoy new plays about middle-aged married couples being angry, unless they are angry about something strange and exciting and unrelated to their marriage.

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

A:  I will share some advice given to me by others.

New York City is the place to be, if you have a little money and you want to be free.

- homeless man on the street

It will never be harder than in the beginning.

- Mac Wellman

Q:  Plugs, please:

A:  Reading of THE GREEN, directed by Glynis Rigsby: August 22 @ 12 PM, 59E59 Theater, FREE but RSVP to espa@primarystages.org AND why stop there when you can come see all four plays in the reading series:
http://www.primarystages.org/sites/default/files/ESPA%20Drills.pdf