Witnessing the Light, artwork by Cynthia Wands, 2018
Just recently, (and I mean just in the last few weeks), I began to feel hopeful about the changes in store for this year.
I started listening to the NPR news on the radio on my drive home from work, after swearing off from it last year.
After a year long quarantine (Eric has been going through a tough chemotherapy schedule), we started going out in the world again. We’ve seen two movies, and went for a long hike. It felt like waking up in daylight after being in the dark last year.
I’m seeing women reach for political office, and stand up with persistence and courage to change our leadership.
And reading the messages about the #MeToo movement, and the illumination of how women have been treated, gives me hope that the world will be seen through different eyes. (“Sunlight is the best disinfectant.” I don’t know who said that it – but I love that idea.) I can see that audiences and directors and theaters will be changing in the way women are portrayed, and directed and who the leaders are.
So I have to be hopeful. I know that history and health issues can change in a moment, but I’m reaching out in my world to belong to more of the present moment.
(It took me several hours to come up with that last sentence, I kept changing it, so I can see there will be some balancing to be done with that assignment…)
I’m making a plan to see more plays, more readings, more artwork, more friends this year.
I hope this next year finds new adventures for all of you, and I look forward to seeing your work, and watching this year unfold.
This is the word that I have lived with and tried to honor over the past few months. The word has become an ode of sorts as my theatre company’s new piece Medea: A Soliloquy or the Death of Medea has undergone a workshop.
Theatre Roscius is me. Although I am lucky to have a loving partner whose consistent help is often needed – for as we know in the theatre the work is continuous, at times overwhelming, when trying to do so much alone, no matter how satisfying or beyond worth the work is.
Entering my first workshop, the process has been a gift as well as a huge adjustment for an independent theatre artist who produces work not so easily defined, who has no artistic home. Nor are there consistent sponsors, donors or a team with whom I work with on a daily basis. Nor is my theatre company a nonprofit… so I’ve learned to do the work my way by any means necessary. Which has its faults while allowing room for magic to manifest in an organic fashion that lacks structure.
Yet the workshop process requires order, roles, structure… all that do not necessarily come together when you are playing all the roles. I have gotten used to writing, producing, directing along with acting in my work. When the work takes a toll on the self it does not allow your best work to shine through. One can also miss what makes theatre so beautiful: The collaboration, the merging and discovery of ideas.
So I have practiced during this workshop giving the work away in order to let it fly. It has not been easy. I have had to ask myself if I am trusting enough? Am I giving pieces of myself, money, giving time, taking time and not trusting the ensemble and director fully? Will I allow the director’s vision to flourish? Can I allow the piece to develop beyond my images? It has not been easy for me to answer these questions.
During these forty plus fast paced hours of workshop development, the script has morphed into many faces, with the dialogue and movement just beginning to mold as well as fuse into one, yet the conversation is still being had between the two. I have discovered my strengths as an actor, producer and writer. I’m quick on my feet, my body is strong, I give 110% to the space and can adapt to direction. I have also been told and found my weaknesses. As an actor I can be easily distracted, as a playwright I can be defensive and as a producer I procrastinate and can lead with fear instead of fearlessness.
Workshop is a rigorous process that has allowed the play to reveal itself in many forms that could not have manifested without the players bodies or our director’s leadership. I reached out to everyone I knew. One woman whom I had never encountered before responded to my email, met, and agreed to helm the work. I’ve learned from this gesture deeply when approaching the work inside and out.
Ultimately as playwright I’m excited, uncomfortable, and honored that our director Caitlin Hart, Artistic Director of the Vagrancy Theatre Company along with the players: Carolyn Deskin, Madison Nelson and Meredith Brown have embarked on this experiment together and that we will have a chance to share Medea with an invited audience. This opportunity to hear feedback from audience members on January 22nd after sixty-two hours of development will be quite rewarding.
As the new year approaches I will not let fear lead the work. None of us must. So let us all Go Big & Be Fearless this 2018!
The road to creating a new play is often fraught with challenges, seemingly insurmountable obstacles, and, well, lots of drama – the offstage kind that none of us wants, but theater seems to attract.
So it’s very nice to chat with Debbie Bolsky and Katherine James, a playwright and director team who seem to have found just the right mix of work and play while mounting Debbie’s Ashes to Ashes with The Athena Cats, premiering at The Odyssey Theatre December 9-January 14.
LA FPI: Ashes to Ashes is, in itself, a wild ride of a play – we follow the characters as they travel from country to country. What was the starting point for this play?
Debbie Bolsky: I’ve always said that when I die, I want to be cremated and have my ashes sprinkled in specific spots, so I came up with the idea of writing a romantic comedy about two people who can’t stand each other having to sprinkle their best friends’ ashes around the world.
Katherine James: My favorite thing about the path the characters take is that it is not a logical sequence on a map. In other words, if a travel agent mapped this as your journey you would assume that they were off of their meds. Rather, each country that is visited traces the journey of the heart – the steps in a relationship that test true love.
Debbie:Ashes to Ashesis a wild ride, fun and zany, but it’s also touching at times. The characters are an ex-couple, and in the play they are forced into situations where they face their biggest fears and have to depend upon the person they can’t stand the most to get them through. But they are also on the journey of discovering things they didn’t realize about each other, things they didn’t know about their deceased friends and finally things they didn’t admit about themselves.
LA FPI: And tell us a bit about where the two of you have traveled, in terms of this collaboration.
Katherine: I had the great pleasure of starting this journey with Debbie in an amazing workshop [Theatricum Botanicum Seedlings’ Dramaturgy Workshop, run by LA FPI co-founder Jennie Webb]. So as we workshopped it and rehearsed it we worked very hard on the emotional journey of the play, how it built, and how each step was a step of growth and intensity.
Debbie: Our collaborative process was phenomenal. Katherine came up with the idea of workshopping it for a week this past summer with actors (two of whom are still in the play) and that’s when the development started going at hyper speed. The actors took ownership of the characters. Collaborating with Katherine and the actors – Lena Bouton, Kevin Young and Michael Uribes – has helped me write a richer play and probably become a better writer.
Katherine: Collaboration is the name of the game for me. Also, to work with a collaborator like Debbie who is so trusting of this process is rare and welcome.
Debbie: I love working with Katherine! But for me, the biggest and most pleasant surprise is how well we all worked together – we are a team.
LA FPI: And of course we love how femme-centric this all is. The Athena Cats is a collective of Southern California female playwrights and directors; for this play you’ve got a woman playwright, director, producers…
Debbie: And a lot of the crew are female as well. A great thing about this experience is that there is very little ego involved. All of us working on this have the same goal, to bring Ashes to Ashes to the stage in the best way possible.
Katherine: I think that one of the big differences between men and women in management and leadership is that men tend to work on tasks from a top-down pyramid. Women create things in a circle with everyone in the circle having his/her say and all contributions are honored. It is amazing what a circle of big creative brains can accomplish when nurtured and encouraged to give their best to a project.
Debbie: The Athena Cats has been around for about two years now and this is our second production; in 2016 we produced Laurel Wetzork’s Blueprint for Paradise. [Laurel and Debbie are co-founders of The Athena Cats, and active LA FPI Instigators!] We also had a New Works Festival earlier in the year showcasing works written and directed by women. There are a lot of talented female writers and directors out there who are not getting an equal shot at getting their works seen. The whole idea of the Athena Cats is to get more works written and /or directed by women onto Southern California stages.
Katherine: Without The Athena Cats, I never would have been given the opportunity to direct this amazing romp. I don’t think that without LA FPI that I would have ever met Laurel and Debbie. Thank you, LA FPI, for being a cornerstone of my creative life!
LA FPI: Thank you for being part of an incredible creative team, putting women to work! To continue the love fest, let’s include the audience: When people come to see Ashes to Ashes, what do you want to share with them… and have them take away?
Debbie: Even though Ashes to Ashes starts out with a death, it is really about love, friendship and peace. We live in incredibly stressful times right now and I think laughter is sorely needed.
Katherine: The holiday season is a perfect time to laugh, sigh, fall in love all over again and go for a great ride. And in this dark time in our country’s history, where better to do this than in the theater?
The Athena Cats’ Ashes to Ashesby Debbie Bolsky, directed by Katherine James, opens as a visiting production at The Odyssey Theatre on December 9, 2017 and runs through January 14, 2018. For tickets and information visit www.AshesToAshesThePlay.com or call 323.960-.4443.
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.
WHY: One of ten Fringe Scholarship winners (awarded to shows that expand and diversify the Fringe community) “Blamed” combines text with original music, dance, poetry, and puppetry to examine the role of women throughout history, mythology, and literature who are blamed for the ills of society. “Blamed” cleverly uses many different theatrical conventions to tell its stories and the result is a multi-cultural tapestry of short tales. “Blamed” was also awarded Best Drama at the 2015 San Diego Fringe.
Upon entering the small studio/stage space, the performers (13 women and a live folk music band) are already on stage. It reminded me of the Broadway show “Once” which also starts with the performers (who are also the musicians) already on stage, giving the audience a little pre-show entertainment. I liked how “Blamed” makes use of every possible inch of the small space. Choreographer Annie Lavin expertly blocks the performers movements because any errors in this fast-paced, movement-focused show could have caused quite an onstage traffic jam, but everything flows beautifully.
The show begins as the women tear pages out of a book, referencing the stories that are about to be told. Laughing at what they are reading, they know the truth about these “blamed” women and know what’s written in books is fiction. Seven stories are dramatized, including the story of Eve, Joan of Arc, Marie Antoinette, and Little Red Riding Hood. One performer reads or tells the origin story of a well-known woman/girl who was wrongfully accused, victimized, stigmatized, or BLAMED by society as other ensemble members act, dance, sing, or use shadow puppets to illustrate the story. Slowly the audience understands how women have been marginalized throughout history and into present day. As the tag line states: “These aren’t your mother’s fairy tales.”
Some stories are told through folk/fairy tales, shadow puppetry (my favorite part), songs and, especially, dance. There is quite a bit of dancing and unfortunately there is really not enough room to truly dance, but the company does the best it can with the limited space and all the various theatrical elements merge into a cohesive work.
Most members of the ensemble get their chance to shine including playwright Callie Prendiville who is also a member of the ensemble. In an interview she states that she “fell in love with theater after discovering it was the synthesis of things” she cared about. What she cares about in “Blamed” is debunking the myth that dominant women should be feared. “I want people to question the deeper message of our storytelling, to reconsider their assumptions.” I certainly did.
“Blamed” is one of only eleven entries in the “Dance and Physical Theater” division in this year’s Fringe. I don’t usually see these kinds of shows but was glad “Blamed” made it onto my “dance card.” Hope it makes it onto yours.
WHY: In a time when women are refusing to have their voices silenced and refuse to have their stories told for them, Tough Brown Leather is a testament to the powerful mantra: my time, my way. This solo show poetically takes us through the journey of a carefree little girl in love with football to a woman who must learn to face her past while accepting her sexual self. Tonya uses her body, football and comedy to reflect upon a pain that often quietly eats away pieces of oneself. Tonya thrives and overcomes – using her voice to heal not only herself but, without knowing, other women who’ve also faced sexual assault. An inspirational theatre ride that Tonya owns with bravura. GO!
For the past few years, LA FPI has been very much into matchmaking: introducing female playwrights to female directors with an eye on future collaborations. So when East West Players (EWP) invited us to be their Community Partner for the West Coast Premiere of Leah Nanako Winkler’s Kentucky, directed by Deena Selenow, we immediately said, “Hell yes!” And took the opportunity to ask this exciting creative team a few questions.
LA FPI: What brought the two of you together, initially?
Leah Nanako Winkler: Last summer, I was fortunate enough to work with Artists at Play (AAP), an amazing LA-based theatre company that did a developmental workshop of my play, Two Mile Hollow. They immediately suggested working with Deena because they were confident she’d nail the humor of the piece while maintaining the seriousness of the issues regarding race—and even more so, class—that lurks beneath the surface of the play. I didn’t think twice when they suggested her because: A) I trust everything AAP says since they’re some of the smartest people I’ve ever met; and B) I’ve only heard great things about Deena. I’ve admired her from afar as a fellow mixed-race theater artist.
Deena Selenow: I knew some of the AAP folks from around town, so when they invited me to direct the reading I—of course—said yes. Then I read the script and fell in love. Leah’s writing is so blunt and funny and nuanced and moving. She shifts tone like an acrobat, and it’s so clear that she has fun while she writes. Leah, Julia Cho (AAP producer), and I had a great collaboration leading up to Two Mile Hollow.
LA FPI: Were you familiar with East West Players before this production?
Leah: I’ve known about, admired, and wanted to work with EWP for quite some time. I’ve been immersed and singularly focused in the past decade doing plays in NYC, but it wasn’t until last year that my dream came true and Kentucky was fully produced Off-Broadway. I kind of thought—well, what now? What will happen to me when this is over? So imagine my surprise when EWP Artistic Director Snehal Desai called me to tell me Kentucky was going to be included in East West Players’ 51st Anniversary season. I feel so empowered as a Japanese American artist working with a diverse creative team. I definitely feel like I’ve won the lottery.
Deena: Snehal Desai and I met through the TCG SPARK Leadership Program, which is a branch of Theatre Communications Group’s Equity, Diversity & Inclusion Institute. At that time, he was the Artistic Associate and Literary Manager at EWP (he’s made quite a climb in a short amount of time!). SPARK is a cohort of ten, so we all became close very quickly. Snehal and I are the only two based in LA, so we see each other quite a bit. I think I had seen one show at EWP when I was in grad school, and now I see pretty much everything they do. EWP is a vital American theater, and Snehal is an incredible leader. I’ve loved getting to know Snehal in this creative capacity. Tim Dang has left EWP in good hands.
LA FPI:Leah–what was it about Deena that gave you confidence in her? And Deena–what was it about Leah’s play that spoke to you?
Leah: Deena and I both want the same thing: for the play to be the best it can be. With her, I know that nothing is about ego but for the greater good of the piece. Even in our disagreements or points of confusion, we’re both straightforward and come to a conclusion without any passive aggressive weirdness, which is huge as playwright/director relationships can get complicated in that way fast.
Deena: Leah’s work in general is so very honest and the characters speak their minds. She writes realities in which people don’t self-censor and say what they mean. It’s hilarious and uncomfortable because it’s so familiar. Particular to Kentucky is remembering that moment in your life when you realized you can never go home again. That home moves, and the idea of home changes as you grow up and evolve. Family is complicated, and Leah doesn’t shy away from that.
LA FPI:When did it hit you that you two were a good fit, collaborating on Kentucky?
Leah: I think we had an initial phone call that was supposed to be an hour that turned into four. Our personalities definitely vibe, which is an important foundation. But we both worked actively together on a new nine-person adaptation [the NY production had a cast of 16] and figured out the doubling schemes together. I really felt connected in those moments.
Deena: I love working with Leah. I love how vulnerable she lets herself be in her writing and in the rehearsal room, and it encourages me to let my walls down as well. We worked really closely during pre-production. We took our time, imagined different scenarios, and listened to each other. Leah trusts me, and I can feel it, which gives me confidence. She gives me room to experiment but also doesn’t hesitate to speak up and tell me when I’m off the mark, which I also appreciate.
LA FPI: Kentucky’s director for its Off-Broadway Premiere, Morgan Gould, was a woman, as well. What are your thoughts about what a woman director brings to a female playwright’s work?
Leah: While I know of and work with male directors that bust their ass on a daily basis and deserve every career success that they get, I know that female directors have to work twice as hard to be respected. As “emerging” playwrights, we’re sometimes told to “level up” to a director who’s more famous, and that’s often an older white dude. I think while this tactic is meant to “protect” the young playwright in many ways, it really screws over young female directors that often develop the script for years only to be fired when the show gets picked up.
Kentucky is a huge undertaking with multiple characters, 17 locations, three songs, and complex relationships that need to be dug into with precision, sympathy, and understanding. It takes a BEAST to direct this play. And both Morgan and Deena are BEASTS. It’s incredible and inspiring to watch strong women take total command of a room. They get shit done with the strength of ten thousand men.
Deena: Any time you work with someone who is “like” you in some way or another, there are certain nuances that don’t need discussion and are just inherently there. I work with a lot of women playwrights, but with men as well (albeit not as frequently). Differences are just as important as similarities. There are inequities in every inch of our society, so I work with people who share my core values, and we lift each other up.
LA FPI:As women artists, telling a woman’s story, how has your experience been with East West Players–a company that embraces diversity and is presenting a femme-centered season?
Leah: I think “white girl” and “diversity” are often conflated, and I love that EWP is championing women of color. In addition, nobody is the “only one” here, and it’s a gift to be working with not only a cast, creative team, and crew that are diverse, but also producers, board members, and staff as well. I’ve never had that happen to me.
EWP lets us do our work while acting like it’s the most normal thing in the world. By doing that, they universalize our experiences. And you know what? Good. Because our stories ARE universal. We’ve been told that white is normal for so long, and it’s just not true. I love EWP because they acknowledge this naturally in their mission, but it’s still fun and it’s a safe space.
Deena: I’m thrilled that EWP chose to program a women-centered season. They really put their money where their mouth is when it comes to equity and inclusion. We all need to be allies to one another. EWP has a platform for visibility, and they are using it.
LA FPI: As theater artists, how important to you is forming ongoing relationships vs. finding the right person/project?
Leah: I’m still learning about this. I directed my own work for six years and just started working with other directors in the last four. I like working with a lot of different people just to test the waters, and get to know as many people as possible. I love collaborating and finding long term relationships with various people on projects that work for each partnership. Which for Deena and I, ended up being Kentucky.
Dena: Relationships are everything. Theater is a collaborative sport and finding your teammates is key. I’m so glad that Leah and I have found each other. I’m excited for our relationship to grow and to continue. I’ve been really lucky in my collaborations. The dynamic changes with each group of people and each project, and that’s part of the fun.
LA FPI: In seven words or less, what’s your advice to women artists about getting the most out of the collaborative process?
Leah: Communicate. Be assertive. Don’t forget the joy. (Or LADIES, DON’T BRING SNACKS OUT OF OBLIGATION.)
Deena: Listen. Trust your gut. Make a mess.
Kentucky plays through December 11, 2016 at East West Players’ David Henry Hwang Theater.Click Here for information and to purchase tickets.
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.
If you weren’t there, you missed a PARTY! You missed a SHOW! Other than all us playwrights, here is who was there celebrating Stephen Schwartz in song and song and words and music and song, did I say song? And not just any song but songs by Stephen Schwartz, oh and Stephen, himself, sat down at the piano and took us for a spin! Can you tell I am still excited about it? Michael Kerker was there moderating and if you have ever gone to the ASCAP Musical Theatre Workshops held around the country, you know how much fun it is to have Michael and Stephen in the same room. Brent Barrett and Susan Egan performed – you have not heard a musical till you’ve heard it done right, in character, full of life, exquisitely executed. Songwriting/musical writing collaborators, Alan Zachary & Michael Weiner performed — stop playing! Them some bad boys. Their presentation should be a musical! John Boswell served as musical director/accompanist; he did not miss a beat. I just wanted to know how he knew all those songs – the repertoire was seamless. Thank you ASCAP (American Society of Composers, Authors and Publishers) and Dramatists Guild for letting us all enjoy this evening extraordinaire.
Stephen Schwartz is one of the most generous, down-to-earth persons, I have met. He shares his talent on so many levels, all the time; Stephen Schwartz is a national treasure. I have learned so much about the spark of creativity and how to mine for gold from just sitting in on his talks. As a person and as an artist, he deserves every accolade and I am so happy that we can celebrate his musical genius and let him know how much we love him…
I had plans for another blog post this week, but I stumbled into something a lot of fun this weekend, and now I’m going to write about that instead. Because I want all my theatre friends in LA to know about this awesome community project going on in Boyle Heights.
I’ve lived in Boyle Heights for 5 years, and I absolutely love it. It’s a warm, friendly, welcoming neighborhood full of family-run businesses and amazing street art. For at least a year now, I’ve been aware of ‘The Shop’, a new community engagement program that the Center Theatre Group has been running in Boyle Heights, where through workshops, classes and events every weekend, local residents are invited to participate in art and theatre making. My friend Jesus Reyes, Creative Artistic Director of East LA Rep and CTG Program Manager, facilitates and leads the team managing this wonderful initiative. I’ve seen his pictures and updates on Facebook for months now, but due to travels and a crazy schedule, I never actually was able to go. Until now!
Yesterday morning, I was taking a walk and happened to see that CTG had set up their ‘Shop’ at Self-Help Graphics on 1st street. Excited, I stopped in to say hi to Jesus, and found out that they were going to be making masks and puppets – MASKS AND PUPPETS – all day! The stars aligned. My afternoon was free. I stopped by with my roommate for the afternoon session and got to dive right in.
So the program that’s happening right now is the ‘Community as Creators’ project. Over the course of several weekends this summer and fall, Boyle Heights residents gather to collectively create and shape a show that will be a retelling of the Mayan legend of Popul Vuh. The show will go up in October at Hollenbeck Park in Boyle Heights, and Grand Park in Downtown LA. These community workshop participants help create the characters, props, music, and may also eventually act in the show, depending on where their interests lie. When I stepped in this weekend, the process was already several weeks underway. So what I got to do was help paper-mache the giant masks that will be used on stage!
I can’t tell you how much fun it was to lose myself completely in this crafts project after weeks and weeks of sitting at my desk writing. I got to know my neighbors in the best, most organic way, as I shared tables with people from all over East LA (I even got to know my roommate better!). The energy was fantastic, and lots of families showed up to spend the whole day in this fun artistic activity. I did the afternoon session of Saturday, and the morning session of Sunday, and managed to get all the way through paper-mache-ing a giant human mask!
Major props to Teatro Campesino who are producing this project, and Beth Peterson, the puppet artist who guided all the workshop participants through the process of creating these beautiful, vivid masks.
LAFPI readers – I highly recommend checking this out next weekend in Boyle Heights. The paper mache process will still be underway (it will actually be the final weekend of the mask workshop). It’s a rewarding, relaxing, even therapeutic way to spend a day, collectively creating something that will be part of a beautiful theatrical presentation, truly representing the heart and spirit of Los Angeles.
Here’s the blurb with more info! Or tweet me at @madplays with any questions on the experience.
Center Theatre Group Free Puppet and Mask Making Workshops!
Discover the artista in you! Come and help us create puppets and masks for the upcoming El Teatro Campesino production of the Popol Vuh: Heart of Heaven based on the Mayan creation myth. Master Puppet Maker la Beth Peterson brings her special talent to Boyle Heights and needs gente to help her build giant puppets, wood people and animal masks that will be part of the show. Come on, show off your talent, join us!
All workshops are free and will be held at Self-Help Graphics and Arts on Saturdays and Sundays. There are two opportunities each day to jump in:
I started out as an actor. For ten years, I’d drive the freeways of Los Angeles for auditions for commercials and sitcoms, spending my evenings onstage in tiny theatres all over town. When I hit my 30’s, the jobs for women started drying up and I put my heart into the writing.
Now, decades later, I’m back on stage – again, driving all over town to perform on small stages, this time in Washington, DC instead of Los Angeles. It’s great fun. But I’m finding I’m learning more about the writing from the other side of the footlights.
As playwrights, nothing helps like hearing our words out loud – whether it’s a group of friends, happy with many bottles of wine and beer, who read a new draft in the living room; or onstage, standing behind music stands, before a small audience for a staged reading. Hearing those words spoken out loud is a completely different experience than staring at them on a laptop screen.
But now that I’m memorizing someone else’s lines, standing on stage, exposing my inner actor to the world, I’m finding new lessons in playwriting. I’m in a new play by a fine writer, D.W. Gregory called “Salvation Road” – the tale of a college kid trying to rescue his sister from a cult. I play the hip Catholic nun Sister Jean – part mentor, part nudge, battling her bishop and “that vow of obedience thing.”
Here’s what I’m learning about playwriting from the experience:
1 – Specific lines that are hard to memorize are usually because the actor can’t find a connection between what happens directly before the line and what happens after.
I watch this happen in rehearsal over and over again. There’s always one line that every actor stumbles over every time. Why? The logic of the lines is clear to the writer, but not to the actor.
Note to my playwright self: watch for these lines, rewrite to make the connections clear. Actors aren’t sitting with you at the computer, following your logic.
2 – Watch out for repetition.
My Skype playwriting pal Ellen Struve always says we writers say things three times – just in case the audience isn’t listening. True.
In rehearsal, there are certain words or phrases that are used repeatedly – toxic and hypocrite come to mind. They are perfectly fine words for a playwright to use – strong and clear words. But an actor’s brain scrambles them and the lines are often transposed from one scene to the next.
Note to my playwright self: look at repetition, but don’t let lazy actors be the reason you change them if that’s the word you need.
And yes, an audience sometimes does need to hear something three times.
3 – Actors hate stage directions. And punctuation. Especially punctuation.
I know as a writer, I want my lines to be performed the way that I hear them in my head. How do you communicate that to an actor? Sentence structure and punctuation can help.
As an actor, this is driving me crazy! My phrasing of a thought doesn’t want to come to a halt at the period in a particular sentence. I want to let this character speak the way she wants to speak! But I’m an actor, not a writer and it’s my job to bring the script to life the way the writer wants it. Sigh.
Note to my playwriting self: Trust your actors to bring meaning to your words.
4 – Acting is more difficult than writing.
I don’t really believe this. Writing, staring at that blank screen, battling all the demons that scream at you inside your head that you have no talent, nothing to say, and your play will never get produced anyway – that’s hard. Coming up with believable characters and scenes and a satisfying ending? That’s even harder.
But acting is hard work, too. I forgot how difficult memorization can be! And standing up in front of an audience is nerve wracking! I had my first Equity audition in decades and went up on my lines! I hadn’t been that nervous in forever. And there’s that baring one’s soul business. It’s easier to do it while typing than saying it out loud.
Note to playwriting self: when the writing is tough, remind yourself that nobody’s watching you fail in real time. It’s just you and the machine. The audience – and the critics – are a million miles away.
5 – It’s still all about that time in the rehearsal room.
It’s always been my favorite part of theatre. Yes, I love the opening night applause, overhearing the chatter at intermission, getting flowers when my husband remembers to get them. But the real joy in theatre – both as an actor AND as a playwright – is the work in that rehearsal room. “An effemeral art” as Cash Peters described it – here today and gone at the end of the evening. But what magic happens in that room! That’s the joy of the theatre.
Note to playwriting self: find more opportunities to BE in that rehearsal room. Get back in the regular habit of sending out plays. Self-produce. Find other writers who need a reading. Volunteer to read for them.
Note to acting self: see above.
“Salvation Road” opens Saturday, July 11 at the Capitol Fringe Festival in Washington, DC.