Adam Szymkowicz

Zack Calhoon

Hometown: Salem, Oregon

Current Town: New York City

Q: Tell me about RINO.

A: RINO is a new play that is getting produced in association with Core Creative Productions and Resonance Ensemble which will be part of the Brick Theater’s Democracy Festival this June. In 2010, Resonance Ensemble commissioned me to write a play that was inspired by Henry IV, Part 1. RINO explores several themes: What does it mean to be a citizen? How far is a person willing to go to achieve their goals? The term RINO (Republican in Name Only) is actually a slur within the party proper, referring to someone who does not pass the purity test as a conservative. Shakespeare’s play Henriad takes place during an English Civil War. I decided to write a comedy that would explore the civil war being waged within the Republican party. I also thought that trying to write a modern day equivalent of Falstaff (one of the most complex characters in Shakespeare’s canon next to Hamlet) was a fool’s errand, so the leads in my play are women.

When the play begins, Senator Henry Harrison has just won the Utah Primary, clinching the Republican nomination for President only to discover that the tabloids are broadcasting footage of his party-girl daughter, Halley and her entourage (including the larger than life Isabella Castellucci) in a state of intoxication. Harrison’s campaign staff (and the GOP at large) are waging a civil war for the identity and soul of the party’s future.

The play will go up right before the Republican National Convention, and like the GOP primaries, it is a rip-roaring farce and will be a lot of fun to watch.

Q: What else are you working on now?

A: I am working on a new play commission for Rising Phoenix Rep, and I am about to begin rehearsals to play the title role in Boomerang Theatre’s upcoming production of HAMLET.

Q: Tell me about Visible Soul and People You Should Know.

A: I started my blog, when I was doing SUBURBAN PEEPSHOW with Nosedive Productions. It seemed like something all the cool theatre geeks were doing. Then over the years, my opinions about theatre and our community have evolved.

I’ve always been a huge fan of autobiographies written by actors, writers, directors, etc., and often lamented the sycophantic tone of the show Inside The Actors Studio. I’d have to say Howard Sherman is one of the best theatre interviewers there is on the planet. I listen to his interviews on the American Theatre Wing’s Downstage Center podcast all the time. He always manages to get his subjects to share insight, anecdotes and secrets about their craft. I wish he was still doing them. Anyway, one day, I started my little feature, People You Should Know. The only thought that occurred to me when I posted the first interview was, “Maybe I could pimp a few of my friends so that people might cast them.” This segment like the rest of the blog, evolved into something very different. Now, these interviews are read all over the world, and I am able to showcase the work of hundreds of different kinds of artists every month.

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 in third grade I attended the closing performances of a public summer theatre program called Children’s Educational Theater in Salem, Oregon. I came home to my mother and told her that I might like to enroll in the program the following year. Since she was a single parent, she thought it solved having me running around all summer unsupervised.

C.E.T. was a very popular program and also very difficult to get into. My mom stayed up all night standing outside in the cold so that she could register me for the program. Thankfully, I got in. After the five-week program ended, I decided then and there that I wanted to be an actor. With a withered smile, my mother said, “Okay, but you’re going to be an educated one.” From then on, I had her encouragement and support - taking dance and singing lessons, you name it.

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

A: I would encourage producing organizations to do more than “take chances” on established and recognized talent.

Q: Who are or were your theatrical heroes?

A: Sir Antony Sher, Mark Rylance, Harold Pinter, Joe Penhall, Eugene O’Neill, Daniel Talbott, Sam McMurray, Sarah Kane, Kathleen Chalfant, Buzz Goodbody, Derek Jacobi, Kenneth Branagh, Samuel Beckett, and Susan Ferrara.

Q: What kind of theater excites you?

A: Theatre that makes me lean forward in my seat. Theatre that avoids being precious. I love theatre that is visceral, honest, and personal.

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

A: Read everything you again: plays, novels, teleplays, and especially the news. Have opinions about things. Healthy addiction to reading will help any writer. Try to write everyday. Even if that means journaling. See everything you can. Take everything in.

Q: Plugs, please:

A:

HAMLET: http://www.boomerangtheatre.org/boom/show.php?id=80

RINO: http://zackcalhoon.blogspot.com/2012/05/come-see-rino-this-summer-at-brick.html

May 11, 2012

Long Live 13P

The thirteenth play from 13P is going to go up soon (a new play by Sarah Ruhl). Now 13P has said that after that play they will cease to exist which is both sad and kind of spectacular. They have been an amazing force in New York theater and I can only hope another group of playwrights decides to harness their own collective energy to self produce the way 13P has. I'm waiting to find out who that would be.

My question to you is, if you were creating your own band of super playwrights, who would be your 13 playwrights (or 14 or 15)?

May 9, 2012

I Interview Playwrights Part 449: Jennie Contuzzi

Jennie Contuzzi

Hometown: Belle Mead, NJ

Current Town: Astoria, NY

Q: What are you working on now?

A: A play I've been working on for nearly three years, BODY LANGUAGE, has just gone into rehearsal, so I've been spending a lot of time getting that script into the best place it can be. I'm also trying to get my head around a new play where the main character journeys to a commune to try and escape her problems, only to discover the key to healing is to face herself and her past. I actually traveled out to a Nevada commune last summer with a friend to do some research and it was really fascinating-nothing at all like what I expected.

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

A: Writer's groups, readings, and workshops are all wonderful tools for a writer, but I don't think you can really know your play until you see it in production. Financial constraints really limit the amount of risk theater companies can take on new writers, and I know many talented people who have had reading after reading all over the country and still have not had an actual production. The reason BODY LANGUAGE is being produced right now is because The Active Theater, and especially artistic director Nathaniel Shaw, took a real risk on an unknown writer (me). I had absolutely no connection to the group until Nathaniel read a skeletal version of the play, saw something in it that he liked, and made a commitment to it. When I say skeletal, I really mean it-I think the draft he read was about 1/4 the size of what it is now. And yes, we spent a lot time developing the play, but it was always, from the first meeting, with the understanding that if I did the work, the play would be produced. It makes a huge difference, knowing someone is interested in you in that way. There are other smaller companies who have a similar focus, but I'd love for bigger theaters to embrace new writers on their main stages. It's wonderful that these large companies sponsor writers groups and create programs for new writers, but when you look at what's actually being produced, and you notice there's no overlap between the work and writers they are "developing" and the work and writers they are producing, that's a problem.

Q: Who are or were your theatrical heroes?

A: I'm a big fan of the unsung heroes-the stage managers, techies, production managers, rehearsal studio staff, ushers, box office staff-the people who make the entire magical process run smoothly, efficiently, and comfortably for the rest of us-and who make our audiences feel comfortable so they can more fully absorb what we're trying to say. My professors at the New School for Drama-all professional people who choose to take time from their own writing schedules to help other writers find their voices. And Stephen Adly Guirgis. Love him.

Q: What kind of theater excites you?

A: The darker the better. I love Mark Schultz's work for that reason. I like really sparse, focused work as well. How much you can say without actually having to say anything.

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

A: Try not to compare your successes or failures to those of other writers you know. It's ultimately just a huge waste of energy. Focus on your own work and don't let the speed with which success comes to you be a measure of your talent or the potential longevity of your career.

Q: Plugs, please:

A: Did I mention the upcoming production of my play BODY LANGUAGE? It's dark, angsty, and occasionally very funny. May 25th-June 10th at the Workshop Theater. Please visit www.theactivetheater.com for more information about the play and this up-and-coming company of artists.

May 7, 2012

I Interview Playwrights Part 448: Monet Hurst-Mendoza

Monet Hurst-Mendoza

Hometown: Pasadena, CA

Current Town: Brooklyn, NY

Q: Tell me about Veil'd.

A: Veilʼd began as my undergraduate playwriting thesis at Marymount Manhattan College. During my fall semester I was lucky enough to stumble upon an article by Naomi Wolf in which she interviews Afghani women about their burqas. Two groups emerged: 1) women thoroughly opposed to wearing burqas, and 2) women who saw the burqa as a symbol of sexuality, protection, and empowerment. I thought the latter was an interesting viewpoint that I, as an American woman, had never been exposed to. Shortly after reading this, I was visiting my niece, Elle, in California. As a toddler she was diagnosed with Pervasive Developmental Disorder - Not Otherwise Specified (PDD-NOS), a condition on the Autism spectrum. Symptoms can include a range of complications, including difficulty socializing with others, repetitive behaviors, and heightened sensitivities to certain stimuli, etc. When Elle was very young, she had a particular aversion to being touched (that has since passed). She once told me that it felt “like fire” when I brushed against her arm; somehow this phrase always stuck with me. Every time I see my niece, I find myself looking at the world with new eyes because she sees everything so differently; everything about nature is precious to her and sheʼs always asking questions without provocation. It makes me wonder how we, as adults, lose that raw, honest instinct that we had as children. I wanted to explore these themes in Veilʼd, so I model a lot of my protagonist, Dima, after Elle and my thoughts on the article. As for the rest? Sharks, magical realism, Ebay, hipsters and fairy tales are all irrational obsessions that I have and refuse to answer for.

Since then, Veil'd has gone on receive various development opportunities from Rising Circle Theater Collective, The Kupferberg Center, |the claque|, and The Lark. It's been a very exciting process!

Q: What else are you working on now?

A: My friend, Karron Karr, and I are currently collaborating on a performance piece about online dating. We are interested in how it's changing the way we communicate, court; that it's essentially changing our culture. The piece will be multimedia, incorporating live actors, video, projection, and possibly even live feed on the internet. We are applying for a space grant for performance space some time in June, July or August. The space is a windowed storefront, so the performance will be free and accessible to everyone. If this goes well, we hope the piece will have a longer life in venues more equipped to deal with pieces dealing with technology.

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

A: One of my most defining childhood moments was the day I stopped believing in Peter Pan.

I was 4, and I was sitting on the top bunk of the Ikea bunk bed set my sister, Esprit, and I shared. Esprit and I were playing and at some point, she left me to go to the bathroom. In an effort to keep me safe (or trapped), she took the ladder off the bunk bed, so that I wouldn't fall. Big mistake. She must have found something else of interest because she was gone for a lot longer than she said she would be. I wanted to get down, but I couldn't.

At the time, I was obsessed with Mary Martin in the musical version of Peter Pan -- I even had a costume my mom made for me that I would wear all the time and refuse to take off! So, I figured, "think a happy thought" and I jumped off and landed head first on a chair, splitting my head open. I ran into the kitchen, blood rushing out, and I think my dad nearly fainted. 5 stitches. I just remember crying the entire car ride, not from the pain, but from the sheer fact that Peter Pan was a liar. And ever since then, I've been trying to find alternate ways to fly.

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

A: More women. More artists of color. More opportunities for "emerging" writers that are actually "emerging."

Q: Who are or were your theatrical heroes?

A: Oh gosh, there are so many. Sarah Kane, JoAnne Akalaitis, Deborah Warner, Naomi Iizuka, Young Jean Lee, Anne Bogart, Sarah Ruhl, Sheila Callaghan, Katori Hall, Paula Vogel, Lynn Nottage, Mac Wellman, Rollin Jones, Samuel Beckett, Jules Feiffer, Jean-Paul Sartre.... I could go on forever.

Q: What kind of theater excites you?

A: Variety excites me. I like seeing a-typical stories told from various perspectives. Subjects that make me want to laugh, cry, dry heave, clench my fists, and stand up & make something out of my life are always winners in my book. There are 4 specific theatrical experiences whose stories got to the core of me that I always bring up in conversation because I was so moved. They are, Crooked by Catherine Trieschmann at Women's Project, Iphigenia 2.0 by Chuck Mee at Signature Theatre, Blasted by Sarah Kane at Soho Rep, and Lear by Young Jean Lee, also at Soho Rep.

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

A: I myself am still starting out, but this is what has worked for me:

Find an artistic home with people who believe in your work -- friends, other artists, theatre company big wigs, anyone who is positive and loves to read/see your work. Support is so important to your well-being as an artist and a person. Theatre that you create in your living room is just as relevant and wonderful as packing a full house at Lincoln Center. See plays. Read plays. When opportunities rain, it pours; if it's been a dry season, you're not a failure. Try something new that scares you as a writer. Don't give up on yourself. Be persistent. Apply, apply, apply. Sooner or later, someone cool will read your play, love it, and ask you to be interviewed for their blog :)

Q: Plugs, please:

A: Veil'd is having a workshop with simple design elements at Queens College May 12 & 13th. It's directed by Nicole A. Watson and will be co-presented by Rising Circle Theater Collective and the Kupferberg Center for the Performing Arts. http://kupferbergcenter.org/veild.htm

I'm also co-producing the PlayRISE Summer Play Festival for Rising Circle Theater Collective at Theater Row June 6th-10th. It's a celebration for emerging writers of color who have gone through our 12-week play lab intensive, INKtank. This year we are presenting readings of plays by Matthew Paul Olmos, Kelly Zen-Yie Tsai, Susan Soon-He Stanton, and Raquel Almazan. www.risingcircle.org

I try to maintain a blog (and do podcasts!) here: www.angrypatrons.com

Adam Szymkowicz

Featured Post

1100 Playwright Interviews

May 12, 2012

450 Playwright Interviews (alphabetical)

450 Playwright Interviews

I Interview Playwrights Part 450: Zack Calhoon

May 11, 2012

Long Live 13P

May 9, 2012

I Interview Playwrights Part 449: Jennie Contuzzi

May 7, 2012

I Interview Playwrights Part 448: Monet Hurst-Mendoza

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