I was really pleased to be playwright interview 1,082 for Adam Szymkowicz. Check it out here.
Lost Season Finds a Home in Canada
Or, should I say, “almost finds a home.” I am sad to report that this production fell victim to the coronavirus pandemic, becoming one of the many, many cancellations that occurred in theatre worldwide. I’m grateful to my director, Catherine Hume, and cast for all their time and preparation (Debra Grosman as Toni, Selene Lopez Reyes as Chloe, and Jasmine Huang as The Butterfly). I wish I could have seen you perform!
It was a busy spring. It was so busy that I never spent enough time in Falmouth to plant our vegetable garden. Aargh! But I learned a couple of things as a result. First, I learned that fennel, if left to go to seed (as I’d allowed it to do the previous summer), spreads prolifically. When we got down for an overnight Memorial Day weekend, I found myself gazing out on a sea of lacy, young fennel plants blanketing the spot in the yard where my garden used to be.
There was no time to weed that day, so the fennel kept growing, and by July some of it was three or four feet tall. While other weeds had joined this “garden party,” it was still mostly fennel. Sigh. I tried to make the best of it, trimming some soft fennel tops now and then for the salad, but mostly I just grumbled.
Then, our good friends the Fletchers came for a weekend. They commiserated with me about the lost garden season (having a teenage son who is about the same age as our daughter, they understand the pace and complexity of life right now). Then, as we gazed out on the fennel forest, we saw the butterfly. It was mostly black, with some striking white and blue spots along its wing edges. There was also a dramatic orange spot with a black center at the base of each wing; they looked like crazy, cartoon eyes. The butterfly was very drawn to the fennel.
Stephanie snapped some photos (you can see one of them below) and began to do some research, which led to the second thing this experience taught me. As we sipped wine in the back yard that evening, she showed us her pictures and announced that it was a female Eastern Black Swallowtail (the females have blue spots, males yellow), and that fennel is one of the few plants upon which this butterfly lays its eggs.
How cool, right? The vegetable garden had become a butterfly garden. How cool.
Still, at some point weeds are weeds. Early the next morning I yanked them. When everyone else awoke to find the fennel gone, there was a mild insurrection. It was good-humored, but there was real passion underneath it. I could sense that. Hmm, I thought. Might there be a short play in this?
I wrote Lost Season a few days later. It’s a poignant play (if I do say so myself) about a grieving grandmother and granddaughter who begin to find a way through their grief with the help of a butterfly, honest communication, and a treasured family recipe that inherits a new secret ingredient. After a well-received cold read at Playwrights Platform early this fall, I began submitting the play, and Alumnae Theatre in Toronto said yes. Their annual New Ideas Festival, which takes place in March 2020, will be my first opportunity to see Lost Season on its feet. I’ll spend a few days with them developing and revising the play before the weekend performance.
I guess things happen for a reason. But if you think I’m planting fennel in the spring, think again. That stuff spreads like crazy.
You can read, recommend, and request rights to produce Lost Season and my other plays at New Play Exchange.
Last Gasp bound for Chicago
Last Gasp has been selected for the 2020 Mid-America Theatre Conference in Chicago. I’ve had fun working on this play, an apocalyptic dark comedy about an imagined climate-change end game. I try hard to keep the audience guessing about what what and who they are watching. That is all I will say. No spoilers here!
MATC is a development conference, so it will give me a chance to work some kinks out of a script that owes a debt to The Twilight Zone, and that some have found confusing. I may need to weave in a bit more exposition, but I don’t want to make it too easy to follow; it’s meant to be a play that makes you wonder and think.
Two other playwrights I “met” through the Playwright Submission Binge will have plays at the conference: Marj O’Neill-Butler and Lindsay Partain. I have a lot of respect for their work and am excited to meet them face to face.
You can read, recommend, or request rights to produce Last Gasp and my other plays at New Play Exchange.
Holy and Unruly, New World Theatre, and the Collaborative World of Playmaking
I love the collaborative nature of theatre. As a writer, I hole for some period of time and write a script. Then, I hand it off to a whole team of creative people and something magic happens: They interpret the words and create a world. There are always surprises in that world, always things I didn’t know were there. Not all of them are good surprises, which is why we call the process “development,” but often the surprises are delightful or profound.
One small example of this from New World Theatre‘s workshop production of Holy and Unruly was the chess board. There’s a scene where one of my stage directions calls for two characters to be playing chess. Since our workshop production couldn’t incorporate a lot of set changes, Director Eric Schildge made a chess board part of the standard set, anticipating that small moment. Then I watched him and his actors begin to make use of that chess board in really interesting ways. What began as an after thought (something for my non-speaking characters Dudley and The Unborn to do in that moment) became an integral symbol of the political maneuvering at the core of Holy and Unruly.
I had a lot of 2019 highs, but New World Theatre’s performance of Holy and Unruly at the Hatbox Theatre was among the highest. So much effort goes into a full length play–so many hours, so many choices, so much rewriting–that to reach the collaborative point in the process and have talented people start to bring the world of the play to life is beyond thrilling. It’s a little like watching your child grow from ultra-sound image, to baby, to toddler, to kid, to teen, to young adult. Then you send them (the kid and the play) out in the world to fend for themselves. It’s terrifying but also thrilling, because you know the village raised them well.
I wrote separate posts about other collaborators in the Holy and Unruly village, especially AboutFACE Ireland in Dublin and The Depot for New Play Readings in Connecticut. However, New World Theatre’s workshop production was special for me because it marks the moment when I knew I had a play. The script still needed work, especially in what was then the second act. However, I knew the work was worth doing. The care and energy that the team brought to the performance, and the reaction it got from that night’s audience, gave me the energy and resolve I needed to keep rewriting.
So, thank you Donald Tongue (producer), Eric Schildge (director), Toby Paul (stage manager), Laura Hoglund (Queen Elizabeth), Mary Fraser (Grace O’Malley), Jim Gocha (Burghley), Ashlee Bliss (Lady Scott, The Unborn, MacNally), Erik Shaffer (Essex), Mitch Fortier (Conroy and Bingham), and Paul Smith (Dudley) for adding your names to the ever-growing list of collaborators. You are helping turn Holy and Unruly from an idea (inspired by an NPR interview with Laura Sook Duncombe, author of the book Pirate Women) into a play. It wouldn’t have happened without you.
Pictured above: The cast of New World Theatre’s “Putting It Together” workshop production of Holy and Unruly during their final walk through prior to the evening performance.
You can read, recommend, or request rights to produce Holy and Unruly and my other plays at New Play Exchange.
Holy and Unruly at The Depot for New Play Readings
It was a thrill to hear the latest draft of Holy and Unruly read on September 22 at The Depot for New Play Readings in Hampton, Connecticut. Anne Flammang and her group of actors and theatre enthusiasts are delightful people, and they brought so much insight to the reading and discussion of my script. I had a couple of aha moments over the course of the evening and left with ideas for another rewrite, which I have since executed. I think it’s a better play thanks to The Depot.
It was especially nice to have fellow playwright John Minigan in attendance. I am so grateful that John took the time to drive down from Massachusetts. If you don’t know his work, you should check it out, especially his play Queen of Sad Mischance. It’s getting a lot of buzz, and he’s one of my favorite Boston-area writers.
You can read, recommend, or request rights to produce Holy and Unruly and my other plays on New Play Exchange.
Holy and Unruly is a Moondance Winner
I got word this fall that Holy and Unruly was one of nine plays selected as a winner in the stage-play category of the Moondance International Film Festival. Congratulations to the other eight category winners listed below, and to all the semi-finalists and finalists.
You can read, recommend or request rights to produce Holy and Unruly and my other plays on New Play Exchange.
Black Santa x4 in 2019
Boston, Albuquerque, Lansing, and Orlando. Black Santa was my little play that could this year.
I wrote the play because I wanted to explore a disconnect that seems to exist between the reported experience of blacks in America and the outlook of whites, many of whom define racism in ways that conveniently allow them to exempt themselves: flying the confederate flag, for example, or using the n-word. “What ignorance,” we say when we hear of such things. “Thank God I don’t see color.” Enter Jan and John from Black Santa.
The truth is, we all see color, and we’re all biased. “Seems like Disney has a princess for everyone these days,” John says, in the opening moments of my ten-minute play. We’ve all been steeped in a culture that privileges whiteness and marginalizes people of color, especially people perceived as black. Because we can’t admit our own biases and privilege, even to ourselves–because we are so defensive and fearful of being branded racist–we avoid the issue altogether, or we grow defensive or dismissive. We ask people of color to explain how our actions were biased and hurtful and, in doing so, we invalidate and re-victimize them; we prop up the systems that perpetuate racism and racial bias. We do this.
Make no mistake, overt and dramatic examples of hate and bias continue to occur, and they are indefensible. However, it’s far more common for racial bias to manifest in subtle ways: the white man who moves his wallet to his front pocket when a group of black teenagers boards the subway he is riding; the white woman who “notices” a black person driving an expensive car in a nice neighborhood and assumes the worst; the white man who “compliments” a black teen’s hair in a way that leaves the teen feeling different and singled out. The white colleague who can’t seem to wrap his head around the idea of a black Santa Claus, and his white co-worker who is so concerned with maintaining her own position of authority as Social Committee Chair that she simultaneously approves and invalidates the idea.
Black Santa attempts to explore the pernicious nature racism. It imagines what happens when a company’s Social Committee, dominated by well-meaning whites, is faced with a request that requires them to examine their white privilege. I was thrilled that the play had two full productions in 2019: Playwrights’ Platform’s 47th Annual Festival of New Plays (Boston, MA) and the Renegade Theatre Festival (Lansing, MI). It also had two staged readings: Fusion Theatre Company’s “Second Seven” (Albuquerque, NM) and The Association for Theatre in Higher Education’s New Play Development Workshop (Orlando, FL).
I did not get to see the Lansing and Albuquerque performances, but I was honored to have such a talented group perform the play in Boston: Joshua Wolf Coleman, director; Arthur Williams III (Marvin), Bibiana Jaramillo (Sue), Kathleen Monteleone (Jan), and Jon Shulman (John). Here they in their final rehearsal before the performances at Boston Playwrights’ Theatre:
At ATHE’s national conference in Orlando, I got to spend four days developing with this amazing team: Ben Lambert, director; Guillermo Aviles-Rodriguez, dramaturg; Jennifer Ivey, scenographer; Harry Waters, Jr. (Marvin), Natasha Yannacanedo (Sue), Julienne Greer (Jan), and George Nelson (John). It culminated with a terrific and well-received reading. I came away with a better script and an even deeper appreciation for the collaborative nature of theatre.
You can read, recommend, and request rights to produce Black Santa and my other plays at New Play Exchange.
60 Plays in 60 minutes: #1MPF
I had a blast writing for the 2019 Boston One-Minute Play Festival, and just as much fun watching it. To see sixty plays performed in sixty minutes is both inspiring and profoundly disorienting.
The One Minute Play Festival (#1MPF) is a national organization that produces many festivals around the country each year. At each, they work with local writers, which allows them to bill the annual festival as a social barometer, something that takes the pulse of the communities and, overall, of the nation. I think it’s a really cool concept.
The prompt was simple: write one original, sixty second play that is a response to the world as you see it in this moment. There was one notable limitation: No Trump references, impersonations, allusions. My play, Walled, walked up to that line, but I don’t think it crossed it. Obviously, it was inspired by the various reactions to Trump’s border-wall proposal and the general attitudes and policies about immigration that are behind it. However, I don’t see it as a play about Trump, or even a play about immigration. Walled is a play about fear and the things that happen when fear rules us.
David Marino directed Walled. The actors were Catherine Lee Christie, Scott Colford, Pete Desiderio, and Ethan Selby.
You can read, recommend and request rights to produce Walled and my other plays at New Play Exchange.
Holy and Unruly Named Finalist for ANPF
I was thrilled to have Holy and Unruly named one of 16 finalists (out of about 400 total submissions) for the 2019 Ashland New Plays Festival in Ashland, Oregon. My parents were regulars back in the day at the Oregon Shakespeare Festival in Ashland, so that made the recognition doubly meaningful.
Holy and Unruly did not make the final four, so the play was not performed at the festival in October. But what an honor to be named a finalist and make the list, below (which does not include the four winners: Michael Gotch for Starter Pistol; David Johnston, for Pelicans; Tira Palmquist for The Way North; and Joshua Rebell for The Night Climber).
As you can see, I submitted an earlier draft under a slightly different title. The play has continued to develop, and I’m hopeful it will find its way into production in 2020!
You can read, recommend or request rights to produce Holy and Unruly and my other plays at New Play Exchange.
Enter Four Dinosaurs and a Cockroach…
Are there really people in this world who believe that humans are not to blame for climate change and, therefore, we should not try to do something about it? Okay. Fine. Enter four dinosaurs and a cockroach, who are facing a potential extinction event, themselves. Or maybe two dinosaurs and a cockroach. Or even four dinosaurs, a cockroach, and a rat. I have three versions of Every Creeping Thing.
As I write this post, Every Creeping Thing been produced twice. The first production was the small-cast version at Oldies but Goodies, a festival of five-minute play Festival presented by Playwrights Round Table and Valencia College in Orlando, Florida (Daniel Garces, director; Cast: Katia Avalos, Josh Hernandez and Alexis Vazquez). The second, featuring the full cast, was at ArtsBonita’s Funny Shorts Live! Festival in Bonita Springs, Florida (Janina Britolo, director; Cast: Melissa Henning, Carolyn Bronson, Luis Pages, Kristin Voit, and Janina Britolo.) I realize that two productions of one climate change satire is not even strong anecdotal evidence; nonetheless, they seem to be thinking about climate change in Florida. Go figure.
The picture below is from the Bonita Springs production and, yes, that beach ball with rainbow polka dots is meant to be an asteroid. Actually it’s meant to be the asteroid. They had fun with this play. I had fun writing it, and I hope it makes people laugh. But I also hope it makes them think, and act. Because satire is not the same as comedy, and climate change is no joke.
The Farmington Daily Times published more shots of the Bonita Springs cast in action, and here’s some coverage of Funny Shorts Live! in Broadway World and the Naples Daily News.
You can read, recommend, and request rights to produce Every Creeping Thing and my other plays on New Play Exchange.