Category: Female Artists

The FPI Files: Nevertheless, Echo Persists in Giving Women a Voice

Damn them! Just when we’re looking the other way, yet another woman playwright is getting a premiere at The Echo Theater Company, now in residence at Atwater Village Theatre. Over the past three seasons, over 50% of The Echo’s productions have been written by women. And this time out, it’s five women at once.

Nevertheless, She Persisted is an evening of short plays by female writers that explore the treatment of women in today’s political climate.  Well. With a kick-ass title and logline like that, we thought it was about time we reach out to The Echo’s Artistic Artistic Director, Chris Fields, and playwright Mary Laws (whose Blueberry Toast premiered with the company last year, and has a piece in the evening) to see just what trouble this femme-friendly company is getting up to, now.

LA FPI: So… Which came first: the title or the plays?

 Chris Fields: The title. All the plays were commissioned expressly for this evening. The writers were simply told the title of the night. These are playwrights who we’ve worked with before in different ways and/or wanted to work with. Basically, “on our radar.” We were also aware of how different they are which we welcomed.

LA FPI: Five playwrights–Mary Laws, Charlotte Miller, Calamity West, Jacqueline Wright and Sharon Yablon. How did they each interpret the title?

Chris: We gave the playwrights the title of the evening and, of course, it was very provocative. We said that we weren’t asking for overtly political plays but to please let that phrase percolate. Subsequently, the plays are very diverse in subject, tone, and world, but do consistently reflect some aspect of today’s feminine experience. (You’ll see!)

LA FPI: Which direction did you go in writing your play, Mary?

Playwright Mary Laws

Mary Laws: I am a thirty-one year old woman, and this is the first time in my life that I have seen our country so divided.  I think if we can agree on one thing, we can agree that a lot of people are afraid: of the current administration, of the safety and security of our country, and of the dissolution of our basic human rights.  As a woman, the latter is particularly troubling.  When organizations like Planned Parenthood are attacked, our reproductive rights are threatened, and The President of the United States makes openly sexist and degrading comments about our female bodies, it’s hard not to ask yourself: who is looking out for me?  It’s a scary time, and I wrote my play, yajū, as a response to these fears.

LA FPI: Not only are the plays written by women, but four of the five have female directors. Mary and Sharon are directing their own plays, but how were the other directors chosen?

Echo Theater Company Artistic Director Chris Fields

Chris: I engaged the directors from the company I thought would best serve the plays, basically.  [Associate Artistic Director] Tara Karsian directs Charlotte’s play and Ahmed Best, Calamity’s. Teagan Rose had expressed a desire to direct and I thought this program, the play, etc. was the ideal opportunity for her to get started, and Jacquie is wonderful to work with.

Mary: I’ve long wanted to direct my own plays, but in the past when I’ve asked for this opportunity at other theaters or events, I’ve been given a simple and easy no.  The reasons have always varied, but none of them ever seemed valid to me.  When I told Chris of this desire, he was quick to invite me to direct my own play, once again demonstrating that The Echo is the kind of theater that takes risks on new artists and affords equal opportunity to those who seek it.

LA FPI:  How has it been–a room full of women, working together?

Mary: I love working with women.  I want to work with women until I die.  Women are wickedly smart and unapologetically brave and infinitely strong.  Women can do anything.

Chris: Sharon and Jacquie are old colleagues and collaborators, artists I see as very special to the Los Angeles theater community. Mary became part of our “family” last year–Sarah Ruhl sent her to us. Calamity lives in Chicago and is an old friend of Jesse Cannady, our new Producing Director, and we’ve been reading her stuff this year. Charlotte came to us a number of years ago through our connections at the Labyrinth in New York and we’ve been waiting to work with her. And she just moved out to LA.

LA FPI: We love that The Echo seems to have quite the open door policy when it comes to women playwrights! How are you fitting in, Mary?

Mary: The Echo has kept me in the business of writing new plays (which is no small feat in the land of film and television).  Not only are they excited to tell my dark and twisted stories, but they’ve done much to support the work of other incredible female writers: Sheila Callaghan, Bekah Brunstetter, Ruby Spiegel, Jessica Goldberg, and Sarah Ruhl, to name just a few.  Even more, the majority of the theater’s leadership is comprised of women, from the mainstage directors and producers to the literary manager, Alana Dietze, to the inimitable Jen Chambers who runs the Playwright’s Lab.  The Echo is not only “female friendly” but female driven… which is smart, because if you ask me, today’s most thoughtful and provocative theatermakers are women.

LA FPI: Okay, Chris. Are you afraid of getting a rep for staging, god forbid, “women’s plays?” 

Chris: Any institution or person who ghetto-izes plays by women is dumb. I revere and cherish talent, no matter who or how it comes.

Nevertheless, She Persisted —An evening of five world-premiere short plays by female writers that explore the treatment of women in today’s political climate, plays from August 24 – September 4.
yajū, written and directed by Mary Laws
Sherry and Vince, written by Charlotte Miller, directed by Tara Karsian
At Dawn, written by Calamity West, directed by Ahmed Best
Violet, written by Jacqueline Wright, directed by Teagan Rose
Do You See, written and directed  by Sharon Yablon

For information and tickets, visit www.echotheatercompany.com.

 

Know a female or FPI-friendly theater, company or artist? Contact us at lafpi.updates@gmail.com & check out The FPI Files for more stories.

Want to hear from more women artists? Make a Tax-Deductible Donation to LA FPI!

Donate now!

Los Angeles Female Playwrights Initiative is a sponsored project of Fractured Atlas, a non‐profit arts service organization. Contributions for the charitable purposes of LA FPI must be made payable to “Fractured Atlas” only and are tax‐deductible to the extent permitted by law.

The FPI Files: Women’s Stories at EST/LA, One Act at a Time

Is it just us, or has Ensemble Studio Theatre/Los Angeles been getting their femme on, lately? Including last year’s hit production of member playwright Karen Rizzo’s “Mutual Philanthropy,” Ann Talman’s “Woody’s Order!” earlier this year, and works presented through the company’s development programs, we’ve heard a lot of female voices coming from EST/LA’s space at Atwater Village. Now the 2017 One Act Festival is currently playing, with 50% of the works written by women. Time to chat with one of EST/LA’s Co-Artistic Directors, actor/producer Liz Ross, and Carole Real, playwright and former Co-Artistic Director.

Liz Ross

LA FPI: Needless to say, we’re big fans of gender parity. How did the plays for this Fest come to you?

Liz Ross:  All the submissions came from playwrights associated with our company either through the Playwrights Unit, NeWest Playwrights (which is our writers group for playwrights under the age of 30), and writer company members.

Our membership and writing groups are all pretty equally male and female voices.  I think we are around 50/50, to be honest. And we’re particularly proud this year that each play has been developed here through our programs such as Sunday Best, our monthly reading series;  Winterfest, our annual members project series; LAFest, our Los Angeles voices festival; Launchpad, a staged reading series; and True Story, our monthly storytelling evening.

LA FPI: Do you see differences in the stories women playwrights are telling, vs. male playwrights? Or differences in how they’re telling them?

Carole Real

Carole Real: I have all kinds of theories, but they are just theories and it’s never wise to paint with a broad brush. For instance, in my observation, the play with the twist ending tends to be written by a male playwright. But I bet our readers could come up more than one example of a twist ending play that was written by a female playwright.

One thing I think is objectively true is that women playwrights tend to have more female characters and more female protagonists in their plays than male playwrights. In addition, the female characters women write tend to have their own goals and aren’t just in the play to “help” other (male) characters or serve as plot points. And I think women playwrights tend to write female-female interactions that women audience members experience as truthful and moving.

Liz:  I’m finding that things seem to be shifting.  I think in the past women wrote more of the relationship stories, but now there seems to be a shift in this generationally.  Many of the younger playwrights are crossing those gender norms and exploring more plays about identity issues from both male and female voices.

And then there’s a play like “The Guard Will Escort You to Ruff-Ruff” by Carole Real [included in Program B of the Festival].  This play explores how our global economy can unknowingly make us complicit in the abuse of factory workers over even a small purchase, like toys with our favorite cartoon characters on them.

LA FPI: So let’s talk about the Festival selections, starting with your play, Carole. Why are you telling this story?

Stella Kim and Sharon Freedman in Carole Real’s “The Guard Will Escort You to Ruff-Ruff,” directed by Chuma Gault. Photo by Youthana Yuos.

Carole:  I became aware that foreign factories routinely break labor laws and violate safety codes of the countries where they are located — their own country’s laws — during the recession when I worked in a temp job for a large entertainment conglomerate. The job entailed reading foreign factory audits eight hours a day, five days a week. It was profoundly depressing and I became convinced that if people understood how these factories operate, they would feel differently about the global economy and understand that by turning a blind eye, we are complicit in the exploitation of vulnerable workers. It later dawned on me that I could dramatize the subject by creating a theatrical world where a factory auditor in China could “talk” to the temp worker in the US.

I absolutely love that the play has mostly women characters and that they attempt to work together to protect the most vulnerable of them! I know that in China, many factories are staffed mostly with teenaged girls, because they are hardworking and obedient, so factory safety and fair labor laws there is really and truly a women’s issue, and this is probably true in many other countries as well.

And I would be remiss not to give director Chuma Gault huge credit for the artistic success of this production. Chuma really saw the play as being about how women are penalized by being strong and smart in the office environment. This wasn’t something I was focussed on — that just seemed like “how it is” — but he picked up on that and made sure it was part of the story. Thank you, Chuma!

Liz: All three plays in Program B explore questions of conscience — from “Provenance” by Ian Patrick Williams to “Writing to Mrs. Otts” by Tom Stringer to Carole’s play, each play in this program asks us to consider what we’re willing to speak up about or against.

Program A had 5 plays that all explored relationships.  They ranged from Karen Rizzo’s “Darkest Place” which explored loss and crisis to Deborah Pearl’s short piece “Can You Hear Me Now” about miscommunication in the cell phone era.  Mary Portser’s “So Lovely Here on Earth” was a sweet piece about a woman trying to volunteer for a Mars Mission when her interviewer realizes that she’s just trying to escape her own misery here on Earth by “committing suicide by space.” Each of these plays, while being very different from each other and taking entirely different approaches, had a similar thread exploring our desperate need to be understood. I do think that women writers tend to invest in the search for understanding each other. Women write characters who watch and observe each other.

Program C has 4 wonderful pieces starting with “Things That Matter” a musical by Elin Hampton and Gerald Sternbach, “How Do I Get Get to Carnegie Hall” by Nick Ullett and directed by his wife Jenny O’Hara.  Then “My Jesus Year” a heartfelt piece by Tony Foster, and finishing with Katherine Cortez’ “Between Friends” which is about a many years old friendship between two older women who discover that they still harbor secrets from each other after all these years. Katherine is just coming off of a successful Fringe production of her play, “In The Valley of the Shadow” with Rogue Machine.  It’s a powerful piece that she developed with the Playwrights Unit and we had a reading in Winterfest.

LA FPI:  So it’s not just us! Seems like there are a lot of powerful women artists working as part of EST/LA?

Carole: Yes! And I’d like to thank Liz Ross for the work she’s currently doing as one of the three Artistic Directors, and the work she has done in the past for EST/LA as an actress, producer and creative director. I’d also like to give a shout out to the other strong women who have made our company run, including Jenny O’Hara, Board President, Gates McFadden, Laura Salvato, Risa Bramon Garcia and Deb Stricklin (all former Artistic Directors), Heather Robinson who currently heads the Members Committee and all the other women who make EST/LA go. Without them, we’re nothing!

Liz: We have increased the diversity of voices within our membership and playwrights groups and this past year and actually have a very long history of producing women playwrights. Right now, we have so many projects in development that we can’t possibly produce them all so our focus is to serve their process; we’ve become a major incubator of plays, so to speak. We’re very conscious of including women’s voices equally to men’s and we do have a wonderfully strong and vocal community of women within our organization so I expect we will continue that way for a long time to come.

EST/LA’s 2017 One Act Festival continues through July 16 at the Atwater Village Theatre complex. For more information visit www.estlosangeles.org or call (818) 839-1197. Reserve tickets at brownpapertickets.com.

 

Know a female or FPI-friendly theater, company or artist? Contact us at lafpi.updates@gmail.com & check out The FPI Files for more stories.

Want to hear from more women artists? Make a Tax-Deductible Donation to LA FPI!

Donate now!

Los Angeles Female Playwrights Initiative is a sponsored project of Fractured Atlas, a non‐profit arts service organization. Contributions for the charitable purposes of LA FPI must be made payable to “Fractured Atlas” only and are tax‐deductible to the extent permitted by law.

#FringeFemmes Check-Ins: Hello Again!

by Terry Holzman

Quick peeks at the work of #HFF17 female playwrights, “Women on the Fringe,” by Fringe Femmes who’re behind the scenes this year. Click Here for all Check-Ins.

Fringe Femmes



WHO: Linden Waddell

WHAT: Hello Again! The Songs of Allan Sherman

WHERE: Stephanie Feury Studio Theatre

WHY: You don’t need to know who Allan Sherman was or recognize his Grammy-award winning comic novelty hit “Hello Muddah, Hello Fadduh (A Letter From Camp)” to wholeheartedly enjoy this cabaret-style show. The day I saw the show the audience ran the gamut from pre-teens to senior citizens and—from the roaring laughter—I sensed that the entire audience was entertained. Linden Waddell is marvelous as she interprets a handful of Sherman’s 250 song parodies, tells some of his story, and beautifully pays homage to a comedy legend who paved the way for singer-songwriters like “Weird Al” Yankovic.

Linden Waddell shares the stage with her musical director, arranger and accompanist Marjorie Poe, and the show was directed by Janet Miller. All three extremely talented women are show-biz vets and the quality of the show reveals and revels in their gifts. Linden’s delivers the songs with humor as well as great feeling for her muse. She has a great voice and stage presence and knows how to use funny props. She and Marjorie Poe do a song together that had me in stitches.

Though I am old enough to know “Hello Muddah,” I knew nothing about the man who wrote that song. Sherman was an American comedy writer and tv producer and created his hilarious parodies to entertain friends at parties. Songs like “Chopped Liver” (to the tune of “Moon River”) “There’s Nothing Like a Lox” (“There’s Nothing Like a Dame”), “Your Mother is Here to Stay” (“Our Love is Here to Stay”), and “Smog Gets in Your Eyes” ( “Smoke Gets in Your Eyes”) were some of my favorites.

Sherman’s friends convinced him to record an album, which he did (though the record producers did not want to pay royalties on show tunes so they asked Sherman to look in the public domain for songs to parody) and that’s how his first album “My Son, the Folk Singer” (1962) came about and went on to become the fast-selling album up to that time.

Beloved by politicians to movie stars (JFK and Sinatra gave his albums as gifts), Sherman performed at the Hollywood Bowl and Carnegie Hall; headlined in Vegas and guest-hosted the Tonight Show. He wrote novels and even took a shot at an original musical, penning book and lyrics for “The Fig Leaves are Falling” (1969). Linden sings a moving song from that show.

This enchanting 55-minute show, crafted and performed by pros, breezes by and is a true crowd pleaser. The next show is Sunday, June 18 (Father’s Day), so bring your Fadduh…AND your Muddah!

HOW: http://hff17.org/4580

 

#FringeFemmes Check-Ins: Moments

by Constance Strickland

Quick peeks at the work of #HFF17 female playwrights, “Women on the Fringe,” by Fringe Femmes who’re behind the scenes this year. Click Here for all Check-Ins.

Fringe Femmes

 

WHO: Bernadette Armstrong

WHAT: MOMENTS

WHERE: Stephanie Feury Studio Theatre

WHY: This play quietens the mind and requires you to listen. One incident in a woman’s day takes her back to a moment that she had silenced, forced herself to ignore its happening in hopes that she would forget. Yet life does not work that easily; as we know, moments can come back to haunt us. We witness a woman needing to deal – a woman in control of her life, yet in need of releasing a haunting experience she has carried alone. A piece of theatre that gives a louder voice to an issue that is usually carried in silence, as well as not discussed socially over dinner.

HOW: http://hff17.com/4364

 

#FringeFemmes Check-Ins: Fair

by Terry Holzman

Quick peeks at the work of #HFF17 female playwrights, “Women on the Fringe,” by Fringe Femmes who’re behind the scenes this year. Click Here for all Check-Ins.

Fringe Femmes



WHO: Laurie Jones, Katie Jones, Mandy Stertz, Kimberly Van Ness

WHAT: FAIR

WHERE: Asylum @ Stephanie Feury Studio Theatre

WHY: In 1871, Laura D. Fair murdered her lover on a boat off the coast of San Francisco. Laura’s trial became less about the murder and more about judging her moral character. This ensemble play might have made an interesting judge-and- jury, real-life crime drama, with a message about the treatment of women in 1871, but that is not this play. FAIR, delivers the feminist message in an inventive and entertaining way… a play-within- a-play, executed in a hilarious melodramatic style (complete with fake mustaches) and delivers a powerful indictment of Laura D. Fair’s unfair treatment. 

FAIR opens with the cast onstage preparing for a performance of FAIR. One of the actors asks if she is playing “Susan Banthony” which is corrected to “Susan B. Anthony” by another cast member. Those clever first words set the tone for the play which jumps back and forth in time in a nimble yet cohesive way. I could tell immediately that this work had been developed over a period of time: the fast pace and furious blocking, the actors’ physical agility and focus, the quick blackouts and scene changes, the clever use of minimal props, and the writing—witty, provocative, assured and meaningful. It takes time for all these elements to coalesce into a well-made production.

And sure enough, the program states that The Wishbone Collective began this ensemble-devised play in the fall of 2014. They began “scraping together information about “twice-widowed, twice-divorced” Laura D. Fair—a woman so scandalous she was placed among the ranks of history and literature’s top-shelf femme fatales and yet [she has] somehow faded from memory.” Much of the dialogue is from a primary source—the recorded transcripts and letters printed in the “Official Report of the Trial of Laura D. Fair for the Murder of Alex. P. Crittenden”. There are five other sources listed in the program as well. Wishbone did their research.

There is never a question that Laura D. Fair is guilty of the murder. In this telling, Laura Fair’s guilt is almost beside the point “I did it. I don’t deny it” she states early on, and so Laura’s morality becomes the focus of the prosecution. The trial becomes a titillating media sensation and where much of the play’s hilarious social commentary unfolds.

The public vilification of someone who challenged society’s conventions by having many lovers and husbands is compelling. Making the trial a melodrama is a stroke of genius. The words are from actual court records but are delivered in a such a way that underscore the trial’s ridiculousness. Witnesses are called to remark on Laura’s “reputation of chastity” to which each replies some iteration of “bad” and “real bad.” She is called a “she-devil” and a “vile temptress”. The prosecutor blames the combination of “a controlling man” and the defendant’s “menstrual cycle”, stating Laura was a “victim of circumstance…and her own biology”. (That line got huge laughs.)

FAIR is a complicated tale woven into an entertaining melodramatic format. It made me laugh, it made me think, and it made me feel how unfair society still is to women in so many ways. The next person who says a woman is the way she is is because of PMS needs to read about Laura D. Fair. One more show on June 16th !!

HOW: http://hff17.org/4420

 

#FringeFemmes Check-Ins: MexiStani!

by Terry Holzman

Quick peeks at the work of #HFF17 female playwrights, “Women on the Fringe,” by Fringe Femmes who’re behind the scenes this year. Click Here for all Check-Ins.

Fringe Femmes


WHO: Sofie Khan

WHAT: MexiStani! Growing Up Mexican & Pakistani in America

WHERE: studio/stage

WHY: One of the ten Fringe Scholarship winners (awarded to shows that expand and diversify the Fringe community), charismatic comic Sofie Khan grew up with a Mexican Catholic mother and a Pakistani Muslim father in a predominantly Black and Puerto Rican Chicago neighborhood. Such a multi-culti stew makes for a deliciously funny and poignant solo show.

Sofie’s warm, relaxed, upbeat stage presence immediately invites the audience into her world. I love her positive motto: “If you judge a book by its cover, you miss out on the story.” And Sofie tells her story very well, relating the many instances where her “cover” has indeed been judged—by cashiers, TSA agents, White House staff (to name a few). Her story is both unique yet highly relatable as our country becomes even more of a melting pot and we’re all “mixed” in some way (mine is a strict Catholic mom and Atheist dad, which was difficult in its own way.)

Sofie reads our minds by answering such questions as: Does she identify more with her ‘Mexi’ side or her ‘Stani’ side? Has she been a victim of a hate crime? What holidays does she celebrate? All these questions and many more are answered along with her imparting sincere wisdom about all of us being part of the World Community, and wanting to create a “safe space and understanding for all…especially for LGBTQ and Muslim individuals”. (To that end, Sofie has partnered with the Naz & Matt Foundation which tackles “homophobia triggered by religion to help parents accept their children”. Brava.)

Though Sofie is “charismatic AF” (to quote the kids today), a compelling performance and a well-told tale is often not enough to make a solo show riveting. It must be theatrical as well. Otherwise, I could just listen to “The Moth” on the radio. I love seeing solo shows at the Fringe and how they run the gamut from basic stand-up to the use of multi-media, props, and other elements to amp up the show. Tightly directed by solo show dynamo Jessica Lynne Johnson, MexiStani! makes use of projections, audience participation, impersonations, and Sofie even performs a rap song. All of the elements add up to a theatrical and highly entertaining show. So entertaining that the serious themes slipped right by my brain and straight into my heart and had me thinking about them days later.

One final note: Sofie is offering a free 90- minute Fringe workshop with the right-to- the-point title: “Getting to Your Authentic Happy Self When You Feel Like Shit”. It’s at the Asylum Underground Theater, June 10 at am. Maybe I’ll see you there! 

HOW: http://hff17.org/4431

#FringeFemmes Check-Ins: In the Valley of the Shadow

by Terry Holzman

Quick peeks at the work of #HFF17 female playwrights, “Women on the Fringe,” by Fringe Femmes who’re behind the scenes this year. Click Here for all Check-Ins.

Fringe Femmes


WHO:  Katherine Cortez

WHAT:  In the Valley of the Shadow

WHERE:  Rogue Machine at the MET

WHY:  Not all of Fringe can be fun-and-games. Audiences (like me!) adore fun but we also want theater that helps us to understand what’s going on IRL (in real life).  This thought-provoking world premier ensemble drama was inspired by the 2016 shootings at the LGBT Pulse nightclub in Orlando on “Latin Night” in which 49 (mostly Latino) people were murdered by a single gunman.  The play explores how “fundamental belief systems can give a perverse inspiration to the execution of hate in the name of ‘love’.”

The play opens in chaos—projections of people dancing are quickly replaced by screams and panic.  Something horrific has happened and I was on the edge of my seat as the layers of what happened slowly unfold.  The focus is on Rafi (short for Raphael), a handsome, young man in a blood-spattered t-shirt who grimly stares into the distance.  He’s in shock, trying to understand and piece together the events of the evening.  Carmen, another survivor, shuffles in, missing a shoe.  A gentle detective arrives to comfort them, along with a uniformed cop (who is more judgmental than comforting).  Eventually Rafi’s fundamentalist Christian mother comes to take Rafi home and though she’s ecstatic her son is alive, she cannot contain the multitudes of bias she holds within.

Rafi also takes us into his recent past.  Questioning his sexuality and how he came to be at the Pulse nightclub that night and meeting a man there who is not who he seems.  In Rafi’s memory, we meet his eclectic club friends; foremost is Enrique (a hot, Latin charmer Rafi encounters at an AA meeting).  All good drama contains a mystery and this play has many.  The obvious question is: “Where’s Enrique?”  Rafi will not leave until he finds his lover and I was holding my breath, waiting…

The title comes from Psalm 23:4  “…though I walk through the valley of the shadow of death, I will fear no evil, for Thou art with me…” and refers to a Higher Power’s presence during death; but Katherine Cortez gives it another meaning—finding strength in love, all love. “Love is Love is Love” one of the characters says.   Cortez’s writing is entertaining, and thought-provoking. A good thing as I was afraid a play based on such a tragedy could be depressing.  And yes, it stirs up “the feels”, posits many questions, and  calls out for more understanding—from the characters and the audience.  And while the story made me sad, angry, and challenged, I was never depressed.  I felt the “thin edge of the wedge” of hope, hope that things can change with love.

There is much humor to balance the horror, especially among the supporting characters, including a laughing-through-her-tears compassionate trans woman.  Five actors played dual roles—each one wildly different from the other. (Especially impressive was Tania Verafield who plays the quiet Carmen but who quickly flips her hair to expose a shaved temple.  She adds a long feathered earring and fully embodies butch bartender Hawk.)  Special kudos to the Femme production members Heather Tyler (producer), Elina De Santos (director), Stephanie Kerley (set—her clever use of the standing set for Rogue Machine’s current production is outstanding).

One final note:  There will be a special performance and reception on the one-year marker of the Pulse nightclub tragedy on Sunday, June 11, 7:30 pm.  Proceeds will benefit the LGBT Center.  Parking at the MET is difficult, give yourself time to get there.  Your patience will be rewarded.

 HOW:  http://hff17.org/4749

 

#FringeFemmes Check-Ins: Herpes: A Love Story

by Terry Holzman

Quick peeks at the work of #HFF17 female playwrights, “Women on the Fringe,” by Fringe Femmes who’re behind the scenes this year. Click Here for all Check-Ins.

Fringe Femmes


WHO: Cherise Pascual

WHAT: Herpes: A Love Story

WHERE: studio/stage

WHY: When I was handed a pink poncho and a condom—branded with the show’s name—along with the program (featuring a picture of the star dressed as a fluffy herpes lesion), I immediately thought “ahhhh, I’m at the Fringe.”

I use the word “branded” intentionally, because that’s how Cherise Pascual (aka “Cherry Cola”) the high-octane star and writer of this inventive solo show felt after being diagnosed with herpes. Sexual secrets are hard to reveal and even though it seems that “everyone has herpes now,” Cherise kept her herpes under wraps for a long time. As she says “herpes isn’t fatal, but it nearly killed me.” Her secret lead to substance abuse, fear of relationships, long-term celibacy, poor self-esteem and self-deprecation. Finally, to forgive herself, to survive, to live a life free of guilt, Cherise HAD to tell her story and she tells it with incredible humor, theatricality, and most importantly, a brave heart.

Directed by the “solo-show whisperer” Jessica Lynn Johnson, the charismatic “Cherry Cola” uses musical parody, projected images, hilarious props; she impersonates boyfriends, doctors, and her mother; and breaks the fourth wall to talk with the audience, all on her journey from self-hate to self-love. I was glad to be along for the ride. (PS: I won’t tell you what the poncho is for….you’ll have to go see for yourself.)

HOW: hff17.org/4504

 

#FringeFemmes Check-Ins: Why We Become Witches

by Terry Holzman

Quick peeks at the work of #HFF17 female playwrights, “Women on the Fringe,” by Fringe Femmes who’re behind the scenes this year. Click Here for all Check-Ins.

Fringe Femmes


 

WHO:  Kate Motzenbacker and Sal Nicolazzo

WHAT:  Why We Become Witches

WHERE:  Sacred Fools Studio

WHY:  This one-woman show was adapted from the novel “Lolly Willowes; or the Loving Huntsman” by Sylvia Townsend Warner and was a sensation when it was first published in 1926. Its feminist message is just as relevant 91 years later.

Lisa Wyatt plays Laura “Aunt Lolly” Willowes, an aging English spinster who struggles to break free of her controlling family.   Lisa is fascinating to watch as she slowly draws us into Lolly’s life: an endless round of taking care of others.  There’s a clever dimension of the supernatural as Lolly “tunes in” to her family’s comments, demands and criticisms through a radio.  It’s a little harder however, to “tune them out” as they constantly tell Lolly what she “should” be doing, where and how she should be living. I liked that the recorded voices emanated through an old “cathedral-style” radio (my grandmother had one just like it) which gives the voices a dose of spiritual gravitas.

And all Lolly wants is to be left alone!  She wants to leave London and move to the small village of Great Mop (population 227), where she can have a small house “and a donkey!” She eventually moves to countryside but soon after, her nephew visits and decides to stay.  While out walking, she meets Satan and strikes a pact.  I loved Lolly’s observation that “all women are witches….and even if they never do anything with their witchcraft, they know it’s there.”

Lolly Willowes appealed for a “life of one’s own” three years before Virginia Woolf called for her own room.  Kudos to Kate and Sal for finding this gem of a story and adapting into a poetic theater piece.

HOW:  http://hff17.org/4700

 

 

 

 

Report from the Colorado New Play Summit

By Kitty Felde

The delicious set for THE BOOK OF WILL by Lauren Gunderson. Set design by Sandra Goldmark.

This is the third year I’ve flown to Denver for the annual festival of new play readings. In the past, I’ve attended Humana, CATF and the National New Play Festival, but the Colorado New Play Summit at the Denver Center for the Performing Arts is my favorite. Seven new plays in three days! It’s like a combination of cramming for midterms, eating everything in sight at a buffet table, and using all your season subscription tickets in a single weekend.

As a playwright, I find it extremely helpful to see that much new work all at once. It allows you to see trends and fall in love with new playwrights and come away with 101 ideas for your own plays.

Here’s a few trends spotted at this year’s Summit:

STRONG WORK

It was a particularly good year for new plays in Denver. Strong writing, big thoughts.

MOST LIKELY TO BE PRODUCED A LOT:

THE BOOK OF WILL by Lauren Gunderson is a love letter for every Shakespeare theatre in America. The late Will’s friends race against time and lawsuits to publish as many of his scripts as possible. It’s a big cast show, a perfect complement to a season of TEMPESTs and HENRY IVs. Round House Theatre in Maryland has already announced it will be part of its 2017-2018 season.

TWO WORD TITLES:

Don’t ask me why, but I’m fascinated with titles. Maybe because I’m so bad at writing them myself. This year, the trend seemed to be plays with two word titles. HUMAN ERROR and BLIND DATE were two of the new plays featured in readings. THE CHRISTIANS and TWO DEGREES were onstage for full performances.

POLITICAL PLAYS

I predicted that we’d get a flood of anti-Trump plays NEXT year, but they were already popping out of printers by the time I got to Denver. Political plays were everywhere.

The cleverest of the bunch was Rogelio Martinez’ play about Ronald Reagan, Mikhail Gorbachev, and the battle to come up with a nuclear treaty in BLIND DATE. Call it ALL THE WAY for the Reagan years. Very well researched, very funny. Martinez carries off an interesting balancing act, portraying a much more savvy and sympathetic Reagan than you’d expect, perhaps looking back at him with different eyes now that there’s a very different sort of president in the White House. Bravo. (I’d vote for a better title, but that’s my only complaint.)

The politics of Nazi Germany were the focus of a play by the man who wrote ALL THE WAY. Robert Schenkkan’s piece HANUSSEN is the tale of a mesmerist who dabbles in Nazi party politics. It has a highly theatrical beginning, and ends with a pretty blatant rant against Donald Trump.

Schenkkan pulled off a very difficult trick: bringing Adolph Hitler onstage and allowing him to come off as a rather likeable character. Perhaps it’s because he followed the Hollywood solution to making villains less unlikeable by giving them a dog. Hitler’s relationship with his annoying dog was quite delightful. (One wag of a fellow playwright at the conference observed that our new standard for unlikeable characters is now to ask: is he/she more or less likeable than Hitler?)

TWO DEGREES by Tira Palmquist is a climate change play. It received a fully staged production this year, after its debut as a staged reading at last year’s festival. It featured a set with panes of ice that actually melted as the play progressed.

There was also a nod to the protestors in pink hats (I actually spotted one or two of those in Denver) with Lauren Yee’s play MANFORD AT THE LINE OR THE GREAT LEAP. It’s a lovely piece about a young man’s search for an absent lost father, basketball, and Tiannamen Square. How can someone that young write that well? MANFORD is terrific and should get productions everywhere.

WHERE ARE THE LADIES?

Two of the five new play readings were by female playwrights, as were two of the three fully staged productions. (Thanks to Artistic Director Kent Thompson who established a Women’s Voices Fund in 2005 to commission, develop, and produce new plays by women.)

Yet, despite the healthy representation of female playwrights, there was a decided lack of roles for the ladies. Of the 34 named characters, fewer than a third were female. And with the exception of the terrific family drama LAST NIGHT AND THE NIGHT BEFORE by Donnetta Lavinia Grays, few plays featured roles of any substance for actresses. Nearly every one flunked the Bechdel test. The sole female in one particular play will likely be best remembered for her oral sex scene. Sigh.

PLAYING WITH TIME AND PLACE

I always come away from new plays with new ideas about what I want to steal for myself. In this case, the overlapping of scenes in different times and places happening at the same time on stage. Lauren Gunderson’s BOOK OF WILL very cleverly juxtaposed two scenes on the same set piece at the same time and it moved like lightening. Look something similar in the play I’m working on.

CHANGE IN THE AIR

The man who made the New Play Summit possible – Kent Thompson – is leaving. Kent’s gift – besides putting together a rocking new play festival – was making playwrights like me – those of us not invited to bring a new play to his stage – feel welcome. At the opening luncheon, all playwrights – not just the Lauren Yees and Robert Schenkkans – are invited to stand and be recognized by the theatrical community with applause from the attendees. That may sound like a small gesture, but it’s symbolic of the open and kind community Kent created. He made every one of us who pound away at our keyboards feel that we are indeed a vital part of the new play community. Thank you, Kent.

PS

In the interest of full disclosure, I will share that I had my agent send my LA Riots play WESTERN & 96th to the New Play Summit this year. It was not selected. I never received an acknowledgment that it was even received or read. But the non-rejection does not diminish my affection and admiration for the Colorado New Play Summit.

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