Adam Szymkowicz

Oct 25, 2021

I Interview Playwrights Part 1105: Francisco Mendoza

Francisco Mendoza

Hometown: Mendoza, Argentina

Current Town: Brooklyn, New York

Q: What are you working on now?

A: A couple of things! I’m taking a second pass at a TV pilot, a dramedy about the modern advertising world and the experience of being in the U.S. on a visa. In a couple of weeks, I’m taking a trip with a friend to write a movie about an artistic director who’s getting pushed out of her theater company. And my play Machine Learning just finished a run at Two River Theater’s Crossing Borders festivals, so I’m taking a couple of meetings for possible productions.

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 a big adventure junkie as a kid; I read soooo many pulpy books about jungle explorers and ancient civilizations. I remember one day playing in the yard and looking up seeing a branch of a neighbor’s tree poking out from our wall, and behind it, the Andes (which can be seen from anywhere in Mendoza). I got this deep longing, almost a sadness—and mind you, I’m 6 or 7 at this time—because there was a whole world out there that I wouldn’t be able to see if I stayed in my yard.

Then at 12, my family relocated to Brazil, and at 25, I moved to the U.S. At this point, I’ve lived in four different cities and traveled to four continents. I’m not exploring jungles or discovering ancient civilizations, but there’s definitely a bit of the explorer still in me...

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

A: Something that really annoys me is how much people can change their mind about my work based on what other people have said. The same script someone read a year ago and had no reactions to is now somehow better because it won an award? That makes no sense to me. I wish more people in literary/artistic positions trusted their own taste and made decisions based on the kind of work they want to program, not what’s “hot.” It’s like people are afraid to make a call either way for fear of making a mistake—this is art, there’s no way to turn it into math. Risk will always be a part of the equation, so stop being so afraid of it! There’s maybe three or four plays in the entire 2021-22 season that I actually wanna watch; the rest was programmed without any risk.

Q: Who are playwrights or plays you’re excited about right now?

A: Francisca Da Silveira; she’s a fellow at The Playwrights Realm, where I work, and her play non-for-profit is a hilarious takedown of that sector. I can’t wait to see it at a SummerWorks-like festival. Charlie O’Leary’s The Allies is a play that has really stayed with me, an exploration of what gay shame means after coming out of the closet—it’s funny and cruel in equal measure. Asiimwe Deborah Kawe’s Appointment With gOD, which The Realm showcased in its Beyond The Realm Festival; I’ve never seen anyone capture the feeling of applying for a U.S. visa with such accuracy or poetry.

This season I can’t wait to see Eric John Meyer’s Antelope Party (Dutch Kills at the Wild Project), Eliana Pipes’ DREAM HOU$E (The Alliance/Long Wharf/Center Stage), and John J. Caswell’s Man Cave (Page 73). I’ve seen/read them already and they are some of the most exciting theater going on right now.

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

A: I’d say learning to navigate asking for help but not depending on it. For the first few years, you are your own agent, publicist, lawyer, cheerleader. People in our industry are notoriously overwhelmed and mostly weary of new people, so don’t sit on the couch waiting for someone to fight your battles; go out there and give it your best. But you won’t get too far alone! I wouldn’t be anywhere without a few key champions who decided to take a chance on me. So make sure to ask for at least a sit-down, a coffee, some specific advice—the worst thing that happens is someone says no.

Q: Plugs, please:

A: Sign up for my newsletter! I send biweekly recommendations of things I love (as well as the odd short story), and I do include anything of mine that’s going up or has been published. Or you can follow me on Twitter if you wanna keep your inbox empty.

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Oct 22, 2021

I Interview Devisers: Mariah Freda

Photo Credit: Tiffany McCullough

Mariah Freda

Company: The Anthropologists

Role: Lead Deviser/Performer

Hometown: Sea Isle City, New Jersey (That’s all the way at the bottom. Yes, below Atlantic City)

Current Town: Bushwick, Brooklyn

Q: Tell me about "No Pants in Tucson" and your devising process:

A: As with many of the shows that I’ve devised with The Anthropologists, "No Pants in Tucson" was born out of an event that made this story necessary. The core company members had been toying with an idea of creating miniature dance pieces in response to a handful of state laws targeting women that remained on the books. Some of them were ridiculous: “No wearing a housecoat while driving in California” and others were more overtly dangerous: “No withdrawal of consent in North Carolina.” Just as we were sitting down to brainstorm, Brett Kavanaugh was nominated to the Supreme Court and suddenly it became a very real possibility that Roe v Wade would soon be under attack. The connection between some of these outdated ordinances, specifically one from Tucson Arizona in 1883 that prohibited women from wearing pants, and current legislation aiming to regulate bodies felt palpable, like an invisible string you could follow from corsets to heartbeat bills.

And so we set off to investigate that. Is it possible that this archaic ordinance was this catalyst for the slew of anti abortion bills and anti transgender bills that we’ve been seeing over the past 3 years.

And from here "No Pants in Tucson" was born. We begin devising by asking the question, “What is up with America’s obsession with legislating bodies?” The Anthropologists uses source material and physical theater to explore and tell stories. We held a series of exploratory labs where we played with language, legal text, self defense choreography, transgressive acts via theatrical clown, Supreme Court transcripts, just to name a few.

Now as I’m sure you may have guessed, just as we were getting started, we all ended up in lockdown in our homes and our devising process, which is heavily movement-based, got stuffed into a Zoom box. At that point we made a very deliberate decision that we would be devising virtually to create an in person show. This required a shift. We started to zero in on historical characters that had been arrested for dressing “outside of their sex.” Ensemble and team members created digital explorations of these characters fused with other legislation texts we were discovering. We would film these compositions and then share them, build upon them, and share them again. The Anthropologists aims to work as horizontally as possible for as long as possible. This means that we invite all team members into the devising process. Dramaturgs, designers, directors, writers, actors. We are all exploring in whatever capacity the storytelling needs.

In Summer 2021, we began transitioning into scripting workshops. We started to pull from our content dictionary (a precious document that holds descriptions and videos of everything that has been created in the rehearsal process) and weave a story. Melissa Moschitto, the writer/director on the project began assembling script maps which the actors would improvise around and create within which then turned into script drafts. By the Fall we began working with a close-to-frozen script IN REAL LIFE, in a rehearsal room. We are currently in the production rehearsal phase.

In honor of that, here is the official blurb for the show:

"No Pants In Tucson" is a subversive comedy propelled by America’s obsession with regulating the female body. Drawing upon archaic state laws from the 19th and 20th centuries that made it illegal for women to wear pants in public, The Anthropologists’ newest devised play dares to calculate the costs of gender-oppression today.

Q: What else are you working on now?

A: For now, "No Pants in Tucson" is my main focus. I’m a mother of two young children who eat up any remaining creative energy I may possess.

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

A: When I was in the 6th grade I was cast as Mrs Peterson in "Bye Bye Birdie." I freaking loved it. It never occurred to me to want to be Rosie or Kim. Mrs. Peterson was bizarre and quirky and got to wear my grandmother’s fur coat and my yellow rubber rain boots.

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

A: I think there’s still a stigma or an untrue consensus about which kinds of performances are legitimate and which kinds are not. I wish that weren’t the case. Theater gets to be whatever it wants to be. That’s what makes it exciting.

Q: What kind of theater excites you?

A: Truth be told. I like most of it. In grad school I was known to thoroughly enjoy sitting through everyone’s scene work and presentations. I like performing the weird shit. I like to move my body. I like to do choreography on stage that’s crisp and sharp. I love when there’s singing in a place that’s not expected. I love the swell of a giant Broadway musical number. I saw Adam Driver in "Burn This" and truly I cried because I was having so much fun. I adore solo shows both as a performer and audience member. I even laughed out loud during "The Play that Goes Wrong." It was silly. And I love silly.

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

A: There’s no such thing as cool. There’s making art. There’s joy. There’s vulnerability. There’s truth. But don’t try to guess what someone will like. Make something that matters to you. Tell the story you wish someone would tell you. Also work with people who you admire. I was so fortunate to have an incredible roll model when I first moved to NYC. Kara M Tyler, I’m looking at you! She taught me how to go all out and forget about playing it safe. She shaped the kind of artist I would become and one, I might add, that I am proud of.

Q: Plugs, please:

A: Come see the show! Did I mention it's funny? I promise it’s funny. https://www.theanthropologists.org/

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Oct 19, 2021

I Interview Playwrights Part 1104: Andy Boyd

Andy Boyd

Hometown: Phoenix, Arizona

Current Town: Brooklyn, New York

Q: Tell me about Occupy Prescott.

A: Occupy Prescott play begins in the fall of 2011, when a libertarian rancher, an anarchist punk, an aging hippie, a radical priest, and a single mother gather in Courthouse Square in Prescott, Arizona determined to fix America. They all agree that the one percent is too powerful, and the rest of us are getting screwed. When they try to get more specific than that, though, they find themselves disagreeing about nearly everything. For me, this a play about how the task of rebuilding the world is both vitally important and...kind of annoying? Boring, even? I spend a lot of my non-theatre time doing political organizing, and most of the time it's a brutal slog. But every once in a while something happens that reminds you that what you're doing is actually really important, and it can mean the difference between someone being pushed out of their neighborhood or not, or getting arrested or not, or living next to a toxic dump site or not. The victories are so few and far between, and to me that means you have to find ways to make the struggle itself worth it. So this play is also about how being part of a movement creates a temporary community, and how intense those bonds can be, for good or for ill. It is very much a piece of political theatre, but more than that it's a character study about how being in a movement changes you. It's about how just sharing space and time with people who don't look like you or think like you can be a deeply transformative experience. In that way, it's also a play about theatre. People often called Occupy "political theatre," by which they meant performative bullshit, but just because something is theatre doesn't mean it isn't true. At least I hope not.

Q: What else are you working on now?

A: I was part of the 2019-2020 Pipeline PlayLab group, and for that I wrote a play called Red Clay Halo about the Southern Tenant Farmers Union, which was a radical interracial sharecroppers' union that drew equally from Karl Marx and fundamentalist Christianity. I was supposed to have a reading of the play in the spring of 2021, but that obviously didn't happen. There will be a reading of that play eventually. I also have a few other projects cooking that aren't in the kind of shape yet where I can talk about them in a public forum.

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

A: This is maybe stretching the definition of childhood a bit, but when I was a senior in high school I saw Teatro Campesino do a play called The Tent of the Underdogs, which was originally performed in 1974. This play is about the struggles of migrant workers in agriculture, and it really opened my eyes to the brutal conditions farmworkers faced at that time, and still face. It also looked at issues of racism against the Chicano community. At the end of the play, the performers encouraged the audience to chant United Farm Workers slogans with them, and I left the theatre really feeling like I wanted to throw myself into the movement. (Incidentally, there is a character in Occupy Prescott who is a former UFW organizer). That spring, SB 1070 was passed in Arizona. This was known as the "show me your papers" act, and it basically deputized local cops to demand immigration papers of anyone brown. I remembered the sense of purpose the play had generated in me, and decided to become involved in the local protests against SB 1070. My involvement was very low-level, just showing up to a half a dozen or so marches, but it still changed my life. I met real-life anarchists and Marxists for the first time, and heard speeches from people directly affected by this bill. This convinced me that political theatre isn't always just preaching to the choir, and that it can absolutely have direct, tangible results in the real world. I don't think I would have gone to those marches if I hadn't seen that play. It is my hope that after seeing my plays audience members feel one step closer to actually taking action to change the world. In Red Clay Halo I have characters questioning why we need to have landlords. Of course, we really don't. Society could function perfectly well without them. If someone sees my play and starts up a tenants union, I think I've done my job.

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

A: It's always bothered me that so much theatre is centered in New York. I know I'm doing nothing to help this situation by living in Brooklyn, but I still do think that if half the theatre artists in New York moved to Denver, or Phoenix, or Oklahoma City, those cities would change immediately, while New York would barely notice we'd left. It just feels to me that we're all competing for so few opportunities here, when there's such a need for what we do everywhere else. By that I'm not at all trying to denigrate the wonderful work that is done outside New York, but the disparity in funding and audience numbers and number of artists is very stark. I'd love to live in a world where theatre felt local, homegrown, and relevant to its immediate community. We'd probably need something like a new Federal Theatre Project to make that happen. So if I could change one thing I'd have the government create a program that enabled artists to make a living wage while creating new work grounded in communities all across the country. We've done it before.

Q: Who are or were your theatrical heroes?

A: I've already mentioned Luis Valdez and Teatro Campesino, but in addition to them I love Caryl Churchill, Tony Kushner, Wallace Shawn, David Henry Hwang, Lynn Nottage, and Adrienne Kennedy. I'd say the common denominator of all of them is that they make work that is explicitly political, but is also grounded in theatricality and character and language. I don't think there is any necessary tension between good politics and good art, and I'm drawn to artists that have both. I certainly aspire to both in my own work.

Q: What kind of theater excites you?

A: I've sort of answered that question, but one other thing that excites me is dumb cheap theatre magic. I live a short walk from Target Margin in Sunset Park, and I see everything they do because it's all animated by a really wonderful Let's Put on a Show! energy. They have dance numbers and Party City streamers and magic tricks and I just sit there giggling like a little kid.

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

A: I still feel like I'm just starting out, but I suppose I can try to give some advice. I think there are many good ways to write a play. Sophocles' plays don't look anything like Caryl Churchill's, which don't look anything like Arthur Miller's, but all three are great writers. I still sometimes encounter people who offer you the One Right Way to write a play or a musical, and as soon as they do that my brain just starts wanting to poke holes in whatever they say. Musicals have to have a happy ending? What about Little Shop? A protagonist in a play needs to know what they want? What about Hamlet? A play needs a strong central character? What about Sweat? All these rules are just so transparently wrong that I don't think it's really even worth learning them. Read as many different kinds of plays as you can, and then try to write the play you would like to see.

Q: Plugs, please:

A: Occupy Prescott runs until October 31st at Jalopy Tavern in Red Hook, Brooklyn! Tickets are available here!

My play The Trade Federation, or, Let's Explore Globalization Through the Star Wars Prequels is available to purchase from NoPassport Press here!

A podcast version of my play Three Scenes in the Life of a Trotskyist is available here!

My NPX page is here!

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Oct 8, 2021

I Interview Playwrights Part 1103: Peter Michael Marino

photo credit: Mikiodo

Peter Michael Marino

Hometown: Queens, NY

Current Town: Manhattan, NY

Q: Tell me about "Planet of the Grapes Live:

A: “Planet of the Grapes Live” is the result of what happens to an artist during a global pandemic. As soon as lockdown began, I immediately pivoted my solo show and my family-friendly show to become interactive, live, digital presentations. I wound up doing over 100 of them. It was…a challenge, but a fun one. During that time I was afraid I wouldn't ever create anything else again, so I spent a lot of “worry time" on Rockaway Beach, just thinking. I had always been obsessed with the original 1968 “Planet of the Apes” film. While I was working in London on my flop musical “Desperately Seeking Susan,” I always passed a wine shoppe called “Planet of the Grapes.” I’m not usually a pun person, but that name always stayed with me.

I started playing around with some ideas and sketches of how to bring this thing to life and stumbled upon the history of toy theater which originated in the Victorian era. It was a way for people to literally bring theater into their homes. It seemed like the perfect time to revive that movement, since people weren't able to leave their homes and were craving theater. I started building a tiny stage in my tiny apartment and did some tests and ran them by my frequent collaborator Michole Biancosino and we decided it was something we wanted to dive into. I learned a lot about puppetry and I used some of my skills as a set and lighting student to re-create a tiny theater. I then added the sounds of an audience entering the space and an intermission and the program, and suddenly we had an actual theater event that people could experience from the comfort of their couches.

When I first started working on it, it was really just gonna be a short, silly thing that made people laugh. But as I dug through the screenplays of the original film and saw that Rod Serling was a big part of the development of the screenplay, I became obsessed. The film is not just about some astronauts who land on a planet where humans don't speak. It's about global issues like treatment of animals, the caste system, and mankind’s irresponsible treatment of our own planet Earth. We realized that this story had an important message, and that we could make an impact by telling it in a new way. It has now played virtually around the world over 50 times (live digitally) and we had a fabulous virtual run for the Edinburgh Fringe this past August which brought in a whole bunch of great reviews and an award. So, this next step is now adapting the digital version for the live stage with live music and special effects. We are really looking forward to being back in front of a live audience!

Q: What else are you working on now?

A: I'm not really working on anything else right now because I'm completely committed to bringing “Planet of the Grapes" to stages here in NYC and beyond. We're thinking about things like technical elements and also really important things like how to transport a tiny theater stage with characters, sets, lights, and sound to venues around the country and the world. I can't tell you how many trips I've taken to the Container Store to find the right vessels to store all of this stuff in.

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 amazes me and my friends and family that I wound up becoming a writer/performer. I never saw a play until I was in junior high school. But as a kid in Queens, I really loved television and had a fondness for anything that was comedic. I was also into “old movies” as a kid. In the Tri-State area, we had something called “The 4:30 Movie” which showed old movies. I couldn't get enough of these old movies and would beg my parents to let me eat dinner in front of the TV when a good one was on. I also had a neighbor down the street who was older than me who had a camera, and he would shoot little black and white movies in the neighborhood using all of the kids. I really looked up to this guy and I loved seeing what he created. I suppose he was a big influence on my creative life. Once I started seeing more theater in high school, I knew it was for me. I actually didn't start writing until much later in my career, as I had spent so much time acting on stage. I think learning improvisation is what opened my mind up to being a writer. When I became dissatisfied with the types of roles and plays I was being submitted for, I started writing my own stuff. I haven't stopped since. Sometimes I have imposter syndrome - but it seems nearly everyone in the arts has that, so at least I feel like I'm part of a large, somewhat dysfunctional, artistic family.

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

A: Just one thing? Ugh. That’s hard. It became clear during the pandemic that there was a difference between Broadway-lovers and Theater-lovers. So many people missing Broadway shows, yet there were so many international artists creating theatrical content - digitally. But, folks were more into those kinds of events if celebs were involved. I think some of the most creative theatrical experiences I've had during pandemic were from digital theater shows. I hope in the future that more Broadway-lovers realize that they are actually theater-lovers and take greater chances on the unknowns.

Q: What kind of theater excites you?

A: I am a huge fan of Fringe Festivals. The kind of unconventional work that I've seen in these festivals around the world is more creative and thought-provoking to me than most mainstream theater. If I could spend my life traveling around the world only seeing what artists create at fringe festivals, I'd be very content. I guess what I'm saying is, I like theater that delivers content that the audience is not used to. Content and subjects and methods of storytelling that are unique. I'm always looking for stuff that is "outside the box,” because it not only entertains me and keeps my mind swirling, but it also inspires me to be more creative in expressing my ideas and stories.

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

A: See as much theater in as many places as you possibly can. Work with dramaturgs and directors as early as you can. Share your process with your circle as often as you can. Believe in yourself and your ideas as much as you can.

Q: Plugs, please:

A: “Planet of the Grapes - Live on Stage” plays The Kraine Theater on October 28 and November 4 at 7:00PM. More info at www.planetgrapeshow.com

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Sep 3, 2021

I Interview Playwrights Part 1102: Michael Eichler

Michael Eichler

Hometown: Buffalo, NY

Current Town: San Diego, CA

Q: What are you working on now?

A: I am working on a play about four undergraduates in 1969. Interspersed throughout the story is real film footage from the era showing the Draft Lottery, Earth Day, Vietnam and Kent State. I want the entire cast and crew to be in their twenties.

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

A: There was severe mental illness in my family. Growing up in a working class neighborhood, it was never talked about. I remember the silence. The feelings from it influence all my writing. My characters need to be found, listened to and understood.

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

A: Make it relevant to all audiences, not just a narrow sliver of our population. We need a better cross section of participants, and we should not be leaving anybody out.

Q: Who are or were your theatrical heroes?

A: Currently, Samuel Hunter, Conor Mcpherson and Annie Baker. Going back further, August Wilson, Arthur Miller and David Mamet (only in the earlier years).

Q: What kind of theatre excites you?

A: A play that has dialogue and characters which seem authentic.

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

A: Do everything you can to get your plays read and seen. Everything.

Q: Plugs please:

A: Two of my plays are being staged in NYC at the same time this month! REPULSING THE MONKEY at the historic White Horse Tavern in the Financial District, and THE HOUSE WHERE NOBODY LIVES a few subway stops away at the Chain Theatre. Come see both and let me know what you think! www.eichlerplays.com

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Aug 27, 2021

I Interview Playwrights Part 1101: Amanda Erin Miller

Amanda Erin Miller

Hometown: San Diego, CA

Current Town: Brooklyn, NY

Q: Tell me about Smile All The Time.

A: “Smile All The Time” is a virtual solo puppet-filled tragicomic romp in which I play an angry sixteen-year-old boy named Kevin re-enacting the events that landed him in prison for the security camera in his solitary cell: After stealing Covid-19 vaccines from politicians to inject into ICE detainees, Kevin is sent to Camp Smile Power, a teen anger-management camp. He escapes! On the road, he befriends Ajax, another camp runaway. They plot to destroy capitalism but it goes awry, thrusting them into a reckoning with criminal justice in America.

The show is inspired by work I’ve done over the past couple of years with PEN America's Prison Writing Program and The Justice Arts Coalition (though Kevin is a character I’ve performed for nine years.) Half of the proceeds from ticket sales will benefit TheCampaign for the Fair Sentencing of Youth, a nonprofit organization leading efforts to ban extreme sentences for children in the United States. After virtual runs in the Providence and Minnesota Fringe Festivals this summer, I’m performing “Smile All The Time” for the Rochester Fringe Festival this September by way of YouTube Live.

Q: What else are you working on now?

A: I’m attempting to put together my first stand-up comedy set. I’m also creating clown bits and writing poetry. I’m also two-thirds of the way through a novel that I hope to complete someday.

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

A: More support for/awareness of indie theater artists!

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

A: Write about what excites and gnaws at you. Write consistently, even if it's just a little bit at a time. Form a writer’s group where you submit work to each other and give each other feedback. Take a class as a way to build community. Make friends with actors. Find ways to get your work up on stage at festivals, small venues, bars, garages, rooftops, or living rooms. Stay inspired by continuing to expose yourself to new theater. Don’t let the gatekeepers get you down or stop you from doing the thing that drives you. You’ve got one life and, if this is your passion, keep at it and find ways to bring it to life.

Q: Who are or were your theatrical heroes?

A: Taylor Mac, Deb Margolin, Laurie Anderson, Karen Finley, Judith Malina, Samuel Beckett, Eugene Ionesco, Bill Irwin, V (Formerly Eve Ensler), Steve Wangh, Lily Tomlin, Gilda Radner, Bread and Puppet Theater, Tony Kushner, Robert Askins

Q: What kind of theater excites you?

A: I love theater that is electric, risky, raw, and surprising; theater that keeps audiences on the edge of their seats; theater that ignites people, that wakes them from their stupors, that is interactive in some way; theater that is both hilarious and heartbreaking, over-the-top absurd, painfully honest; theater that tackles issues of the day and moves people to action; theater that feels like a sucker punch to the jugular; theater that is physical, musical, multimedia, hyper-creative, noncommercial.

Q: Plugs, please:

A: Smile All The Time is happening virtually as part of the upcoming Rochester Fringe Festival!

Sun 9/19 9pm
Wed 9/22 7:30pm
Thurs 9/23 9:45pm

Runs 45 min

$5

Tix here: https://rochesterfringe.com/tickets-and-shows/smile-all-the-time

YouTube Live link with Ticket purchase

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Adam Szymkowicz

Featured Post

1100 Playwright Interviews

Oct 25, 2021

I Interview Playwrights Part 1105: Francisco Mendoza

Oct 22, 2021

I Interview Devisers: Mariah Freda

Oct 19, 2021

I Interview Playwrights Part 1104: Andy Boyd

Oct 8, 2021

I Interview Playwrights Part 1103: Peter Michael Marino

Sep 3, 2021

I Interview Playwrights Part 1102: Michael Eichler

Aug 27, 2021

I Interview Playwrights Part 1101: Amanda Erin Miller

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