We know that when there is cultural and racial equality in theatre, it makes room for artists of all walks of life to contribute to the history of theatre. It is vital that we make room, make way for women from all backgrounds to have a chance to be included in the future of theatre. With excitement I introduce Joy Regullano, a first time Fringer and fringe scholarship recipient in the house! Joy’s #HFF19 musical, SUPPORTIVE WHITE PARENTS, is a hilarious example of following your dreams even if it breaks the dream our parents imagined for you.
Constance: How long have you’ve been sitting with this work? What led you to Fringe and why now?
Joy: I had this idea kicking around in my brain for a while, but finally got down to writing it when I took a UCB class in January 2018. I had been wanting to put it in Fringe since then, but I didn’t get around to rehearsing it and getting the music written until Fringe had already passed. So I applied for the Fringe scholarship as soon as I was able to and got it! Then I was like, well, now I have to do it at the Fringe haha. It kicked my butt into gear.
Constance: The work is now out there. How does that feel?
Joy: It feels really cathartic to have written this, since it deals with a lot of family stuff I’ve been working through. It also feels really great that so many people seem to be resonating with it. Even though this is a deeply personal story, pretty much everyone has parents, and most people can understand wanting your parents to love you for who you are.
Constance: What has been the biggest discovery or surprise doing your show?
Joy: It’s fun finding new bits every time we perform it. I’m so fortunate to have an incredibly talented cast that’s gifted in improv, so we keep it loose and fun while still keeping it tight. (Oxymoron, I know.) And it’s surprising that this piece resonates with so many people. I filled it with all my life’s specifics (I’m got tired of changing my family’s names – I’ve written so much about them), and yet people still find a lot in it that they can relate to. The standing o’s have been really surprising, and I’m so grateful!
Constance: What’s been your biggest challenge in terms of the Fringe?
Joy: It’s always hard to coordinate 7 people’s schedules, especially if the 7 people in question are actors in LA. It’s also been hard to get butts in seats–I get it, LA folks are busy.
Constance: What do you hope audience members take away from your show?
Joy: I hope that if they are parents, they learn to see and love their children for who they are instead of trying to mold them into a perfect idea of what they think their child should be. And if they’re not parents, I hope they can learn to radically accept their own parents (and really everyone in their life) for who they are. We’re all doing the best we can. We’re all only human. We’re imperfect and flawed, and that’s okay. And if they’re Broadway producers…
Ever wanted to know what Literary Managers’ pet peeves are? Steven Epperson took up our interview request. It’s lengthy and very helpful. Please comment on any of the below. He may be open to more. All italicizing is mine for ease in reading. – CMJ
SE: First off, I’d like to thank you for taking the time to ask these questions. I’ve been the Literary Manager for Impact Theatre for over 5 years, and Literary Manager for The Asylum Theatre for over 7 years, and in my time reading scripts I’ve always wanted to have an opportunity to express to playwrights how they can better submit their work. This is a great idea, and I look forward to reading your blog post.
CMJ: Are there any red flags to submissions, obvious or subtle?
SE: Yes. Misspellings/wrong word usage in the cover letter and/or synopsis. I’ve never seen a
play that was any good when those problems happen. Rambling cover letter/synopsis. Keep cover letters to one paragraph, keep synopsis to one page. Max. Less is more. No cast list = a not very good play. Every single time. Resubmitting a script that I’ve sent a rejection letter on, and sending that resubmission to the Artistic Director directly. Anything she gets, goes straight to me, and I keep records of what I’ve read and what I have/haven’t rejected. Don’t try to get around or go over the head of the person who rejected your play. Submitting a script after a playwright has received a rejection letter from me, and demonstrating attitude or anger in the cover letter for their new submission. There are two acceptable responses to a rejection notice: 1) “Thank you for considering my play.” 2) Nothing. I know that it stinks to get rejected. Be professional. Being difficult might feel good the moment a playwright hits that ‘Send’ button, but it will not do anybody any good at all in the long term.
CMJ: Please give an idea of the sorts of plays that immediately grab your attention, and how a submission package can accomplish that without bending the guidelines?
SE: I’m chuckling as I write my answer to your first question, because, for me, this is the
most difficult question to answer. Impact Theatre produces a huge variety of work: comedies, dramas, adaptations of classics, to name a few. We’ve never done a musical, but we’re not opposed to doing one either. (Over the past several years I’ve started reading several musicals and thought, “This might be the first Impact musical!” Then, I get to the end and I think, “Um. No.” …. the core writing elements (story, dialogue, character development) simply weren’t up to par. In a musical, of course there need to be good songs. However, no matter how good the songs are, if the core elements of the writing aren’t there, the script just doesn’t work theatrically. Again, neither I nor either of the theatre companies that I work with would be absolutely opposed to producing a musical. However, one has not yet been submitted to us that, in my opinion, would work.)
What grabs more attention, always, is quality writing. An interesting story with well crafted characters and compelling dialogue. I realize that sounds like a cheap answer, but that is the primary thing that I look for. I don’t look for specific genres, I don’t look for comedies over dramas or vice-versa. While we try to schedule variety, Impact wouldn’t be opposed to doing a season composed entirely of comedies or dramas. Impact Theatre produces four plays a year, one of which is an adaptation of a ‘classic’ that is adapted and directed by our Artistic Director,Melissa Hillman. So, we have three production slots open each season. What do I want to go into those three slots? The three best damn scripts we have that are available to us.
Impact Theatre only produces full-length works. It’s just too difficult to find individual one-acts that can be paired together to present a cohesive night of theatre. IF a playwright wanted to submit two one-acts that they felt would work together in a single evening, I’m more than happy to take a look. However, otherwise one-acts almost always get a pass from me. IF I like the writing well enough, in the rejection letter that I send out, (and every play that I don’t pass on does get a rejection letter), I will make a point to ask if the playwright has any full-length material that they wish to submit.
Here’s the submission package that makes me happiest: an e-mail (Impact Theatre ONLY accepts submissions that are e-mailed.) that includes: the script (you would be surprised how many playwrights forget to attach their play) in a format that my computer can work with (Microsoft Word of PDF ONLY. I’ve been receiving a lot of submissions in Word Perfect, and my computer just doesn’t know what to do with those.), a cover letter, and, if the playwright wishes to include one, a resume. For Impact Theatre submissions, that’s pretty much all one needs. One thing that I would strongly advise is that playwrights should NOT adopt a One-Size-Fits-All philosophy. Find out from each theatre company they submit to what THAT theatre company wants in their submission packages. Some of the things that I don’t care whether they’re included or not: resumes, reviews, letters of recommendation, etc., might mean an automatic rejection from other
If you don’t mind, I’ll break down each of the elements that I mentioned above. As I said, e-mail the script in a format that most computers can work with, i. e. Microsoft Word or PDF. (PDF works on pretty much every computer, so it’s a good default choice.) Submit the ENTIRE script, unless otherwise specified to only send the first 10 pages or to only submit a dialogue sample. When I say that playwrights should include a ‘cover letter’, what I really want is for them to include a ‘cover note’. That means: keep it short. I’d say one paragraph (short paragraph) max. If a playwright thinks that they need more than one paragraph in their cover letter, they really don’t. Introduce themselves, tell me the title and any recent productions of the play. A brief (BRIEF) synopsis is fine, but, keep it brief. Playwrights should keep in mind that I’m more interested in reading their play, than I am in reading their cover letters.
CMJ: What are some immediate turn-offs in submissions? SE: I once sat down and wrote a diatribe (it had been a long week) about the different things that playwrights do that can, and do, turn me off to their work. I won’t bore you with the whole thing, but here are the high (low) lights:
Misspelling my name in the cover letter. This happened this past week. Now, some people will say, “Why does that matter?” It matters because if a playwright can’t be bothered to spell my name right, that demonstrates a lack of interest, and a lack of attention to detail. It may also be the sign of an attitude that Impact Theatre isn’t interested in dealing with. To be blunt, it’s the best way to make a bad first impression.
Misspellings, bad grammar, wrong word usage: yes, playwrights are writing speech, and the way people, especially Americans, speak does not always follow the rules of writing. (Cause instead of because, for example.) I understand that, and I’m not trying to be the grammar/spelling police. However, having sloppy writing mechanics is unprofessional, and I’ve never, ever, read a script where the playwright had bad writing mechanics where the story and the characters themselves were well crafted. I’m not talking about the occasional typo. I’m talking about consistent, repeated errors that a professional writer should know to not do. Bottom line, it just looks bad, and I’m going to pass on a play that looks bad.
Non-standard fonts or formatting: make your writing as easy to read as possible. If I have to struggle in any way with your play, including the style in which it is presented/ written, I’m going to pass. In addition, when you e-mail a script, don’t send each scene as a separate document. Don’t have the title page and/or the cast list as a separate document. In other words: send your script as a SINGLE attachment, please. This may sound trivial, but having to constantly stop and open a new document interferes with the flow of the story, and can be aggravating.
Submissions that don’t follow stated guidelines: Read the guidelines for submissions and follow them. One of the theatre companies that I work with periodically produces a 10-minute comedy play series. When we put out a request for submissions for this 10-minute comedy play series, the avalanche of stuff that we get that is neither 10-minute nor comedy is extremely exasperating. I’ve actually seen submissions of 50 page scripts. No matter who you are, guidelines apply to you, they apply to me, they apply to anybody submitting material for anything for which guidelines are out there.
Not including a cast list, unless it’s a one-person show: I see this all the time, and I cannot understand why playwrights would not include a cast list with their scripts. As a Literary Manager, I want to focus on the story, and not have to waste time trying to figure who all these random characters are who keep on wandering in and out of the scenes.
Unnecessary/gratuitous nudity: I’m not a prude. I have no problem with nudity. (Some of my best friends have been naked.) If there’s a reason for people to be naked in your play, that’s cool. HOWEVER, if the naked person doesn’t have anything to do with the story, don’t do it. IF it is necessary to the story, and there’s a way to stage it legally, that’s one thing. Gratuitous is entirely another, and we’re not interested.
An overabundance of stage directions: If pressed, I’d say that this is my #1 most frustrating thing. Having line after line after line after line of stage directions interrupts the flow and rhythm that I’m trying to discern from a playwright’s writing. Trying to get into a playwright’s story, trying to find out if the playwright is creating characters with individual voices, trying to see if there is something about the writing that would be compelling on a stage all get ground to a halt when I have to constantly stop reading the dialogue and read stage directions. I think that for some people, getting the action as they see it in their mind onto the paper or the computer screen is important because those writers need to have it written out in order for them to keep what’s going on organized. I understand that, and that’s fine. For writers who need that, I would strongly suggest removing those stage directions before sending their scripts out. Having massive amounts of stage directions in one’s script does nothing to help me decipher the quality of the story that the playwright is trying to tell. If no other information gets out from this blog post, I hope this does: have as few stage directions as is possible.
Impossible or difficult to manage set designs: Most small theatre companies have neither the budget, nor the space, nor the ability to reconstruct Notre Dame Cathedral.
Most small theatre companies would struggle to reconstruct your living room. Also, recently I’ve seen a number of script in which the author wants a real automobile of whatever make/model/sort onstage. Again, most small theatre companies could not get a car into their building, much less onto their performing area. I think that the biggest failing I see from a number of playwrights is that their writing makes it appear that they don’t understand other aspects of theatre, especially when it comes to sets, props and sometimes costumes.
Writing plays set in places you’ve never been to: This is less of a problem now, but a couple of years ago its seemed like everybody and their grandmother were writing plays set in a hotel or motel or trailer park in the Mojave/Arizona/New Mexico/Texas/Mexican/California/Nevada desert. I don’t know how this happened, and I don’t know why this happened. When one is not familiar with the environment they’re writing about, it shows. That being said, ENOUGH with plays being set in New York City. Feel free to set your play in the other 99% of the country.
CMJ: Does it matter to you if playwrights have a website, Facebook, Twitter presence? How much do you want to know about the playwright themselves if you’re interested in their work?
SE: Honestly, for me, it doesn’t really matter at all. If Impact Theatre decides to produce a play, then, yes, we want to know everything we can about the playwright that we’re going to be working with. Until we’re at the point where we’re ready to begin that process, and I’m being completely honest here, it just doesn’t matter all that much to us.
Along those lines, it used to bother me when playwrights didn’t have their resumes in an easily readable format. It used to, until one day I realized that a playwright’s resume wasn’t going to be the deciding factor as to whether or not Impact Theatre produced their play, or whether or not I passed their play on up the ladder. Once I realized that, I didn’t spend a lot of time looking at playwright’s resumes. If a resume is included in a submission I’ll still LOOK at it, but it’s really more of a glance than anything else: “Let’s see, any names or places that I recognize? Yes? No? All right, time to read this play.”
CMJ: What is the process for choosing a season at your theaters, and is there any way that playwrights can aid you in that process?
SE: The process for choosing a season at Impact Theatre is as follows: every script that is submitted, whether sent directly to me by the playwright or not, goes to me. I read every script that comes in. My job is NOT to say, “Yes.”. My job is to say, “No.”, and I say, “No.”, a lot. If I don’t say, “No.” to a script, that script is passed on to Melissa Hillman, the Artistic Director for Impact Theatre. She reviews the scripts I send her, and she will either say, “No.”, or she will put the script to the side for consideration by the entire company. Once or twice a year, more if necessary, the company will gather to read plays out loud and discuss them. The group as a whole decides what plays are being produced each season, with the exception of the one classic that we do each year. The classics are the purview of Melissa, and she selects those herself.
In terms of the selection process described above, there’s not anything playwrights can do to influence that in and of itself. What playwrights CAN do is: be patient. Be patient because the one area where I’m lacking is in figuring out a way to communicate with playwrights when their play gets moved up the ladder instead of being rejected. I’ve tried multiple times, but I have a hard time composing a letter that says, “We like your play, but we’re NOT promising to produce it, and we might not, but we might, so . . . thanks!”, in 1-2 paragraphs. Part of the problem may be that I’m overthinking it, and that’s my issue. Anyway, be patient. If a playwright doesn’t hear back from Impact Theatre regarding their play, it’s a case of no news is not necessarily bad news.
CMJ: Steven added this after I asked a follow-up question:
SE: If you don’t mind, one thing that I forgot to mention was the environments that theatre companies produce in. I think the space(s) that theatre companies stage their productions in is not often considered by playwrights when they are writing scripts. The majority of plays that I see are written for proscenium style theatres, while most small theatre companies (I don’t have statistics at hand to verify this, but Melissa Hillman, the Artistic Director for Impact has talked about this a number of times, and I take her at her word.), produce plays in some variation of ‘black box’ spaces. For example, Impact Theatre currently stages our shows in the basement of a pizza parlor. With an 8′ high ceiling. This means that no matter how hard we tried it would simply be impossible to stage a play in which having a two or more level set was required. (Unless we cast the show entirely with Ewoks, and that would bring up a whole other set of issues.) Impact has passed on at least three scripts that we really, REALLY wanted to produce, but couldn’t due to the particular restrictions of our theatre. Now, I am NOT expecting all playwrights to have, or request, floor plans or scale drawings of the the theatres they’re going to submit plays to before they begin writing. What I am suggesting is that playwrights be more open to creating plays that can be staged in ways that are more flexible than only in a proscenium theatre. Doing so give both sides what they want: it gives theatre companies more plays to select from, and it gives playwrights more potential venues in which to have their plays produced.
CMJ: Many thanks to Steven for his time, and please do comment with questions below. I’m working on some other Literary Managers and hope to give all playwrights a larger perspective on the people reading and accepting/rejecting their work.