Adam Szymkowicz

Donnetta Grays

Hometown: Columbia, South Carolina

Current Town: Brooklyn, NY

Q: What are you working on now?

A: I am working on two plays of my own ‘The Review or How to Eat Your Opposition’ which is currently being developed as part of terraNova Collective’s Groundbreakers Playwrights Group and ‘Sam’ a play about an 11-year old girl (Sam) who is unexpectedly transplanted from her home in Georgia to NYC. It’s a coming of age story with several emotional stumbling blocks for this kid placed there by her very young and ill-equipped parents. I am also collaborating with some tremendously talented friends on a few of their own personal projects. I won’t go into detail but the work they are doing is gorgeous and I can’t wait for people to hear what’s being created in living rooms all over the city!

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 an extremely shy kid. Hardly spoke. Got picked on a good bit in middle school. In fact I call middle school “three years of my life I can’t get back.” Anyway my mother - always ready for a good story - would, everyday after school, ask her three kids about our day. Both my sisters were extremely articulate and damn near loquacious going into elaborate details about who did what to whom, at what time AND what they were wearing. I, on the other hand, would shrug and usually answer, “It was okay.” My mom would see through this though. She read my frown and furrowed brow and could tell something else was going on with me. So, one day she did this sort of miraculous thing where she wrote me a letter and left it on my bed for me to find. It read something like, “I know you are sad. I don't know why you are sad but I think it might be hard for you to talk about. I want you to know that I am here if you ever do feel like talking about it. And, you know, sometimes it’s easier to write your feelings down than to say them out loud. ” Etcetera etcetera tears tears tears... ANYway, it was this truly wonderful thing that I totally took advantage of and she and I started writing these little letters to each other where I would open up about all this kid angst and she would advise and console me. It was our little secret exchange and it cracked my heart wide open. And so, I guess I am still putting some form of kid angst on paper and trying to express those very complicated emotions that most of us would rather hold on to in private.

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

A: If a theater artist can’t afford to see a show then the ticket is too damn high.

Q: Who are or were your theatrical heroes?

A: Allison McNeely and Joy Vandervort-Cobb. My high school drama teacher and college mentor respectively. Allison taught me what theater was, how to love it and how to create it. Joy made me believe that I could actually do this for a living and nurtured that hunger in me from the moment we met. They were and still are gorgeous actors, directors and teachers. And I am not sure if they know this, but for as much as they taught me about my craft I spent just as much time watching them lead. Turning students into actors and crumpled scripts into productions. They knew how to take command in this way that elevated the work of those around them so I always has this sense that theater wasn't something that was created while I just sat back and watched. It was something that I could actually take the lead in creating.

Q: What kind of theater excites you?

A: A variety of things. Really it’s too much of a variety to go into but I will say if there is a foul-mouthed sexually confident but emotionally delicate woman of color involved I’ll probably be there watching that.

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

A: Please, I am still in the asking for advice stage. No comment...yet.

Q: Plugs, please:

A: 'The Review or How to Eat Your Opposition' will have a workshop presentation this spring along with plays by Lynn Rosen, Andrew Rosendorf, Jen Silverman, Susan Soon He Stanton & Anna Ziegler in terraNova Collective's Groundworks New Play Series. Check the website for details: www.terranovacollective.org/

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Posted by Adam Szymkowicz at 2/06/2013 12:41:00 PM 1 comment:

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Feb 5, 2013

Video: Interview with Nastaran Ahmadi

http://youtu.be/6aKiOW1d8ek

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Interview with Nastaran Ahmadi about playwriting, her lesbian theater company, and her upcoming show at the Cherry Lane. http://www.cherrylanetheatre.org/programs/mentor_project/

Previous playwright interview with Nastaran: http://aszym.blogspot.com/2012/06/i-interview-playwrights-part-462.html

Nastaran Ahmadi's plays include Molly's 25th (art.party.theater.company, 2012), Exile (Finalist, 2012 O'Neill Fest; Honorable Mention 2012 Jane Chambers Award), The Bet (Workshop in Oregon Shakespeare Festival's 2012 Black Swan Lab), Doctoring (Finalist, 2010 O'Neill Fest; Honorable Mention 2010 Jane Chambers Award), The War Is Over (Yale Cabaret, 2006), Strangers (The Ontological-Hysteric Theater 2009 "Incubator" Series), and Layla and Majnun (Carlotta Festival, 2006). Nastaran attended The Exchange's Orchard Project in June 2012 to develop her new play with original music, Rocket Song. Nastaran was a 2011-2012 Writing Fellow at The Playwrights Realm in NYC and a 2011-2012 Writer-in-Residence in Lower Manhattan Cultural Council's Workspace program. She received an Honorable Mention in 2010 for the Middle East America Distinguished Playwright Award. Nastaran is delighted to have been invited to serve on The Lark Play Development Center's Artistic Advisory Board for the 2012-2013 Season. Member Playwright: Lark Play Development Center (Monthly Meeting of the Minds, 2012/13). MFA: Yale School of Drama, Playwriting (ASCAP Cole Porter Prize). www.nastaranahmadi.com

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Posted by Adam Szymkowicz at 2/05/2013 12:15:00 PM 1 comment:

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Feb 4, 2013

listen to me talk for an hour

A podcast I did today at Off and On, A New York Theater podcast with Bernardo Cubria http://andscenepod.libsyn.com/rss

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I Interview Playwrights Part 549: Anupama Chandrasekhar

Anupama Chandrasekhar

Hometown: Chennai, India

Current Town: Chennai, India

Q: Tell me about Disconnect.

A: It’s about a bunch of young call center workers who work nights, sleep days, put on different personas and accents in order to collect debts of credit card holders in recessionary America. It’s about identity in a new India, globalization and our interconnected lives and economies. It’s about Indians in India who have stars and stripes in their eyes.

Q: What else are you working on now?

A: A new play called “Bay-Sea-Ocean”. Set in the southern-most tip of the country, where a bay, a sea and an ocean meet, it deals with the abandonment of the elderly. The question I’m trying to ask is this: What happens when a culture that has historically elevated the status of parents to higher than that of god is fast-tracked into a consumerist economy and the old family system crumbles? Whose responsibility is the care of the elderly then?

Q: What is the theater scene in India like?

A: Our early theater was primarily dance, music and mythological drama that successfully segued into the cinema in the last century. When cinema picked up, theater started to lose its luster. By the ‘90s, theater – especially urban theater - was struggling to be relevant.

Now, in Chennai, English language theater is mostly amateur. We don’t have state funding for it. Like small, fringe groups across the world, we have to scout for sponsors (who more often than not prefer comedies to issue-based plays). We rehearse on someone’s terrace weeknights or weekends depending on how lenient the actors’ employers are. We hire a theater for two days - if we have the money -- or for a day. The first day is tech, dress, preview and opening. Sometimes, the press covers the shows. In two days, the show is over. If we are lucky and have made some money, we can travel to another city with the show.

We Chennai-ites are envious of Mumbai and its theatrical spaces. A subsidized theater like Prithvi Theater in Mumbai ensures that small groups can put up their plays at regular intervals at a small cost. But if you ask a citizen of Mumbai, they’d look towards Marathi language theater (particularly of Pune) for their role model. Marathi theater is possibly the most vibrant and alive of all Indian regional theaters. They’ve a culture of grooming new writers and directors from the college level and there’s a large and supportive audience for it.

But things are definitely changing across the nation. There is a growing number of youngsters who are trying to make theater their full-time profession and who are trying to bring immediacy and relevance back to theater.

Q: What has it been like having your plays done in London and America?

A: I love it that my plays have life beyond the two shows that’s possible in Chennai. Entire runs, revivals, remounts – these are stuff that I’d never even dreamed of. Also, I come from a country where there’s no formal training available to playwrights. So, working professionally with cutting-edge theater practitioners has been a cherished, valuable masterclass in theater-making.

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 with my grandparents in Chennai (because I could not get admitted into a school in Mumbai where my father was working). Now, my great-grandparents lived with my grandparents. Whenever the various aunts, great aunts and cousins would visit us, it was a raucous little house filled with family stories. I was fascinated by these women and their gossip. At night, the living room would be cleared to accommodate many mats and mattresses and pillows and all the women would sleep there. I’d pretend to be asleep while avidly listening to them. These nights were amateur psychology sessions: why did Person A say that? Why did Person B do that? I’d learnt to keep my mouth shut about it and for years no one knew I was happily eavesdropping.

My mother discovered it by accident when I knew something about someone I oughtn’t to. She was naturally appalled that my grands were allowing this sort of behavior in a young person. But the damage was done. I was hooked to other people’s stories.

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

A: At least in the Indian context, I wish there is funding for serious theater that deals with regional or national concerns and more awards and opportunities for playwrights.

Q: Who are or were your theatrical heroes?

A: Indian playwright Mahesh Dattani – for first introducing me to theater and making me pay attention to the rhythms of Indian English.

British playwright Carl Miller and Royal Court Theater’s Elyse Dodgson and dramaturge Ruth Little for opening my mind to new forms and influences.

Indhu Rubasingham, now Artistic Director of Tricycle, who directed my plays “Free Outgoing” and “Disconnect” for the Royal Court – for making me look inward and tap the voice that was small, but all mine.

Playwright Caryl Churchil is forever experimenting with form and content. She is a writer who is eternally young and exciting.

Q: What kind of theater excites you?

A: Plays with social relevance, physical theater, children’s theater, plays that surprise me, plays that make me think for days together, plays that take me by the scruff of my neck and shake me up.

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

A: Read, watch, write, rewrite. There is no other way. And keep at it.

Q: Plugs, please:

A: Disconnect at Victory Gardens directed by Ann Filmer from Jan 25th to Feb 24th

Disconnect at San Jose Rep directed by Rick Lombardo from March 21st to April 14th

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