Taking Stock

(Guest Blogger This Week – Laura A. Shamas, LA FPI Co-Founder and National Outreach Agent)

The Los Angeles Female Playwrights Initiative, as a grassroots movement dedicated to the cause of achieving gender parity for women playwrights (and all female theatre artists), has been around for awhile now. Inspired by the advocacy efforts by women playwrights in New York, Jennie Webb and I had our first conversation about it in September 2009 over lunch at the Marmalade Café on Ventura Blvd. In November 2009, we put up a temporary website, begged Ella Martin to head a study of L.A. female playwrights’ activities in the first decade of the 21st century, and tried to figure out how to organize a community-wide outreach to the hundreds of female dramatists here (and those who love them)—not an easy feat when you consider SoCal’s 500 square miles.  But we knew lots of people here cared about this issue and wanted to do something about it. We had our first official meeting in March 2010 at Theatricum Botanicum during a major storm; it seems like a metaphor, looking back. Still, many talented women and men trekked to Topanga Canyon during the torrential rain, and spoke from the heart about how and why this cause—and theatre as an art form—matters.

That initial wet chilly meeting seems like ancient history now; so much good work has happened in the past 2+ years. There’s a long list of artist-volunteers who have contributed to the LA FPI mission. Some highlights include: the creation of this website by Jennie Webb, sponsored by Katherine James; the award-winning staff of playwright-bloggers (Tiffany Antone, Erica Bennett, Nancy Beverly, Robin Byrd, Kitty Felde, Diane Grant, Jen Huszcza, Sara Israel, Cindy Marie Jenkins, Analyn Revilla, and Cynthia Wands) who are featured daily in this space, expertly managed by editor Robin Byrd; Ella Martin’s historic 2011 study results; Alyson Mead’s podcasts with inspiring women playwrights; the Women at Work Onstage page (still the only weekly list of female-authored shows in L.A.), created/maintained by Laurel Moje Wetzork; the bi-monthly e-mail blasts that include member news and submission opportunities, curated by Erica Bennett, then Helen Hill (we’re now looking for communication help!); the support from Larry Dean Harris, who wrote about us for The Dramatist—and gave us a spotlight, featuring Janice Kennedy, at a 2010 regional Dramatists Guild meeting (followed by a panel slot for us at 2011 National DG Conference); the new venture with Tactical Reads launching this week, connecting women playwrights to female directors, originated/helmed by Sabina Ptasznik; the spread of our badges on the Web and in person (a branding scheme with an important meme); an annual look at LORT seasons and stats in SoCal as related to gender parity and playwriting; the enthusiastic LA FPI support for female artists in the Hollywood Fringe Festival in 2011 & 2012 (lead by Cindy Marie Jenkins, Jennie Webb, Jan O’Connor, Alyson Mead, Kat Primeau, and Jessica Abrams); sharing scenes via social media in order to increase accessibility and visibility; approaching theaters to ask how we can build relationships, fostered by Debbie Bolsky and Tami Tirgrath; meet-ups to see plays by women, coordinated by Task Force leader Diane Grant; online discussions, such as the fascinating one just hosted by Cindy Marie Jenkins with guests Etta Devine and Carolyn Sharp, about applying the Bechdel Test to the stage—a streamed broadcast that may (fingers crossed!) evolve into an ongoing monthly LA FPI/TV theatre conversation; etc. We have more people following us on Twitter, domestically and worldwide, than ever before. Lots of folks “Like” us on Facebook. And it’s all been created and executed by volunteers of professional theatre artists, for free!

Whew!

But has anything really changed? “Has LA FPI made any difference at all?” It’s a question I’m frequently asked and asking. When we compiled the SoCal LORT stats in May/June this year, for a while it looked as if there might be small gains of +1.5% or even +3.5%, in terms of female-authored shows for the 2012-2013 professional seasons. But then, in the end, it was pretty much the same as it ever was: still around 22% (or slightly less). Discouraging! “Is consciousness-raising effective anymore?” we wonder. Why doesn’t the excellent LA FPI blog have more commenters, at the very least?

In these moments, I have to remind myself: Statistics don’t tell the whole story—only part of it. Things have changed in this way: we are not sitting around and ignoring “the problem” any more. We were cautioned in the early days of LA FPI not to confuse “Activity” with “Progress.” Maybe not, but when you have this much ongoing work towards a goal (see above), there’s a shift of some sort—of attitude, of creativity, of focus, of opportunity, of spirit. It may take many more years before we achieve true gender parity for female theatre artists in the English-speaking theatre (or for women in the world at large). But we’re pretty sure that more Angelenos are aware of the issue and are working towards the goal of parity now. Solved? No. Better? Definitely.

Female theatre artists in New York continue to advocate for gender parity; the 2012 Lilly Awards held on June 4, 2012, at Playwrights Horizons, and the upcoming “We Are Theatre” protest on September 24, 2012, at the Cherry Lane Theater (organized by the Guerrilla Girls On Tour!, 50/50 by 2020, Occupy Broadway, and the Women’s Initiative members of the Dramatists Guild) are two timely examples.

Recent reports from the U.K. and Australia also mirror our struggles. Lyn Gardner, writing from London in The Guardian in February 2012, wonders if a universal blind submission policy is a possible remedy. A new report, “Women in Theatre,” released April 2012 by the Australian Council for the Arts, details the status of Australian women playwrights and female theatre artists. Those who authored the report found “no progress over the decade since 2001 and there is evidence that the situation for women in creative leadership deteriorated over that time” (pps 4-5). It’s a thorough, well-crafted study, and on page 49, there’s a “cross-sectoral approach” that suggests three pathways towards improvement in the professional theatre arena:

1) Information
2) Accountability
3) Vigilance

These points really resonated with us because they align with so much of our LA FPI work thus far. And it’s reassuring to know that others in the arts, including the Australian Council, recognize that the problem of gender parity in theatre is a grave one and must be remedied.

Here’s our promise. We will continue to spread the word; we are taking stock. And of this you can be certain: we won’t give up.


What are your ideas about how to create equal opportunities for women playwrights and female theatre artists? Join us on Wednesday, June 27, 7 p.m., for our next LA FPI gathering to share ideas and network, followed by an 8 p.m. reading of Paula Cizmar’s new play Strawberry, directed by Sabina Ptasznik in the new Tactical Reads program
. And please share your thoughts in the comments section below. 

 

4 Comments

  • By jenniewebb, June 25, 2012 @ 11:09 am

    Over the last few weeks at the Hollywood Fringe, the level of female “community” and support between women artists was pretty amazing. Does what we’re doing matter? Yes. Are we making a difference? I think so. Not overnight. And maybe not in a “quantifiable” way that makes heads turn. Yet. But perspectives are changing, new questions are being asked, different conversations are being held, and new choices are on the table. That’s my view and I’m sticking to it!

    Thanks for getting it all started, Laura

  • By Nancy Beverly, June 27, 2012 @ 2:17 pm

    Great looking back / looking forward article, Laura! Sorry I can’t be at the reading tonight, I’m scheduled to lead the Wed. night hike at Griffith Park, but I’ll be there in spirit!

  • By Janice Kennedy, June 28, 2012 @ 12:33 pm

    A beautiful rundown of the way people have come together to fight the good fight. Many thanks to you and Jennie Webb for leading the way.

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