Not declaring war on holidays or anything but I've been realizing when I look at someone I can't tell whether they celebrate any holidays around this time of year or not. For instance, Hindus, Muslims, and Buddhists do have holidays, but those are not necessarily around this time. And, just as I don't want to … Continue reading Not at War
Krista Knight is a young playwright well-known and well-loved in the new plays community. She’s well-loved both for her work (her plays have been produced all over the country) and for her personality, which is supportive, generous, and kind. If you scroll through her Instagram (@playtrixx), you’ll see her promoting the work of other […] via … Continue reading For the record, I loved Krista Knight’s (Un)hinged
“I don’t see color! WE ALL BLEED RED.” People of color, you have almost certainly had white people say this to you, or some version of it, numerous times. It’s a lie. But you already knew that. White people, of course we “see color.” We see that people are Black, or Asian, or Latinx. So … Continue reading Why I Write Plays About Race
Made this on the fly this morning from some farmers' market items and stuff I had around, and it worked! Micromanaged instructions are aimed at me; please don't be insulted and feel free to adjust to your needs. Per serving: 1 smallish yam (I suspect it's actually a sweet potato but the farmer calls it … Continue reading Recipe: Chas’s Microwaved Yam Surprise
Melissa Hillman's post came just in time for me to see Brownsville Song (B-Side for Tray) by Kimber Lee at Shotgun Players. It's great to know that at Shotgun, the answer is yes, both in front of and behind the stage. At Marin Theatre Company as well, where they regularly do more than one show … Continue reading Processing “Do Black Lives Matter at Your Theatre? In Your Films?” by Bitter Gertrude
*sigh* Will there be any airline left for me to fly with? The Public Theatre is staging Shakespeare’s Julius Caesar as part of its annual Shakespeare in the Park, and hauling out that most overdone of concepts: Julius Caesar is POTUS! They’re all in suits! It’s AMERICA! This is exactly why I never directed Julius … Continue reading Julius Caesar: Suddenly Controversial — Bitter Gertrude
Theatre during the next four years – read this!
There is no more powerful tool for changing ideas, shifting cultural zeitgeist, and resisting authoritarianism than art. While theatre is not the biggest bat artists wield, our impact on the culture is not nil, especially if you include community theatre and school plays, and we must. Resistance to the Trump regime is the most crucial political battle of our lifetimes because this regime– and the zeitgesit behind it– stands to undo progress in every area of our society. Trump, Pence, McConnell, Ryan et al are actively seeking to impoverish you to enrich themselves, roll back every civil rights and workers’ rights gain of the past 100 years, eliminate every consumer protection, eliminate the social safety net, and pretend you begged them to do it. It’s telling that the very first appointee of the incoming administration was an amoral white nationalist, and the very first act of the new Congress was…
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Playwrights, we need audiences like this at our readings. Reblogged on WordPress.com Source: In For a Penny: Bum-rush the Show!
I should have known this was coming. I've been writing songs and instrumentals since I was 4 (my first was a song about Tigger that I have the sheet music for around somewhere - my father transcribed it for me), but at some point became dissatisfied with my lyric-writing ability. My straight play Hemlock (it's … Continue reading Birth of a Musical
This has something to say to playwrights as well.
Bay Area actress Ponder Goddard offers up some thoughts for actors on keeping it together in today’s theater world.
Actors are the foundation of theater. You can take away the lights, costumes, sets, you can even go Original Practices on Cymbeline’s ass and take away the director– but you cannot remove the actor or the audience and still have what we think of, know and love as theater.
Actors are necessary, actors are fundamental, if we want theater we need actors. If we want bold, brave, exciting, moving theater we need bold, brave, risk-taking and vulnerable actors. An actor’s ability to show up and be seen, to be truly wholehearted and vulnerable in their craft and in their lives, is entirely undermined when they are perpetually struggling for a sense of self-worth and worthiness. The systems of production around us make that struggle for worthiness endemic to the actor’s…
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If you love theatre, read this.
There’s a massive disconnect between theatre intelligentsia– bloggers like me– and what’s actually happening on the ground.
Theatre writers have been doing an excellent job drawing attention to issues of inclusion and diversity, issues of copyright and contract law and copyright/contract violation, issues of audience demographics, issues of access to arts education, issues of season selection, issues of censorship, especially in schools. Those are crucial, vital, important issues about which we need to continue to write. I have no plans to stop writing about any of those, nor do I expect (or want) anyone else to stop.
But we’re all avoiding the elephant in the room, probably because it’s simple, and boring, and all too painfully obvious.
THEATRES ARE CLOSING.
Nonprofit theatres all over the country are in trouble. While larger theatres are doing better than they were during the recession, a jaw-dropping amount of small, indie theatres and even…
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Thinking about American Indian (his term) Vine Deloria’s book We Talk, You Listen, which, among other things, discusses Marshall McLuhan’s theories as they apply to the Civil Rights movement. The message gets lost in the image. The image becomes the message.
How do we get the media to show all of the images? What role does the need to sell papers/get ratings play in choosing which images get shown?
Once upon a time I met an actor with mental health issues. Just . . . save that joke for later; I’m serious times right now. He told me that the Korean government was trying to kill him because of his political street theatre. When I tell this story, it never fails to get a laugh. Political street theatre? Harhar. No one cares about political street theatre that much! Harharhar.
In the wake of the failure of the grand jury to indict Darren Wilson, protests have exploded all over the country. The internet has also predictably exploded with people condemning the rioting and looting that have been an unfortunate component of some of the protests. The theatre around this issue is fascinating, and enormously telling.
There have been peaceful protests in Ferguson (and elsewhere) literally every single day since Michael Brown was killed. Here are some shots:
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There's an incredibly useful article over at the Playwrights Center website (not Playwrights' Center of San Francisco, the group I'm involved with, but the national one in Minneapolis), Tips From Artistic Directors. In that article, there are a lot of positive tips: send your best work, follow guidelines, and many more. Two ADs chose to … Continue reading Playwriting and the Pet Peeves of Others
For so long I’ve wanted the Theatre Industry machine to behave a certain way and suddenly I realized I want to take that machine apart and build a new one instead.
It’s been brewing in the back of my mind for awhile, but it really came to a head last week in a Facebook discussion about Charles Isherwood’s condescending language when writing about plays by people of color. Isherwood has enormous power to make or break the success of a play and/or playwright, and he’s not the only one using that kind of language, but he has extraordinary power because of his position with the New York Times.
But I think the problem isn’t just Isherwood personally, since we could fire him into the sun and there’d be another one right behind him to take his place. We should start thinking in terms of dismantling the power we accrue to that position…
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Interesting to hold my plays up to this yardstick.
Sometimes I open a play and see something that makes me feel like this:
Here’s what you do that makes my heart sing as I’m reading the plays in my stack. Are these subjective? Sure. But I made sure to only include things I’ve heard echoed by other artistic directors. Is this meant to be all-inclusive? Of course not. I’ve written a lot about playwriting already, so there’s a lot I’ve left out here. (Search for the tag “playwrights” if you want to see more.) So here we go– what makes my eyes turn into cartoon hearts when I look at you:
1. Your play is set anywhere but New York. Every time I talk about this, I get ten playwrights saying, “That NEVER HAPPENS anymore. That’s OLD SCHOOL.” And then I open the next 20 plays in my consideration folder and 14 of them are set in New York…
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Time to reread my plays for possible edits.
Like pretty much every blogger, the plan I had for my next post got chucked out the window after the violence at UCSB. I’ve been closely following #YesAllWomen on twitter, the news stories, the many, many blog posts, the many discussions on facebook. Like we all have been. Like so many women, I’ve been repeating the truth: This isn’t at all surprising. This is just the extreme example of what women experience all the time.
The reaction to that, honestly, has surprised me far more than the attack itself. I expected some blowback, but I didn’t expect the AMOUNT and TYPE of blowback I got. Things like, “We need to wait for more information because I didn’t believe a word of that manifesto,” “You need to have more compassion for men. We’re sick of this vitriol,” “You’re just making men angry and scared,” “A lifetime of being nice to women down…
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I feel like I’m up against this as well, as an unknown non-MFA gay/queer white male playwright. Still, I’m just one guy, and this is a whole gender. A must-read about who becomes well-known and why.
At The Summit, a public conversation with prominent DC theatres’ artistic directors convened by Washington Post theatre critic Peter Marks, Ryan Rilette tried to explain why it was more difficult for prominent theatres to stage women playwrights than to stage their male peers. Part of his reply–that there were fewer women “in the pipeline” (meaning a production circuit from major London and New York stages) went viral on social media, inspiring some very funny memes like Daniel Alexander Jones’: Daniel Alexander Jones’ meme .
But I don’t want to make Rilette the bad guy here; his theater, Roundhouse, is committing to gender parity in future seasons, and is part of a group of 44…
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心想事成 (Xīn xiǎng shì chéng / All wishes come true) to all my Chinese friends (and may you have good wishes). Happy new year.
While I’ll acknowledge I’ve hurried some of my plays to readings too quickly, yeah, the quest for perfection gets old. Williams and Albee produce(d) their plays and then revise(d).
Marissa Skudlarek gives us her longest blog ever, because she’s got a lot to think about.
As Allison Page noted here last week, self-producing is a hot topic among theater-makers right now. On Facebook, the group “The Official Playwrights of Facebook” frequently plays host to conversations about best practices for self-producing, and last week, HowlRound led a Twitter conversation on the topic.
In these discussions and conversations, there always seems to be someone (or multiple someones) offering advice along the lines of “Before you even think about self-producing a play, make sure you’ve done tons of drafts and multiple readings and workshops.”
Here’s why I think that that may be dangerous advice.
(Caveat emptor: I haven’t self-produced a play before, though I am planning to do so this year. Therefore, I may be writing this column from a place of naïve ignorance. If the play I self-produce this year…
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Words to those of us who would be wiser.
Because what says “HAPPY NEW YEAR” better than a judgmental listicle?
One thing I want to say right at the start is that this is a list borne out of my own personal experience. These are things I personally see early-career playwrights do over and over and over. I also expect that there will be people who disagree with me, or who say, “But [name of play] does that and it’s the BEST PLAY EVER.” Sure. A genius can take a tired trope and use it ingeniously. But these tropes, I’m telling you, are tired.
The second thing I want to say is that your play is not irrevocably in the suck pile if it uses some of these. I know you’ll iron these out in development. Brilliant writers make a lot of mistakes early in their careers, or copy what writers of the past did when these things were new…
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