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Oct 21, 2016

I Interview Playwrights Part 886: Elise Marenson



Elise Marenson

Hometown: New York, NY

Current Town: New York, NY

Q:  Tell me about your upcoming show.

A:  I wrote Wide Blossoms spontaneously, from anger and frustration having watched people left to die after Hurricane Katrina just because they were poor and black.

Wide Blossoms takes place one evening at a Baton Rouge bar, shortly after Hurricane Katrina. James, a young lawyer drinking perhaps to numb a guilty conscience, is from a biracial family but passes for white. He is about to leave when a mysterious young African American woman appears, disheveled and disoriented. She drops phrases and poems that haunt him. James, why didn’t you bring the boat? Mari asks. He insists that he doesn’t know her. But Mari persists. The storm left her with nothing but the poems of her grandpa who drowned in the flooding waters. As the bar nears closing time, James learns that the grandfather he never knew perished in the storm, because he did nothing to rescue him. Mari forces him to come out of denial, face the past, and take a first step at looking after someone other than himself. This night, James gets a second chance at redemption.

Q:  What else are you working on now?

A:  I wrote a prequel to Wide Blossoms, a full length play called American Flamingos, that takes place that same night in the bar with the young lawyer and the bartender and other characters who come and go. It is about the state of America in the 2000s and deals with other issues. I want to see American Flamingos through to production. I also recently wrote a full length play, a family drama called Comfort Zones, that I hope will take the steps towards a production. I’ve written several screenplays that I am pitching. I sold a script last year to a producer who is working on getting the financing. And I wrote a pilot for a TV crime series that is in development.

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 lived in Paris and Geneva in my teens and twenties, what I call my formative years because it influenced my thinking. Being bilingual with French, having international friends, traveling extensively as a child opened the world to me. French films influenced the way I write my character driven screenplays, the ones dearest to me. And going to London every year when I was a kid, seeing theater there with the great actors of the time made me want to be an actor.

I was an actor first. I’d never thought of myself as a writer, never dreamed of doing anything but acting. One day, a postcard addressed to someone else was delivered by mistake to my mailbox. I think it was from the IFP. It advertised a screenwriting workshop. It hit me like a mysterious message from a Higher Power. I didn’t take the course, but I wrote a screenplay and realized that writing was my true calling.

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

A:  I’d want to see real, lifelike behavior onstage, pardon the expression but acting like in a film, a return to the level of Brando and his generation. It’s unfair to lay this on contemporary American theater as a whole because I’ve seen some wonderful productions in the past few years. But there is also a lot of sitcom acting on stage, cue to cue, without actors listening and reacting to each other truthfully.

Q:  Who are or were your theatrical heroes?

A:  My favorite American playwright is Tennessee Williams. British playwrights: John Osborne, Tom Stoppard, Peter Nichols. There’s that British influence again.

Q:  What kind of theater excites you?

A:  Theater that moves me because the characters, no matter the setting and circumstances of the play, experience life just like you and me. I think there is also a need for American contemporary theater to tackle cultural/social/political issues because there is no other popular art forum that has the freedom to be courageous.

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

A:  Write from your heart, write about what interests and moves you. Write from your gut. Don’t try to fit into what you think is trendy or commercial.

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Oct 18, 2016

I Interview Playwrights Part 885: Bernardo Cubría






Bernardo Cubría

Hometown: Mexico City/Houston

Current Town: Los Angeles

Q:  Tell me about your upcoming show.

A:  The Judgment of Fools is by far the "craziest" piece I've written. It comes from the Commedia training I did in Italy, and my obsession with clowning and with the interaction Shakespeare's clowns had with the Groundlings. I wrote the first draft drunk after seeing The Freak Show in Coney Island about three years ago. I was in awe of that show. I had never sat in a theatre where it was so clear how much disdain the performers had for the audience. They kept openly mocking us. They were clearly saying, "sure I shove a fucking sword down my throat but look at you in your "I Heart NY" shirt you fat loser". I mean, not exactly like that but...basically.

So I went home and started thinking about how much disdain I felt for New York Theatre Audiences. It felt so elitists, so classist. The crossed armed, finger on the temple, refusing to laugh at a fart joke even though fart jokes are as funny as any obscure political reference that you pretend to chuckle at will ever be! Yeah...I was frustrated. And I hate the lack of diversity in the seats of New York. And in that beautiful writing moment where you are drunk enough and inspired enough to truly believe that the play you are about to write will single handedly change the make up of Theatre Audiences around the world, in that AWESOME moment, I wrote the first draft.

So that was the starting point. The first draft was an angry, crazy, and experimental clown show.
Since then and through the help of many amazing artists it has changed drastically.

I had a workshop in New York through Inviolet Theatre, than a co-production with Inviolet and INTAR. Then a full production in Los Angeles with Ammunition Theatre Company and now another full production in Houston with Horse Head Theatre Company. Since the show is interactive, it has also grown thanks to the audiences. It's cool to see how different audiences are in New York versus Los Angeles and I'm excited to see what Houston will be like.

Now I hope the play is less angry and more in the vein of Augusto Boal's Theatre of The Oppressed. The play is about how silly it is that we judge other people for the things they do. An example: there is a scene where you watch two lovers at a doorway and as the scene progresses our main "Fool" gives you more background on the two lovers. The audience is asked to begin booing once they find what the lovers are doing not to be, "up to the standards of human decency that they have created in their own heads". On its best nights, the play feels like a bonding exercise between audience members and performers where the conversation follows them to a nearby bar. On its worst nights, people don't like interactive shows and make "ew" faces.

Q:  What else are you working on now?

A:  My newest play is Neighbors. And if I can say this, I love this play. This began with me writing a play with a character called Mexico and one called USA. They were neighbors and their lands were split up by a creek. Since then, and again thanks to so many artists, the play has grown.

Now the play is a Satire about US and Mexico. It uses stereotypes to get to the heart of what I believe to be the reason for all of the turmoil along the border. Pinche Capitalism. It ruins everything. So now we have Jose and Joe sharing land. And I hope they are two real three dimensional beings just trying to survive in a world where industry is given priority over human connection. I have another week long workshop in L.A. this November at The Blank Theatre. And my dream is that this play gets a big production. And that Donald Trump sits in the front row and as the play progresses he realizes all he's done and starts crying. And then he gets up, calls a press conference and apologizes to Mexico. Finally he turns to me, I reach out my arms to hug him and as he approaches, while whispering, "lo siento Berni", at the last second I "pants" him. So Oskar Eustis...should I email you the play directly or just slide into your DMs on Twitter?

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 mom's father was great man. Octaviano Cabrera. He came from extreme poverty. His father committed suicide when he was very young and yet he somehow managed to become a doctor in Mexico and raise a wonderful family. He was an example of what a single human can achieve in one lifetime. And I have all these wonderful memories of spending summers in Mexico with him. We would sit around the dinner table talking for hours. And when we were all eating desert he would tell jokes. He had an infinite knowledge of jokes. They were so funny. And he seemed so magical to me. How he could just make everyone laugh over and over again. I miss the hell out of him. He taught me that funny was better than bitter. And in my worst moments, I try and remember that lesson.

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

A:  The Audience. I hate the make-up of theatre audiences in this country. We HAVE to change it.

A quick story: So my play Neighbors, which I hope someone will produce (wink wink), had a workshop at the wonderful Two River Theatre in RedBank, New Jersey. The superb team at Two River commissioned me to translate the play into Spanish. They did two readings of my play. One in in English and one in Spanish.

Red Bank is a town in Jersey that has a very large immigrant population. And most of these people have never been to a theatre. The day before my reading, my younger brother and I went door to door and asked people to come. I told them why I wrote the play, why it was in Spanish and why it was free of charge. I had no idea if these people would come to a big building that seems like a place only "others" go to. But they did. And, if I may say, they loved the play. I sat in that theatre so fucking happy that finally I got to do my play in my home stadium. Because, in my opinion, any writer who doesn't come from a "classic American" background is always playing an away game in American theatre. And yes, a great team wins on the road, but at some point wouldn't it be nice to play for a home crowd? So for that night, in my stadium. I felt so fucking happy.

Let's get those people in the building.

Q:  Who are or were your theatrical heroes?

A:  A bunch. Sorry but here we go:

Mando Alavardo, Jerry Ruiz, Stephanie Ybarra, Lou Moreno, Jorge Cordova, JJ Perez, Ed Cardona, John Concado, Juan Villa, Gerry Rodriguez, Michael Escamilla, Kristoffer Diaz, Sean Daniels, Felix Solis, Liza Fernandez, Fernanda Coppel, Tanya Saracho, Caridad Svich, Alex Beech, everyone in Inviolet Theater, everyone in Ammunition Theatre, Lucas Caleb Rooney, Mark Cirnigliaro, Bixby Elliot, Megan Hart, Zabryna Guevara, Migdalia Cruz, Matt Olmos, Maggie Boffil, Florencia Lozano, Raul Castillo, Emma Ramos, Audrey Esparza, Matt Citron, David Ryan Smith, Flor De Liz Perez, and so many more!

Q:  What kind of theater excites you?

A:  I love all theatre. So this will sound weird. I know the future is bright because of theatre twitter. There are so many smart, passionate people out there fighting the good fight for our art form. Example: follow Kristoffer Diaz on Twitter and tell me you don't have hope for this art form.
#tryingtosoundyoungandhip

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

A:  Hang out with people you love making shit with. And get in a room, any room and create. Your community is everything in this art form. Just say yes, make and repeat.

Q:  Plugs, please:

A:  Houston! Come see The Judgment of Fools

link for tickets here: THE JUDGMENT OF FOOLS

Los Angeles come and see the workshop of Neighbors at The Blank Theater!Living Room Series

Last I do a theatre podcast and I just had Stephen Adly Guirgis on and even Adam Szymkowicz!:
Off and On: A New York Theatre podcast by Unknown on iTunes

oh and I'm on Twitter. Mostly making fun of Trump Supporters@bernardocubria

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Oct 16, 2016

I Interview Playwrights Part 884: Jim Knable



Jim Knable

Hometown: Sacramento, CA

Current Town: Brooklyn, NY

Q:  What are you working on now?

A:  I just finished a first draft of a play about Thornton Wilder’s writing of his first novel when he was nearly 30 and “stuck in the quicksand of teaching.” It shows how he discovered his voice as an artist and is also a sort of adaptation of the novel itself with characters in his life morphing into characters in the book’s episodic chapters. Meanwhile, I’m diving back into a slightly older play called The Reverend’s Daughter, about Civil War era college roommates from the North and South, based on a true story about a group of Southern students at Yale who raised a flag of secession on the college chapel spire. I’ve also got a TV pilot that I’m working on inspired by actress Amanda Quaid’s day job of teaching immigrants how to lose their accents. I continually return to other plays that I’ve written in the last ten years that haven’t received productions and/or been published yet.

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 7 and my second grade teacher called my name for roll the first day, I answered her by saying, “I prefer to be called Jim.” Jim wasn’t my given name, or even a legitimate nickname variation on James (no variation of “James” is in my legal name). Weirdly, Mrs. Yee, every subsequent teacher, my parents, my grandparents, all the rest of my relatives, my friends, and then, loosely speaking, the world agreed to call me Jim. I’ve heard 7 is a typical age for such attempts at name changes. Mine stuck. It was my first act of friendly defiance that explains not only why I still go by Jim to everyone except for the government, but also why I became a writer. I wrote “Jim” into my identity.

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

A:  It would be spelled “theatre” consistently. I’m not an Anglophile, but there’s something nice about how the word looks when it’s spelled that way and, in this country, it distinguishes it from the movie theater. Also, I want all my plays to be produced and to be suddenly understood by all critics.

Q:  Who are or were your theatrical heroes?

A:  When I was about 5, my mom brought me along to a city college acting class she was taking. Students were taking turns standing in front of the class and “making themselves vulnerable.” One man very calmly stripped off all of his clothes. I still remember the joy with which he pulled off his socks to fling them into the audience and the applause he received for it. He has been heroic to me ever since, even though I now think that getting naked in acting class is a little obvious. As for playwrights who influence me, Sam Shepard always has and always will. I emulate him in the way his characters’ speak in constant spirals towards a painfully indefinite center. When I was much younger, I imitated Mamet’s economy, too, though I have mixed feelings about him personally. I studied Arthur Miller, Eugene O’Neill, and Tennessee Williams, and felt their structural influence though none of them ever read one of my plays and Edward Albee did. He even wrote me a nice letter about it, which I photocopied and used to get into college. I like Edward Albee’s plays. I think Three Tall Women is the best Beckett play Albee wrote—which I mean as a sincere compliment to both writers. I also like Maria Irene Fornes, Caryl Churchill, and Suzanne Lori-Parks a lot and think of them as heroes because they manage to be precise yet lyrical with their power and style, and they take exciting risks that often pay off. I think of Tony Kushner as a hero, not just for Angels in America, but because he’s a great teacher of Brecht and an astute political speaker. I love Wallace Shawn. I got to sit next to him completely by accident, watching Mandy Patinkin in Rinne Groff’s play Compulsion at the Public. It was like My Dinner with Andre at the Princess Bride Reunion about Anne Frank. I still try to engage people in conversations like Wallace Shawn after that experience. He’s a great listener. It’s all in the head-tilt. I had a dream once in which I had to list my theatrical heroes and I talked about all those people above… and Schikaneder. I woke up wondering who “Schikaneder” was. Then I remembered. Emanuel Schikaneder wrote the libretto for Mozart’s Magic Flute. Papageno? The Queen of the Night? Zu hilfe, zu hilfe! He’s an unsung hero. Strike that. He is sung. Mozart just gets all the credit. Let’s hear it for the librettist!

Q:  What kind of theater excites you?

A:  I am excited by overtly theatrical adult theatre in which characters manage to be both human and godlike. I like children’s theatre that isn’t condescending. Theatre presents an opportunity to be in an utterly unique relationship with living human beings, who are enacting a rehearsed ritual that is constantly adjusting depending on the audience, but it isn’t a religious rite, or a speech, or a presentation; it is a reflection of life itself as we live it, however distorted that reflection or disjointed our lives. I like theatre that takes full advantage of this opportunity.

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

A:  Don’t get too comfortable.
Take breaks when you’re tired.
Listen to people talking as much as possible. If you don’t enjoy that, don’t write plays. If you do, try to be anywhere near as amazing as that—and I don’t necessarily mean write naturalistically, just be true to the music of human speech in its essence.

Q:  Plugs, please:

A:  The Reverend’s Daughter has a staged reading coming up December 15 at Judson Memorial Church for their Magic Time series, directed by Rosemary Andress. Another play of mine, which shall be named when I decide which one to do, will have a staged reading through the Writers Theatre of New Jersey in their Soundings Reading Series at Fairleigh Dickenson University in January. Master Wilder and the Cabala will have a workshop and staged reading at the University of Illinois Urbana-Champaign this April with Henry Wishcamper directing. I also write and sing songs. Right now the fanciest recordings of those songs are available on the albums I made with my band The Randy Bandits, which can be found on iTunes, Spotify, YouTube, Amazon, and so on. Lately, I’ve been writing and singing songs as “The Jewbadour” for Tablet Magazine’s Unorthodox Podcast and I will be featured soon on the Ecumenical “Mockingcast” this November, talking about plays and singing songs. Speaking of podcasts, check out the recording of my play The Curse of Atreus on http://www.12peerstheater.org/modern-myths-podcast. And may I also recommend my tribute to Leonard Cohen at http://www.tabletmag.com/scroll/213694/to-be-leonard-cohen.


Plays by Jim


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Oct 14, 2016

I Interview Playwrights Part 883: Jess Barbagallo



Jess Barbagallo

Hometown: Cato, New York

Current Town: Brooklyn, New York

Q:  Tell me about your upcoming show.

A:  My Old Man (and Other Stories) is a collection of short stories-as-play. The form emerged really organically. I was trying to figure out this notion of beginning-middle-end so that I might be able to look at my work more discretely, as I find it near impossible to end things - artworks, jobs, relationships. Looking at other people's plays was too daunting a model to understand what should be a really simple structure! I get caught up in the bells and whistles of plot intricacy, somebody else's good idea, somebody else's bad idea. But in the short story, which over the last year has so moved and comforted me in my most lonely moments, I could see this attainable form, rooted in language and character. So I started writing individual scenes that I believed could be complete works on their own and these scenes generated characters that became like a roster and then a family. The family in my play is a group of isolated individuals unified loosely by real estate, but really by contrarian spirit, as each one of them is sort of incapable of sustained connection with another human being.

Q:  What else are you working on now?

A:  Well, this play is still running so there is a work that comes with that. A few nights ago I began rewriting this play, My Old Man ..., under the title Nobody's Euphemism (by Dick Foreman). Since we opened last weekend, I've had all this excess energy and have already begun asking the hard "next" questions, like what is my work doing in the world, what am I pushing against, etc. I found myself reading some academic writing on Richard Foreman for a class I was teaching, getting swept up in his specific experiments and the complete originality with which he laid open his mind for others to witness. I mean, I find some of his interpretation of Freud to be simplistic or sort of over-invested in the fetishization of the female form, but on the whole his work has always shown such bravery. I crave that discourse, which in many ways I feel is dead in our field, or at the very least, languishing.

My life is turning more toward acting in December, but I begin work with this new writer's group hosted by Clubbed Thumb in just a couple weeks. It will be nice to have deadlines and a little fire under my ass.

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

A:  Oh, man. I'm sort of terrified of the anecdotal because I think I am actually a very average storyteller, by conventional standards of what makes a good story. (I think I address this in My Old Man, actually.) When I was a kid, I had some intense inclinations toward religiosity, being raised Catholic. After school, my mom would have no idea where I'd run off to because I was in the backyard communing with milkweed or pussy willows. I know I'm naming the plant wrong, but I would sort of set intentions on plants and I believed that those intentions were gifts for God or at the very least sacred communications. I also went through a period of time where I slept on the floor beside my bed as a kind of penance. As a child I was interested in purity and perfection as virtues. I didn't have the attention span to really live up to these aspirations, but they were on my mind. Devotion is on my mind to this day. I love very hard - people and art.

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

A:  Capitalism? The commodification of theater and then the commodifications that ensue are just a big, fat problem. You know, the competition in New York is supposed to make us all better and in certain ways it does. I mean, I might be less rigorous if I had other sensual things compelling me away from the art task. But for me, the product-oriented nature of artmaking is just so yucky. Actors are valued as names and aesthetics become brands. This is very dangerous because it calls for the packaging of beauty and wildness, calcifying these elements into practices that become known quantities. Very little room for risk or growth in this paradigm.

Q:  Who are or were your theatrical heroes?

A:  In high school, the basics: Albee, Williams, Shakespeare. In college: Richard Maxwell, Karen Finley, Mike Leigh, Big Dance Theater, Fleetwood Mac (they are Pure Theater). In my adult life, it is harder for me to use the word hero, but I'll try to make myself a little vulnerable. Taylor Mac's latest work is certainly heroic. Faye Driscoll is deeply talented, Roseanne Spradlin. Ann Liv Young is always exciting, even when dull. The way that Brooke O'Harra and Tina Satter carry themselves as artists in this world, they are role models to me, uncompromising people of vision. Mike Kelley was a theatrical genius. Last summer I worked with Jeff Weiss, creator of the downtown serial And That's How The Rent Gets Paid, a complete inspiration. Elizabeth LeCompte makes stunning stage compositions of great elegance, if I do not always agree with or condone her dramaturgy. It's tricky, the mix of ethics, morality, freedom and vision that come together to form an artist. Rainer Werner Fassbinder was always searching for that elusive freedom - the part of the stew that comes hardest to me - and in my mind, he is the most towering artist of the 20th century.

Q:  What kind of theater excites you?

A:  A theater of listening. It's surprisingly rare. I think listening is scary because you might not always like what you hear or you might be greeted by silence or your own not knowing. An example of great listening was a music show I saw at The Stone recently featuring Jen Shyu. My friend Katie, a great theater director, laughed at me when I described to her how the musicians listened to each other; her husband is a jazz guitarist so she is a little more jaded around this concept. But there were like six people at this show! And yet the musicians were still so committed to each other, to the audience and to the music. Great focus, great integrity, very powerful.

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

A:  Well, a lot of people think I am just starting out! Even though I've been making original work and sharing it for a decade. I don't have good professional advice to give. Everyone's path is super different and I know from conversations with my peers that I don't want the stuff other playwrights want. But I would say, don't compromise your vision by working with people you don't trust or people who don't inspire passion in you. It's not just about talent, it's about identifying who you want to share intimacy with. I think this goes for every aspect of making theater, from the content of your work to the audience you wish to cultivate. Be specific about your intentions and increase your chances of being satisfied. That's my little art mantra today.

Q:  Plugs, please:

A:  Come see My Old Man (and Other Stories) at Dixon Place on October 14, 15, 21 and 22 at 7:30 PM!

http://dixonplace.org/performances/my-old-man-and-other-stories/

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Oct 13, 2016

Upcoming Productions of My Plays





PRODUCTIONS

Marian or The True Tale of Robin Hood

Production #1 of Marian
Flux Theater Ensemble
The New Ohio, NYC
(This play was commissioned by Flux as part of Flux Forward)
Opens January 2017


Production #1 of Rare Birds
Red Fern Theater
14th Street Theater, NYC
March 23-April 9, 2017

Nerve

Production #19 of Nerve
Mpip Theatre. 
Athens, Greece.
November 7 to December 13, 2016.

Clown Bar

Production #19 of Clown Bar
Ridgewater College
Willmar, MN
Opens November 17, 2016.

Production #20 of Clown Bar
Oklahoma City University
Oklahoma City, OK
Opens March 2, 2017.

Production #21 of Clown Bar
Corn Productions
Chicago, IL
Opens May 12, 2017.

Hearts Like Fists

Production #30 of Hearts Like Fists
Excelsia College
Sydney, Australia
Opens October 27, 2016


Production #31 of Hearts Like Fists
Keizer Homegrown Theater
Keizer, OR
Opens May 4, 2017

7 Ways to Say I Love You 
(a night of short plays)

Production #6 of 7 Ways To Say I Love You
North Montgomery High School
Crawfordsville, IN
Opens October 27, 2016.

Production #7 of 7 Ways To Say I Love You
East Mecklenburg High School
Charlotte, NC
Opens December 1, 2016

Production #8 of 7 Ways To Say I Love You
Ohio State University
Columbus, OH
Opens Feb 8, 2017


The Adventures of Super Margaret

Production #3 of Super Margaret
Franklin ISD
Franklin, TX
Opens October 11, 2016.

Production #4 of Super Margaret
Lourdes Central Catholic Schools
Nebraska City, NE
Opens November 13, 2016

Production #5 of Super Margaret
United Activities Unlimited
Staten Island, NY
Opens March 1, 2017


PUBLISHED PLAYS

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Oct 12, 2016

I Interview Playwrights Part 882: Andy Bragen




Andy Bragen

Hometown: New York City

Current Town: New York City

Q:  Tell me about Don't You F**king Say a Word.

A:  Loosely based on an actual incident, the title is a quote from me, a time when my inner eight year old emerged. DYFSAW is a four-character comedy about two middle-aged men who come to blows at the end of a long tennis match. The play is told from the perspective of the two men’s girlfriends, who try to make sense of the incident, and to figure out who these men are, and why they love them. The play, set on and off the crumbling public tennis courts on Manhattan’s Lower East Side, uses tennis as a lens to explore deeper questions about love, friendship and competition. We’re about to enter rehearsals and begin performances at 59e59 Theaters on November 4th, running through December 4th.

Q:  What else are you working on now?

A:  I’m excited about a new play, “Monster”, loosely inspired by “Beowulf”, set in a small town that’s been consumed by a big box store, have a workshop of that piece upcoming at New Dramatists in January. Primarily, I’m focused on building my new theatre company, Andy Bragen Theatre Projects. I hope, through my work, and through advocacy, to make a strong case for the value and importance of writer-led companies.

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

A:  It’s less story than a sense of place. I’ve spent my entire life on the Lower East Side, living just across the street from the apartment I grew up in. I have a young daughter, and go to the same playgrounds that I went to as a small child. The Lower East Side/East Village has changed immensely since my early childhood in the 1970’s, and yet there is also, for those of us who have remained, a great deal of continuity. The evolution of the neighborhood, its shifting communities, my own personal history there – these have been significant themes in my work over the years.

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

A:  I remain deeply inspired by the work of companies like 13P, and those that have followed in their path. I feel like we theatre artists (playwrights, directors, actors, etc.) can and should take the lead, and find ways to present our work individually or collectively. Part of the challenge of this is about money - foundations are inclined to provided funding for established organizations over emerging nonprofits. Often grant-seeking organizations are required to have a number of years of programming under their belt before they will even be considered. Part of it also about our mindset as artists. Can we, and I’m talking primarily about playwrights, take more responsibility for the presentation of our own work? Can we take the initiative, as opposed to waiting for someone to select us? Personally, I have found this path to be deeply empowering and satisfying. It’s hard, but it’s worth it.

Q:  Who are or were your theatrical heroes?

A:  Eugene Ionesco, for his antic playfulness, moral compass, and imagination. Sarah Ruhl for her mind, language, and deep theatricality. Many others, but those two stand out because they are both interested in transformation (be it from man to rhinoceros, or woman to almond), which I find interesting and important. Wallace Shawn.

Q:  What kind of theater excites you?

A:  Plays that shift my sense of time. Daniel Fish’ work comes immediately to mind. And there was that amazing Mnouchkine piece a few years back, “Les Ephémères”, which I’m still thinking about. Just about everything I’ve seen by Wallace Shawn. “Grasses of a Thousand Colors” – wow!

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

A:  Write, write, write. Read, read, read. Find your collaborators, and produce your own work. Focus on creation and production, as opposed to career. Be generous and kind toward your colleagues. Everyone is working hard, and loves the field, wants the best. It’s hard to make theatre, so we need to support each other.

Q:  Plugs, please:

A:  A plug for all of the actors fighting for a living wage off-Broadway; #fairwageonstage. As writers we owe them support, and solidarity.

Plays by Andy




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