I Interview Playwrights Part 1027: Ricardo Soltero-Brown

Ricardo Soltero-Brown

Hometown:   I was born in Georgetown, Washington, D.C.

Current Town: Orlando, FL.

Q:  What are you working on now?

A:  A few things led up to this experiment. I've been trying for a great deal of time to write tight dramas with nothing wasted, not a word, a character, a stage direction, a plot point. After reading a bunch of Shaw, in his introduction to 'Heartbreak House' he mentions Chekhov as being an influence on the style. I became interested in this style of play and thought to tackle it: a long, four-act play with lots of characters where not much other than heartbreak and philosophical musings about life between the players take place. Its bare-bones plot deals with a prodigal son return type event. I'm really trying to go against most of what I've done up until now.

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

A:  In second or third of fourth grade a teacher asked the students to write a story about the beginning of the world. When they were turned in, she began to read them aloud and commenting on, generally, how they were not so good. When she got to mine, she said, "That's how you begin a story."

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

A: Funds. Obviously. There are a great deal types of theater that are non-Aristotelian and should be seen to break the barriers of what the masses accept of "Theatre", however another big issue I'd like to see resolved are for evenings to concentrate on plays that aren't necessarily two-hours in length. There are great pieces of 20 to 80 minutes in length which are wonderful five-course meals in themselves.

Q:  Who are or were your theatrical heroes?

A:  Pinter, Churchill, Suzan-Lori Parks, Annie Baker. I'm also a big fan of some of my contemporaries like Inda Craig-Galván, Nelson Diaz-Marcano, Celine Song, Franky Gonzalez, and Asher Wyndham.

Q:  What kind of theater excites you?

A:  I'm excited by a lot of theater. I do think the Aristotelian drama is a tried and true form that Brecht was only fed up with because of its over-saturation in the market, I don't think he understood empathy as the power that it is the way that Boal did. Although Boal warned us of its dangers, and he was right. I would like to see more of Brecht's Epic Theater and of Boal's "Joker" system. I'd like to see some Artaud that actually makes sense. I've seen some very moving physical-based work. I've read a lot of acting books - Adler, Artaud, Brook, Caine, Chekhov, Esper, Gielgud, Grotowski, Hagen, Lecoq, Redgrave, Strasberg - and would like to see seasons dedicated to a particular school.

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

A:  I always say never be afraid to write something short. Just make sure to finish it and then push from there with a new piece. Also, my journey has taught me one thing for certain: Outline, outline, outline. But it's okay, you can change the outline.

Q:  Plugs, please:

A:
https://50playwrights.org/2017/12/11/ricardo-soltero-brown/amp/
Playwright Interview: Ricardo Soltero-Brown
Performer Stuff Playwright | Ricardo Soltero-Brown
Ricardo Soltero-Brown (@RSolteroBrown) | Twitter
https://newplayexchange.org/users/7279/ricardo-soltero-brown

---------------------------------------------------------------------------------------------------------

Enter Your Email To Have New Blog Posts Sent To You

-----------------------------------------------------------------------------------------------------------
Support The Blog

-----------------------------------------------------------------------------------------------------------

Mailing list to be invited to Adam's events

Email:

------------------------------------------------------------------------------------------------------------

Adam's Patreon

Adam's New Play Exchange Profile (Plays to Read)

Books by Adam (Amazon)