Notes and Quotes: The D.C. Women’s Voices Festival

by Laura Shamas

The travel gods smiled on me this fall, and I’ve been able to catch several new plays that are part of the historic D.C. Women’s Voices Festival, currently running in our nation’s capital. The Festival’s mission, according to their website, is one that I love and support: “To highlight the scope of new plays being written by women, and the range of professional theater being produced in the nation’s capital,” as part of “the largest collaboration of theater companies working simultaneously to produce original works by female writers in history.”

About fifty-tWomensVoicesLogowo world premieres of female-authored plays and musicals are being produced by 48 D.C. area theaters, a mix of large and small companies (Equity and non-Equity); the launch party was on September 8, and the last show closes on Nov. 22, 2015.

With a budget of over $500,000, co-produced by Nan Barnett (Executive Director of the New Play Network) and Jojo Ruf (Managing Director of The Global Lab at Georgetown University and Executive & Creative Director of The Welders), the Festival was modeled on the 2007 “Shakespeare in Washington” celebration that lasted for six months across the city. Over a two-year period, 7 D.C. area theaters created the Women’s Voices Festival: Arena Stage, Ford’s Theatre, Round House Theatre, the Shakespeare Theatre Company, Studio Theatre and Woolly Mammoth Theatre Company.

Make no mistake about it: the Festival is both a boost to women playwrights and a way to draw attention to the scope of D.C. theaters – a win/win.

I am unable to see even 1/10th of the shows being offered, so I don’t consider myself an expert about the Festival in any way – just a lucky pop-in attendee. Here are some of my informal impressions, with quotes from some of the amazing artists involved in the Festival.

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“Witches Vanish” by Claudia Barnett – Back row from left, Lakeisha Harrison, Vivian Allen and Tara Cariaso, with front row from left, Leticia Monet and Jennifer Berry, directed by Deborah Randall. (Photo by Deborah Randall)

1) WITCHES VANISH by Claudia Barnett

The first play I got to see in the Festival was Witches Vanish by Claudia Barnett, directed by Deborah Randall at Venus Theatre. LA FPI’s own Jennie Webb put Barnett’s play on my radar, and I’m so glad she did. I’ve had a longstanding mythological interest in The Weird Sisters from Shakespeare’s Macbeth, and this play features the archetypal trio as a metaphoric theatrical entity who witness (or sometimes cause?) women vanishing, in real life and in literature. As playwright, Barnett asks from a political, historical and sociological perspective: “Why do women vanish?” With elements of puppetry, dance and fascinating vignettes, Barnett’s script interweaves scenes about “lost” women; it runs 90 minutes without an intermission. I admired the theme and originality of Barnett’s play and Randall’s inventive direction. I admired the all-female cast.

Witches Vanish closed in late September, and I asked Barnett for her thoughts about her play and the Festival: “Witches Vanish gives voices to women who’ve disappeared throughout time—both by telling their (fictionalized) stories and by explicitly naming them in a series of chants between scenes. Given the common theme, it fit the Festival perfectly.”

Barnett described what it was like to be there as a playwright: “The sense of community was amazing, even for an out-of-town playwright who was only in Maryland for four days. One reason was Lorraine Treanor, who introduced the playwrights to each other with her series of interviews, which she distributed to us daily with cheerful emails. (The interviews are posted on the DC Theatre Scene website.) Another reason was the American Theatre photo shoot, where many of us met. I remember the moment when we were all nervously posed on the staircase at the Arena Stage and were told this shot would be the cover of the October issue. First I felt shock, then acceptance, then delight. It’s a tremendous honor to be part of that group.”

Claudia Barnett is the author of No. 731 Degraw-street, Brooklyn, or Emily Dickinson’s Sister: A Play in Two Acts, published in October by Carnegie Mellon University Press.

2) CHIMERICA by Lucy Kirkwood

The next play I saw related to the Festival was Chimerica by British playwright Lucy Kirkwood. Although it was not an official part of it, it was scheduled to “coincide” with the Festival. This is Chimerica’s U.S. premiere. I‘ve wanted to see this play since I’d first heard about its 2013 run in London (and its subsequent wins for Best Play for both The Evening Standard and the Oliver Awards). The title refers to the domination of the U.S. and China in modern geopolitics, covering a span of twenty years. A photographer’s iconic photo taken in Tiananmen Square becomes a catalyst for a mystery that spans generations and cultures. The two-act play, masterfully directed by David Muse, at the Studio Theatre, is ambitious, powerful and quite moving. It was over three hours long but seemed to fly by. Kirkwood’s approach was cinematic in style and epic in scope: I find myself still reflecting about her characters and images more than a month after seeing it. (For more on Studio Theatre’s production of Chimerica, click here.)

3) IRONBOUND by Martyna Majok

Ironbound by Martyna Majok, directed by Daniella Topol, at Round House Theatre was the next show I caught in the Festival. Majok, who was born in Poland, is an award-winning playwright on the rise (New Play Network Smith Prize, David Calicchio Emerging American Playwright Prize, 2015-2016 PONY Award, among others). Majok was inspired to tell the story of Darja, a Polish immigrant who works as a caretaker and factory-laborer, because “poor women” are misrepresented in our theatres; in the video linked below, Majok comments: “I wanted to see my own story on stage.” Ironbound is a 90-minute tour-de-force that takes place mostly at an urban bus stop; it has a cast of four. A huge “X” image in the industrial set by James Kronzer marks the spot; it embodies the protagonist’s economic and emotional quagmire, suggesting a steel cage. The protagonist Darja (beautifully played by Alexandra Henrikson) holds the stage the entire show, and we learn in real time and flashbacks about the key points of her life and relationships in the U.S., from 1992 – 2006. Without giving too much of the plot away, I felt especially lucky that I got to see Ironbound with my mother. It’s ultimately about the bond between mother and son, and the meaning of love.

Ironbound will open next in New York in March 2016, co-produced by The Women’s Project and Rattlestick Playwrights Theatre, again directed by the talented Topol. (For a brief interview with Majok about Ironbound, scroll through this page.)

4) INHERITANCE CANYON by Liz Maestri

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“Inheritance Canyon” by Liz Maestri, directed by Lise Bruneau. Pictured: Esther Williamson as Shell. (Photo by Brittany Diliberto.)

I’ve followed playwright Liz Maestri for years on Twitter, and was thrilled to have a chance to see her new play Inheritance Canyon as part of the Festival, directed by Lise Bruneau, produced by Taffety Punk Theatre Company.  Maestri is based in D.C. Her most recent projects include the site-specific piece LAZE MAJESTY with Field Trip Theatre, and she was a 2015 O’Neill Playwriting Theatre Conference finalist.

Inheritance Canyon is a zany and thought-provoking look at a scientific experiment and the meaning of life. It takes place in a canyon near a desert, and involves three friends: Shell (Esther Williamson), Sal (Teresa Castracane) and Gary (James Flanagan). They witness a mysterious explosion, and then are put under medical surveillance, a sort of limbo-quarantine, for the rest of the play. This work was commissioned by Taffety Punk and is related to a previous Maestri play, Owl Moon (the program notes describe Inheritance Canyon as an “un-prequel”). I didn’t see Owl Moon, but I did catch that the owl is a major symbol/prop in Inheritance Canyon, and is connected to “doubling.” The play, in two acts, runs about two hours, with intermission.

And speaking of intermission, the character switch that happens (during it?) between the first Shell and the other Shell (Gwen Gastorf) was theatrically fun at the top of Act Two. One of the meta-themes in Maestri’s play was “performance” in modern life: if we “perform” a function, does that mean we become it, Maestri asks? Gary, one of the doomed trio, repeatedly states his longtime dream to be a performer, and rehearses songs, wearing a wig, as he impersonates Olivia Newton-John in anticipation of an audition that never comes. Shell wants to pretend to be a scientist, and in the end, a Camera Kid/Intern comes along to document the “reality” of it all.

I asked Maestri for her thoughts on attending the Festival, as well as being featured in it: “The Women’s Voices Festival has been a powerful and formidable ride so far. I’m very much inspired by all the new and exciting work I’m seeing, the energy around the Festival itself, and the remarkable efforts of Nan Barnett and Jojo Ruf realized. I’m still processing it all–the past few months have been such a whirlwind of new experiences, hard work, and straight-talk about the industry’s commitment to parity. The Festival is churning things up, causing trouble, changing lives, starting conversations, and catapulting new art into the world. I’m proud to be part of it.”

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“Queens Girl in the World” by Caleen Sinnette Jennings, directed by Eleanor Holdridge. Pictured: Dawn Ursula. (Photo by Teresa Wood.)

5) QUEENS GIRL IN THE WORLD by Caleen Sinnette Jennings

Playwright Caleen Sinnette Jennings has two plays in the D.C. Women’s Voices Festival. Jennings’ one-person play Queens Girl in the World, directed by Eleanor Holdridge and produced by Theater J, is the last show that I saw.

This play stars the virtuoso performer Dawn Ursula as the young Jacqueline Marie Butler (“Jackie”), during her tween to teenage years–until the mid-1960’s–in Queens. Ursula plays every character in the piece, including her worldly “best friend” Persephone Wilson, Jackie’s parents, young male suitors, the grandfather of a friend who molests her, her teachers, her mixed race middle school friend Doug, Persephone’s mother, and more. Jackie must constantly navigate dual worlds: neighborhood street life versus her stricter home rules as the daughter of a doctor; Queens versus Manhattan, as one of four black students in a progressive Greenwich Village school; leaving childhood/entering adulthood.

Queens Girls in the World depicts in two acts (with the act break serving as a tone shift marker when the script turns from “fun” to “serious”) what it was like for a studious, bright African-American girl to grow up in the Civil Rights era, and to live through its violent days: the 1963 death of Medgar Evers, the assassination of President John F. Kennedy. She memorizes the names of the four girls who died in the 16th Street Baptist Church Bombing in Birmingham, Alabama: Addie Mae Collins, Cynthia Wesley, Carole Robertson and Carole Denise McNair. Jackie gets to meet Malcolm X one night, and then, soon after, mourns his death. By the end of the play, Jackie’s parents are so fed up with life in America that they move to Nigeria. The beautiful star-field projected at the end of the show, as they sail away, serves to highlight Jackie’s poignant continuing search for her identity. Everything about the production is top-notch, and the super-talented Dawn Ursula is unforgettable.

One thing I’ve been tracking is the number of excellent female directors working in the Festival. It’s been inspiring to see so many female-helmed productions. I asked Eleanor Holdridge, a director in great demand and the head of the MFA Directing Program at Catholic University, about directing in the Festival: “It has been so thrilling to direct not one but two World Premieres by Caleen Sinnette Jennings in the D.C. Women’s Voices Festival. Just opened her Queens Girl in the World at Theatre J, a semi-autobiographical piece in which the wonderful work of Dawn Ursula evokes a girl coming of age in a very turbulent time. A really remarkable process.”

Darius&Twig_titleimage KenCenHoldridge continued: “On October 8, I will embark on rehearsals for Caleen’s Darius and Twig, a TYA show at the Kennedy Center, based on Walter Dean Myers’ stunning young adult novel about two kids growing up in Harlem whose friendship and resilience take them through very difficult times. The current draft gets beautifully at the difficulty and joy of growing up in rough circumstances. And somewhere in the middle of it all, on October 19th, I will direct a reading of a new play by Sarah Gancher at Mosaic Theatre, The Place We Built, about the lives of young people striving for voices and a place of their own in Hungary. It’s a thrilling bi-product of the festival that so many women directors are being brought along for the ride. For my female directing and playwriting students, I find the season a wonderful inspiration for what enriching strength that women theatre artists can bring to the art form in America.”

6) MORE, PLEASE:

I wish I could see many other shows in this Festival, which runs until late November; it is such a rich, thrilling expansive endeavor. I tweeted an inquiry several days ago, to ask if the D.C. Women’s Voices Festival might become an annual event. (Fingers crossed?) They responded: “Great question. At this point it’s still too soon to say. We’ll keep you posted on any updates.” In Holly L. Derr’s recent Howl Round post about the Festival, Nan Barnett mentions plans for a post-Festival handbook that could be used as a guide by other cities to mount their own versions of this kind of festival. Yes, please!

Martha Richards, Founder and Executive Director of Women Arts, attended the first October industry weekend of the Women’s Voices Festival, and was part of a Gender Parity panel on October 4 at Woolly Mammoth Theatre. Richards notes the Festival’s significance: “I think that history will recognize the Women’s Voices Theater Festival as a turning point for women in theater. Gender parity activists have been looking for ways to reach our goal of 50/50 by 2020, and large-scale festivals like this provide a perfect mechanism to push our numbers up quickly. So many women in theatre are fed up with the inequality in our field, and I predict that the Washington role model will inspire them to create similar festivals all over the world.”

7) 2.0 THOUGHTS, TO IMPROVE?

While there are some who feel that the concept of a “Woman’s Festival” is patronizing in and of itself (e.g., shouldn’t “women playwrights” just be considered “playwrights,” after all?), I applaud these innovative producers and theatre-makers in D.C. for taking positive action, and for bringing attention to female writers and the thriving theatre community in our nation’s capital.

In future iterations, one always hopes for improvements. Here are a couple of areas to consider:

a) Inclusion – Playwrights of Color. In the October 2015 article entitled “Women’s Work” by Suzy Adams in American Theatre, Arena Stage’s artistic director Molly Smith regrets that the number of writers of color in this Festival is less than 10 percent: “When we talk about diverse voices, it always has to include race, and I think that’s one thing for me that’s a weakness of this particular festival” (p. 47). That’s an important factor that should be addressed in a future festival incarnation or iteration.

b) Coverage Disparity? It’s so hard to get press for the arts these days, so we’re all grateful for the theatre reviews that are published. But as is standard in reviewing festivals these days, the practice of combining critiques of several shows within the same review seems to infer “competition” among the shows (a “see this, skip this” consumerist tack, sometimes even at the headline level). Also, some plays in the Festival received their own stand-alone reviews, while others didn’t. I don’t know what the remedy to it is from a press perspective, but I’m sure some of the theaters noticed levels of disparity in the coverage. Surely the playwrights noticed, too.

8) LOS ANGELES? EVERY CITY IN THE U.S? AND BEYOND?

Could this festival be replicated/produced/curated in another city? Yes! How about it, L.A.? Why not try to organize a multi-month festival involving fifty (or more) L.A. theaters that’ll produce shows by female playwrights at the same time? Let’s consider this, SoCal theatre-makers. It’s a great way to promote the high talent level of our theaters, large and small, as well as promote the high level of female playwrights who reside and work here.

And beyond L.A., I hope the D.C. Women’s Voices Festival launches a worldwide movement: Women’s Voices Everywhere! Maybe if enough female-focused festivals occur, it will eventually be “normal” to include a 50/50 ratio of female playwrights in all regular seasons on the world’s stages. A playwright can dream, can’t she?

(Note: A shorter version of this post is published in the International Centre for Women Playwrights October 2015 Newsletter. Another version is published on the Women Arts blog. )

RECOMMENDED LINKS:

D.C. Women’s Voices Festival

“Women’s Voices Theater Festival: Getting a Piece of Real Estate” by Jami Brandli

“Something is Afoot in Washington, D.C.” by Holly L. Derr & The Women’s Voices Festival Weekend Recap by Holly L. Derr

“Women’s Voices Theater Festival in Washington is An Energizing Showcase” by Charles Isherwood, New York Times 

“Putting Women in the Spotlight” by Nelson Pressley, Washington Post 

2 Comments

  • By Jennie Webb, October 12, 2015 @ 12:07 pm

    Thank you so much for this amazing post, Laura! I am so jealous I can’t get my ass to DC for this but am feeling the energy through your words.

  • By Laura S, October 12, 2015 @ 12:30 pm

    Thank you so much, Jennie. That means a lot to me!

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