Adam Szymkowicz

Jayme McGhan

Hometown: Minneapolis.    

Current Town: Chicago. Technically, Elmwood Park, which is the first village over on the West side. I know a bunch of proud Chicagoans that would give me hell if I didn’t own up to that.  

 Q: What are you working on now?

A: Lots of revisions for plays I’ve written in the last few years that I haven’t had time to rewrite.

I have a reading of a show called “Damn the River Deep” at Chicago Dramatists this month.

I’m also currently writing and doing pre-production on a feature-length film for Revision Entertainment that I will be co-directing. It’s a heist/adventure/wilderness survival flick set in the Canadian Rockies. The whole film crew will be backpacking for two weeks and shooting as we go, which should prove to be either straight genius or completely moronic. There is something to be said for working on a project where you have to carry a .44 caliber cannon on your hip in case a grizzly attacks.  

Q: How would you characterize the Chicago theater scene?

A: There are so many places at the theatrical table if you’re willing to work hard. Theatre artists bust their butts in this city. They go hard all the time. I love that about this place. I also love the fact that almost every Chicago theatre artist I know is talented in multiple disciplines. It’s an artistic evolution out of necessity. I don’t know anyone who is just a really good actor. I know a lot of really good actors who also happen to kill at costume design or administration or what have you.    

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 serial liar when I was a kid. And I was pretty good at it. I told my second grade class that I went to Australia to cage dive with Great White Sharks and that I was almost eaten by a twenty-footer. I must have been crazy convincing because the class talked about it for a long time. One of the kids went home and told his mom, who then called my mom to get travel advice about where to stay in Sydney. My mom was like, “Jayme’s been to the Florida panhandle. A few years ago. I wasn’t aware that he even knew Australia existed.” At some point the lies transformed themselves in to stories that needed to be told in a different medium; mostly because I was sick of being grounded.
 
Q: If you could change one thing about theater, what would it be?

A: The American Theatre’s attempt to create a culture of celebrity. Let’s just stop that. Hollywood is really good at this. We’re not. In one month’s time my Intro to Theatre students will not be able to tell you who David Lindsay-Abaire is even after seeing his show at Steppenwolf and talking about it for two class periods. My folks really liked Joe Dowling’s production of Brian Friehl’s The Home Place at the Guthrie a few years ago but I’ll stake my yearly playwriting earnings (that was a joke) that they have no idea who Joe Dowling is--and that dude has a road named after him! My grandmother might be able to tell you who Bernadette Peters is but I seriously doubt it. You know what they can tell you? All of them can tell you who won “Dancing with the Stars” last night.
Let’s just let Hollywood keep its culture, shall we?    

Q: Who are or were your theatrical heroes?

A: Shaw. Williams. O’Casey. Boucicault. Pinter. Albee. To name a few.

Gary Garrison is heroic to me. Gary is out there every day advocating for playwrights. I think every writer I know also knows and loves Gary. That pretty much says it all.

I had a dude crush on Eric Bogosian for a very long time. I still do to some extent. When I was a sophomore in college I wrote to him a few times to ask for some advice on creating solo shows. He took the time out of his no-doubt crazy busy schedule to write back to a nineteen year old kid who had all the drive in the world and absolutely no craft. That was pretty nifty.

 Q: What kind of theater excites you?

A: Big, Bold, and Challenging. I love stories that hang their hat equally on both language and plot. I like words strung together in a manner that takes your breath away. If you couple that with a moving dramatic arc that has something unique to say about our collective existence then you’ll have a fan for life. I dig spectacle, style, and experimental form as much as the next theatre-goer, but if that’s all your play or production is relying on then count me out.    

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

A: Don’t spend all of your time in front of the computer. If you’ve made the decision to be a playwright then also make the decision to become a committed networker. If you can add a sound understanding of marketing and arts-related business to the pile, all the better. Also, learn how to use a drill and a circular saw. Seriously.    

Q: Plugs, please:

A: I’m a Resident Playwright at Chicago Dramatists and an Associate Artist at Stage Left Theatre. Both are amazing groups of talented people. Show them some love the next time you’re in Chicago.
I’m also an Assistant Professor of Theatre at Concordia University, Chicago where I get to work with some of the brightest and most talented up-and-coming theatre artists in the city. We’ve always got something kicking around.

And because I love my hometown, check out Yellow Tree Theatre in the Twin Cities. Good friends who make lovely theatre.

And because I love my fellow Chicago writers, check out the plays of Barbara Lhota, Andrew Hinderaker, Dana Lynn Formby, Ike Holter, Randall Colburn, Rohina Malik, Steve Spencer, Mia McCullough, Martin Zimmerman, and Reggie Edmund.

Nov 12, 2012

I Interview Playwrights Part 524: Timothy Nolan

Timothy Nolan

Hometown: Bronx, NY by way of Mahopac, NY

Current Town: Brooklyn, NY

Q: Tell me about What's In A Name.

A: What’s In A Name started off as a short play I wrote in 1994 that was loosely based on the Katherine Ann Power story. A young woman is conned into committing a terrible criminal act, and has to make life- altering choices in order to survive, but doesn’t realize until years – really decades – later just how life-altering they were.

What’s made working on this play fascinating is the experience of getting older along with the character. A person living under an assumed identity for 15-something years is interesting, but a person living that way for, say, 40 years is infinitely more compelling. Because your life goes on, usually when you’re not looking, and you continue to make choices, and those choices pull you down a road that you may not even know you are on, until its too late. The story in What’s In A Name is unique, but in a lot of ways I found myself identifying with it in ways I couldn’t even imagine when I first wrote it years ago. The idea that you get to a certain age and think, like David Byrne said, “how did I get here?” And can I keep going in this direction? Should I, even? And what is the price of trying to unspool things?

When Susan, the main character, who hasn’t had a good night’s sleep in forty years, drops her guard and wanders into a bar because she’s reached a point of exhaustion, she sees that she can’t put off dealing with these things any longer. From there, we’re off.

Q: What else are you working on now?

A: Couple of things. I always try to have a few ideas in the hopper. I invite them in and see which choose to stay.

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’m not sure that I have one. I started writing because when I was twelve I wanted to write James Bond movies. I got into theater in ninth grade when a girl I had a wicked crush on asked me to audition for “Arsenic and Old Lace.” It was probably the longest conversation we had. (I got the part, though.) I’m not sure what this says about me or the work, beyond that I still have a 007 screenplay in my desk and that I owe a lot to Ann Marie Giordano.

I do remember one interesting little tale from my teenage years in Mahopac, NY. We had a deacon at our church, young man, very nice, very energetic. First priest or deacon at our church under fifty in a long time. Opened the gym three nights a week so we could play basketball. Killer under the boards. Before too long, everyone in town loved him. Understand that about eighty percent of Mahopac went to this church. So one day, he’s just gone. Gone. Poof. People asked after him, nothing. No explanation, no goodbye, no thanks for the memories. Just a hole, a void of information. And what I learned is just how fast and how madly people will rush to fill that hole. He was with a boy. He had a fight with the Bishop. He discovered something bad in the rectory and wouldn’t keep quiet. He was gay. He was a spy (the 007 fan liked that one best). And these were not the town crazies, they were the people you talked to all the time. In the absence of truth, people will invent their own. Sometimes it’s amusing, sometimes it’s dangerous, but it’s never good. I find a lot of my stories all seem to roll back to what people will do in the absence of truth.

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

A: I’m probably not breaking any new ground here, but the balance between art and commerce is way out of whack. It’s so hard to go to Broadway now, and not for the reasons you think. If you will allow me to digress…

When I go on vacation, I want everything to be perfect. I want nice weather, I want good meals in whatever restaurants I go to, I want any activity I undertake to be just right. Nothing disappointing. So if my vacation was to come to New York City and see theater, I want to make sure it’s perfect, and by gosh, it’s gonna be.

The last two Broadway shows I saw…I won’t say which ones…were good, but they didn’t change my life. And yet, as soon as the final number ended, everyone around me was on their feet applauding like their seats were on fire. Everyone around me is standing and applauding, screaming and flapping. Now, there are worse sins in the world than standing for an ovation that hasn’t quite been earned, so up I go. But it’s not real. It’s almost like the standing ovation is just part of the performance. And I can’t blame folks for acting this way, because this is their vacation and their experience and they spent the money and they spent the time and they’re gonna believe it’s amazing, even if it isn’t.

So what’s happened here is the commerce has so taken over that the art doesn’t matter anymore. That’s how it’s been promoted, that’s how it’s being played, that’s how it’s being received. And that’s very bad for theater in this country, because from Broadway it will only seep down to off-Broadway and regional theaters as they conclude it’s the only way to make money.

Theater needs art and commerce (that’s why it’s not “show art”), but when the commerce gets so far out in front of the art, you have results like this. And it can’t be sustained. After all, what will there be to revive in twenty years?

We need to do a better job building audiences and improving the business model, and most of all getting away somehow from the idea that’s it’s an offense against vacations to take a chance on a show that might not be a sure thing.

Q: Who are or were your theatrical heroes?

A: Samuel Beckett and Thornton Wilder. Any theater artist who finds a way to harness the form to increase its impact on the audience.

Q: What kind of theater excites you?

A: Whenever the form of live theater is used to extract the power of the story. Theater provides what other media cannot… the chance to be in the room with the drama, the chance to feel it as opposed to just seeing and hearing it. The power of a simple story well told.

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

A: If there’s one thing I wish I had been told when I first started, it’s that this is really hard work, real day-in and day-out work, and it’s impossible to do alone. So find the community. Make sure you have artistic kindred spirits around you for support and to keep you accountable. People who, if you say you’ll have a new scene Tuesday, will actually be disappointed if you don’t have a new scene Tuesday. Because you need to work at your writing every day, every damn day, or its not going to happen. And the only way to see your way through that is to be among others. It brings the work out of your head and into the world where it can grow. It’s like raising a child. A play is only finished when it’s not yours anymore, when it can stand in the world on its own. That doesn’t happen if it never leaves your desk.

Q: Plugs, please:

A: Sure!

Variations Theatre Group (variationstheatregroup.com) is putting up this version of What’s In A Name as part of their Harvest Festival, and the reading is November 18th (a second date is TBD). They’ve just turned an old factory and former crack house in LIC into the Chain Theatre; we’ve been rehearsing there and it’s beautiful. We’ve had so many theaters cut down in New York over the past few years, it really is wonderful to see one break the surface and grow. I’m hoping to continue working with them.

Of course you can check out my earlier plays at Indie Theater Now, Martin Denton’s wonderful publishing house of e-plays (is that a word?). Acts of Contrition, The Way Out, Wrong Barbarians, and NotDark Yet are all available for perusal and purchase.

Latest news and info is always up on my site.

Nov 10, 2012

I Interview Playwrights Part 523: Steve J. Spencer

Steve J. Spencer

Hometown: Dayton, OH

Current Town: Chicago, IL

Q: What are you working on now?

A: Couple of plays. One is about a brilliant fourteen-year-old girl being slowly crushed by our culture. Another is about a suicidal game show host. Another is a Winesburg, OH rip-off about bath salts and squatters. Doing readings of three other plays, too.

Q: How would you characterize the Chicago theater scene?

A: Inaccurately. There seems to be a hierarchy, a strict food chain of who is cool and successful and who is beneath contempt. But once you climb the ladder to the next level, you're left puzzled: there seems to be a hierarchy on that level, too, made up of a strict food chain and hapless losers. I suspect the next level up is like that as well. An illusion of class and status at each level, when in reality, we're just a bunch of people contorting ourselves into what we think are appropriate postures. Sure, some people on higher levels shit on you, and some are decent, unpretentious folk. Mostly, we've replicated the same bullshit status system we became artists to escape from, primarily because it's ingrained in us by age four. It is a persistent illusion. And most of us know it. Yet we still act like it's real. Or at least I do.

Oh, and someone said Hollywood is like high school with money. Theater is like high school without money. Bullshit status we know is false but are too afraid to disregard.

And the cool kids in the theater cafeteria deserve our compassion as well.

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

A: Okay. My dad is the best man alive. Kind. Funny. Has worked himself to death his whole life. Growing up, something unfair happened, something that was not his fault. We almost lost him because of it. I was young and I couldn't figure out how such a decent man, a real Father, could be destroyed for doing nothing wrong. It didn't so much as leave me with a sense that life was unfair, it left me with a sense that our way of life is insane. It doesn't work. Look around. Not working. And at the heart of it is inequality.

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

A: Fire Chris Jones. Seriously. He can't write, and he can't write because his taste sucks so he spends the majority of his reviews trying to justify his own taste. It's gotten to the point where he cannot successfully describe the plot of a play because he lacks conviction in his own taste. Which is his only job. His authority is just another illusion, like the theater hierarchy or like money; if we don't believe in him, he'll go away. If he were fired all the church bells in Chicago would ring forever.

Q: Who are or were your theatrical heroes?

A: William Sayoran, John Osborne, lots of people. But nobody has influenced me more as a writer than my dad. A kind human.

Q: What kind of theater excites you?

A: I want to see theater about something. It doesn't have to be political. It doesn't have to be about a social problem. That'd be nice, considering we're going to shit, but it doesn't even have to be about love. Tell me something that you have to tell me. I often leave the theater and go home and read, say, Milan Kundera and get really sad. I pick up Kundera and he tells me about his life. He tells me what it was like to be a human at his point in existence. He tells me something human. The difference between reading Kundera and seeing most plays is shocking. Most of the plays I see tell me nothing. And not every play has to be about something; it can just be about itself, it can just be entertaining. That's fine. But we have plenty of entertainment. Tell me something that it will kill you not to say.

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

A: Art will not save you. Your career will not save you. It will not keep you warm at night. I wish teachers would tell us that. Art is not the most important thing in the world. It's not more important than the people in your life. That's all you have. I've learned that the hard way.

Other than that, you are free to do whatever you want. If an AD says "we can't do that," please remind him or her that we can and should do whatever the hell we want. "We can't do that." Wrong. We're free. To do whatever the hell we want. You could punch your boss, God won't stop you. You could even produce an unmarketable play.

Oh, and take the traditional trajectory to becoming a playwright (school, MFA, connections, form company). It's a clear-cut path. Just try to say something while you're at it.

I hope I don't come off as too bitter. Eh. So be it. I'm nice in person. Where it counts.

Q: Plugs, please:

A: at the Chicago Dramatists: January 12 Annual Showcase of the NEW Resident Playwrights
FLOATER by Stuart Flack
EARTHQUAKE CHICA by Anne García-Romero
A WORK OF ART by Elaine Romero
INVISIBLE THERAPY FOR THE IMPOSSIBLE WORLD by Steve J. Spencer
and
February 23 MAY YOU LIVE IN INTERESTING TIMES by Steve J. Spencer

Nov 9, 2012

I Interview Playwrights Part 522: Carolyn Kras

Carolyn Kras

Hometown: Berwyn, IL (just outside Chicago)

Current Town: Los Angeles

Q: What are you working on now?

A: I’m working on the “Visionary Playwright Commission” from Theater Masters. The play is about a young couple who buys a foreclosed house and is forced to live with strangers when the previous owners won’t move out. This situation is happening across the country due to deceptive bank practices and the long wait times for eviction notices. I wondered what it’s like when people live with housemates they’re trying to kick out.

My historical drama screenplay Magnetic is also in development. It was recently showcased at the Hamptons International Film Festival where Melissa Leo headlined the reading.

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 a kid, I once woke up to a loud explosion that turned out to be a bomb. A neighborhood restaurant was blasted to pieces, probably by the mafia, which was very active at the time. Luckily, no one was injured since it was early morning and the place was closed. I used to sell school fundraising items, like candy bars, to the restaurant’s owner, and I started to wonder if this benevolent man who liked helping the school was involved in shady dealings or was merely a victim. I suppose this incident helps explain why I’m interested in the extreme actions people take to get or keep power.

Q: Tell me about the Artery Playwrights Project.

A: It’s a new theatre company in Los Angeles that produces the work of its founding playwrights – Dean Poynor, Brian Forrester, and me. This year we produced Linthead, one of Brian’s plays that theatres wouldn’t touch because it required nine actors. So we raised the money on Indiegogo and put it up ourselves. It received a lovely Los Angeles Times review, and an investor is raising money for a commercial production. Rob Handel of 13P was our professor at Carnegie Mellon and advocated that self-production creates more opportunities. We’re planning the next production now.

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

A: We need to find creative ways to make the tickets cost less or else theatre will lose future audiences. One initiative that worked for us was asking donors to donate tickets to audience members who couldn’t afford them. We gave out 80 free tickets from this drive.

Q: Who are or were your theatrical heroes?

A: Tom Stoppard, Lynn Nottage, Aeschylus, Edward Albee, Richard Greenberg, and Carter W. Lewis – the list goes on.

Q: What kind of theater excites you?

A: A gripping story, the kind where you can feel the audience leaning forward the whole time.

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

A: Write, see new shows, and find collaborators who appreciate your voice. Consider attending an M.F.A. program and/or interning in a literary manager’s office. I read close to a hundred new plays when I was an intern, and that was a great education.

Q: Plugs, please:

A: The new play commissioned by Theater Masters will have a reading at a prominent theatre (TBD) in 2013. You can check my web site, www.carolynkras.com, for updates.

Nov 3, 2012

Reading Today--Arrrrr

My Base and Scurvy Heart

The Musical

Book by Adam Szymkowicz

Music by Dan Moses Schreier

Lyrics by Matt Sherwin

Directed by Peter Ellenstein

Musical Direction by Max Mamon

Starring Cady Huffman, Nellie McKay, Sean McDermott, Hannah Joyce Hoven, Joseph Gomez, Lisa Paige

At William Inge Theater in Independence, KS at 2pm

Nov 2, 2012

I Interview Playwrights Part 520: Ike Holter

Ike Holter

Hometown: Minneapolis, Minnesota

Current City: Chicago Il all the way! Going on ten years in July.

Q: What are you working on now?

A: Last week, I wrote and directed a one night only sequel to the Nickelodeon 90’s classic “Are you Afraid of the Dark” called “THE MIDNIGHT SOCIETY.” (Remember SNICK? Awesome stuff.) We caught up with the society years later; pushing 30, casually alcoholic, and telling real life scary stories about Student Loans, Bedbugs, and GRINDR.

We did it in my backyard around a campfire and had almost 200 people in the audience; totally free, totally fun.

My show LOOM opens this Friday (Nov. 2nd) and it’s crazy; it’s about these three guys who get together on the ten year anniversary of their best friend from high school’s disappearance. Think “Bug” meets “Big Chill”.

We’re also doing it site-specific style, in a huge sweaty garage on the North Side of Chicago. So yeah. Shit gets weird.

I’m working on two workshops for November, the first one is called “CANON” and I’m adapting it from stories by Cathy Nathan. It’s about iconography and photography and James Dean and fame and poor people and it’s going to be totally cool. The music is great; songs written by Erik Della Penna, and it’s got a super-sweet-chi-city cast. Also get to re-team with my “HIT THE WALL” director Eric Hoff, which is always a good time.

Finally there’s “KITCHEN SINK”, which I’m writing for DePaul University’s Reskin Theatre downtown. Dexter Bullard’s directing it, and he’s a rock-star. It’s about a young couple going through a huge turning point in their relationship. When they find out that a personal, prized possession was stolen from them, they go absolutely batshit crazy, recruit a private detective, and slowly sink into a pitch-black-film-noir escapade as they try to bring the thief to justice.

I’m also on commission for the Goodman Theater with their First Unit program working on a show called “PROWESS”.

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’ve been writing and directing stuff since High School. I had this show called “REMOTE” that I wrote when I was 16. It was awful. Just terrible. The show was so bad that at one point an audience member turned to their seat-mate and whispered: “Is this supposed to be a comedy?”

I wanted to stand up and scream “Like duh! Couldn’t you tell by the terrible dialogue and the barely-there plot and character arcs?!”

But then I realized that their confusion was totally justified. I wrote something that even I didn’t want to see.

Now, whenever I’m in trouble with a script, I remember experiences like that and try to only write shows I’d pay money to see: not trying to be anyone else but myself.

(No, for real, though. That show was totes awful. Like “clear the room” smells of badness.)
Oy.

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

A: Lower the god-damn ticket price. Jesus, it’s just awful. Lots of plays now are 90 minutes and 90 bucks. That’s a dollar a minute. If theater’s are going to charge that much, they should let the audience bring in mixed fruits and vegetables to throw at the stage if they don’t like the show.
The solution for this? I think? Maybe get smaller plays that appeal to more people. Have cheaper tickets. Because, honestly, for 90 bucks a ticket I should be able to eat a pulled pork sandwich and text my roommate.

Q: Who are or were your theatrical heroes?

A: Kander and Ebb taught me class. Brett Neveu, Carlos Murillo, Caitlin Parrish and Dexter Bullard taught me Chicago storytelling--small theaters, big stories.

Everytime I see a John Guare play I want to just kidnap his brain and make it tell me things.
And I think Stephen Sondheim teaches us everything we need to know about adult, accessible, awesome story structure.

Q: What kind of theater excites you?

A: This sounds weird, but I love plays that just start: no exposition, we’re just in a room and the story’s already in progress.

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

A: Be nice to people. Good actors, stage managers, dramaturgs, directors and producers will want to work with you if you have positive energy, interesting ideas, and don’t get wasted during their shows.

Q: Plugs, please:

A: I’m a founding member of The Inconvenience, we do Theater, Music, Art and Dance:
www.theinconvenience.org
Also, LOOM is being produced by Nothing Without a Company, where I’m also a founding member.
www.nothingwithoutacompany.org
Check out The New Colony, one of the best up-and-coming theater companies in Chicago
www.thenewcolony.org
And my personal favorite place to see shows in Chicago is at A Red Orchid Theater.
www.aredorchidtheatre.org

Nov 1, 2012

I Interview Playwrights Part 519: Chelsea M. Marcantel

Chelsea M. Marcantel

Hometown: Jennings, Louisiana

Current Town: Abingdon, VA (by way of Chicago)

Q: What are you working on now?

A: I'm editing one of my very first plays, A Place to Land, which is getting produced in a new draft at the beginning of 2013 by Acadiana Repertory Theatre. I'm also completely overhauling a recent play called Even Longer and Farther Away, which has had readings at the Dramatists Guild in NYC and at the Barter Theatre in Virginia, but the newest draft is an utterly different beast. I've just barely begun writing a one-person show about the war on women, specifically focusing on how it affects women in different generations within the same family. That play doesn't have a title quite 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: I started writing stories as a child because I was a big reader, but sometimes I didn't appreciate the way stories ended and felt I could improve upon them. I remember specifically feeling extremely distraught at the ending of Carousel, and knowing in my heart it was my duty to "fix" it, so I did, on paper. I think I've carried a version of that same idea with me into adulthood -- some of the most honest work I've ever done are fictionalized rehashings of actual conversations and confrontations from my life. The second time around, I get to say everything I want to. I get to dictate a different ending for momentous events. As a writer, I get to live twice, and I think that's part of what people mean when they say that writing is therapeutic. I take a childish delight in crafting happier or more interesting dialogue and endings for everyone involved, real or fictional.

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

A: I wish that theatre could be honestly regarded as community service, and the people who make theatre could be compensated accordingly. I feel like theatre for young audiences is very often seen as life-enriching, but for some reason theatre for adults is viewed as a luxury. Bill English of San Francisco’s SF Playhouse says that "theater is like a gym for empathy. It’s where we can go to build up the muscles of compassion, to practice listening and understanding and engaging with people that are not just like ourselves." I believe in the truth of that statement, and as the world gets flatter and more diverse and more conflicted, I wish that audiences and governments and even some theatre-makers could acknowledge the magnitude of the function that theatre plays in society.

Q: Who are or were your theatrical heroes?

A: Anne Bogart, Sarah Ruhl, Tom Stoppard, Young Jean Lee, Samuel Beckett... oh, the list goes on and on.

Q: What kind of theater excites you?

A: I like theatre that focuses outward -- it starts in a relationship that then explodes and turns us outward to a greater view of our surroundings and our world, but everything is still seen through the lens of a handful of people. I love non-realistic, physical, and non-linear theatre that manages to retain a strong, rooted heart. And I'm a total sucker for endurance theatre -- give me a six-hour, eight-hour, ten-hour play or cycle and I'm in heaven.

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

A: See theatre, especially at theatres you'd like to work with. I'm always amazed when I meet a playwright who can't tell me the last show they saw, or which theatres in town they'd like to work with. You can't stare at your computer for weeks on end and never venture out to see what work is being made. I recommend seeing shows on opening night, especially at small theatres, because the director of the play and the artistic director of the company are usually in attendance, and you can tell them what you thought of their work and begin to build personal connections.

Q: Plugs, please.

A: I just wrapped up a play called "Independence Day" that was part of the Hobo Robo 5 Festival in Chicago. Now I'm focused on getting my playwrighting students at Virginia Intermont College through their final exam readings! Check out www.chelseamarcantel.com for information on upcoming productions.

Adam Szymkowicz

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1100 Playwright Interviews

Nov 13, 2012

525 Playwright Interviews

I Interview Playwrights Part 525: Jayme McGhan

Nov 12, 2012

I Interview Playwrights Part 524: Timothy Nolan

Nov 10, 2012

I Interview Playwrights Part 523: Steve J. Spencer

Nov 9, 2012

I Interview Playwrights Part 522: Carolyn Kras

Nov 3, 2012

Reading Today--Arrrrr

Nov 2, 2012

I Interview Playwrights Part 520: Ike Holter

Nov 1, 2012

I Interview Playwrights Part 519: Chelsea M. Marcantel

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