Posts tagged: playwriting

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.

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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.

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.

#FringeFemmes Check-Ins: Being Martin Shkreli

by Kate Motzenbacker

Quick peeks at the work of #HFF16 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: Sarah Rosenberg

WHAT: Being Martin Shkreli

WHERE: Ruby Theatre at The Complex

WHY:

You guys. Martin Shkreli is not just abhorrent. He’s also completely weird. After pulling a volunteer from the audience and handing them a list of questions to ask her, Sarah Rosenberg swaggers and smirks her way through half an hour of bravado, threats, and claims of artistic genius, straight from the mouth of the worst dude of our time. I laughed, I made disbelieving faces that I probably couldn’t recreate if I tried, and I had a great time. This show has all the pleasure of sharing a really nutty article, except that the article is happening right in front of you.

HOW: http://hff16.org/3840

Being Shkreli

 

A Little #FringeFemmes Instagram Action…

Thanks so much to Gina Young. Are you following us? https://instagram.com/thelafpi/

  More great shows by women at the @hollywoodfringe — what are YOU going to see tonight?? #fringefemmes #LAthtr #hff #hff15   A photo posted by LA Female Playwrights (@thelafpi) on

5 Sirens: Women Rock!

By Guest Blogger Alex Dilks Pandola 

I’ve produced over 10 productions that feature short plays written and directed by women. So, I was intrigued by 5 Sirens: Beware of Rocks and excited to learn more about the 5 playwrights (all women) who joined forces to produce this show.

Graduates of the USC Master of Professional Writing Program, the 5 Sirens are: Sarah Dzida (Don’t Panic), Autumn McAlpin (Ten Years Left), Kiera Nowacki (Spock at Bat), Caron Tate (Whatever Works) and Laurel Wetzork (Out of Here). They realized that by pooling their resources and sharing in the production responsibilities they had the skills to tackle everything from advertising and publicity to fundraising (check out their super-successful Indiegogo campaign) and contracts on their own.

5 Sirens: Beware of Rocks features 5 10-minute plays centered around theme of miscommunication and longing for connection. What’s wonderful about the production is that the audience is treated to five distinctly different styles and approaches to the theme.

Director Laura Steinroeder had previously worked with Laurel Wetzork and came on board to direct the five plays. Wetzork says, “she was very brave to take on five different, very strong women and make this show work.” Though directed by one person, Steinroeder allows each piece to live in its own world, so that the audience can experience the progression of a debilitating disease through a rhythmic pattern in one play (Ten Years Left) and move seamlessly into the next play about the inter-species communication between intelligent and not-so-intelligent life (Out of Here).

What I find most inspiring about 5 Sirens: Beware of Rocks is that these five women, a group as diverse as can be, banded together as a community to support each other and produce their own work. Now, they are confident that they can produce a Fringe show on their own, individually. I’m certain that whatever productions they do in the future, 5 Sirens: Beware of Rocks will be an experience that proves to be both unforgettable and invaluable. Through June 27th at Theatre Asylum.

One-Woman Fringe

By Guest Blogger Alex Dilks Pandola

The Hollywood Fringe Festival is a fringe-purist’s dream where content is queen and storytellers work their spreadsheets to self-produce their show.

The first play I produced for Green Light Productions was for the 2003 Philadelphia Fringe Festival. It was a two-person show about the tumultuous and creative relationship between Zelda Sayre and F. Scott Fitzgerald called Boats Against the Current. From rehearsals in living rooms, costumes from Goodwill and one-hour techs to packed houses and standing ovations, I learned how to create magic on a shoestring budget by putting the story first.

This year there are over 20 one-woman shows in the Hollywood Fringe Festival.

At the last LAFPI meeting at Samuel French I was treated to a preview of Snack by Megan Dolan. In the hysterically funny world of Snack, Dolan traces the roots of her smoothie addiction back to her childhood, posing the question “How do you parent yourself and your kids at the same time?” Snack runs until 6/27 at Theatre Asylum.

This weekend I saw Jennifer Bobiwash’s Indians in a Box: There’s No “I” in NDN where Bobiwash sets out on a journey to discover what it truly means to be a modern American Indian. Through the laughs of Bobiwash’s story, we begin to understand the many complexities of her identity and how it’s shaped her life. NDN runs until 6/17 at Lounge Theatre.

There is an electric energy during the fringe, as artists become Olympians and audiences become active participants in the creation of these raw, intimate, now-or-never productions. Check out the “one woman show” tab on the HFF site where you’ll find an amazing group of storytellers who are the true heart and soul of this year’s fringe.

My D-bag Writing Partners

by Korama Danquah

I hate my writing partners.

I know what you’re thinking. You’re thinking, “Oh my goodness! Korama! That sounds like a personal problem that you and your writing partners should discuss together.” Ordinarily you would be right. I’m an adult(ish type person) who likes to handle my problems in a (mostly) adult way. Talking to my writing partners would be the adult way to handle any issues. Except that they aren’t just my writing partners – they’re your writing partners too.

“What?” you just exclaimed “I don’t have any writing partners.” Or perhaps you wondered “Why does Korama think Lewis and Clark are d-bags?” (Side note: This imaginary conversation thing is really amusing to me) The particular writing partners I’m talking about are not of the human variety, but the nagging-voice-in-the-back-of-your-head variety; I’m talking about self-doubt and insecurity.

Everyone has self-doubt and insecurity in varying degrees, but the effects are most felt by people who do creative work. You can doubt yourself when you do a spreadsheet, but at the end of the day the spreadsheet reflects facts and figures, not your thoughts and feelings.

I have a particularly hard time with these silent partners – maybe it’s because, despite the fact that I consider myself a creative person, I am most comfortable with facts and figures. I am very clear with right and wrong, black and white, good and bad. Subjectivity scares me. I start to doubt that what I am doing is good or worth anything at all, like Semele started to doubt what she previously knew to be true.

For those of you who need a refresher, Semele was one of Zeus’ many lovers (not to slut-shame him, but good god, who wasn’t one of his lovers?). Hera, jealous of her husband’s human lover (who was pregnant with Dionysus the god of theatre!), disguises herself as an old woman, befriends Semele and convinces Semele to confide in Hera/Old Human Lady that she is banging Zeus. Hera then plants seeds of doubt in Semele’s head. She asks her how she can know it’s truly Zeus if she hasn’t seen him in his godlike form. On the one hand, that’s a valid point because dudes could totally be walking around pretending to be Zeus in an effort to bed women. On the other hand, douche move on Hera’s part because she knew exactly what would happen next. Semele asked Zeus for a favor and he promised, no swore, he would do whatever it was. She asked to see him in his divine form. Zeus reluctantly agreed and obviously seeing him in his true form killed her.

The story has several morals, the strongest of which is that doubt will literally kill you.

It’s hard not to succumb to self-doubt and insecurity – they are strong opponents. What I do these days is remind myself that I’m stronger. I’m not Semele or Hera or Zeus, at least not completely. I have a little bit of all of them: Semele’s humanity, Hera’s ingenuity, Zeus’ strength. All of these things are what makes me, and my writing, special and unique.

It’s easy to get comfortable with the right/wrong, good/bad dichotomies of this world, but if everything is one thing or another it loses part of its rarity. Walt Whitman once said “Do I contradict myself? Very well then I contradict myself. (I am large, I contain multitudes)” To allow yourself to exist in the spaces between black and white, to contradict yourself at turns, is to contain multitudinous, enormous beauty. I won’t allow doubt and insecurity to squash that, to make my work ugly with fear.

So screw you, writing partners. I’m working on my own from now on.

What I Learned About My Writing From A 6 Year Old

by Korama Danquah

Yesterday evening I found a surprise when I walked into my gym’s locker room: a six year-old girl. There were other adults around who seemed to be unconcerned with her presence, so I went with it and said hello. I jokingly asked her if she was there to work out and she told me very matter-of-factly “No, I’m waiting for my Mommy.”

I like kids a lot, so I talked to her as we both waited for the class currently in session to finish. We talked about all sorts of things: birthdays (mine had recently happened and hers is today), our favorite Disney princesses, and her recent trip to Legoland. She was a very polite and talkative young girl. What struck me most about her is the fact that she was an endless font of questions. It started off with my asking my name, guessing (fairly accurately) how old I was, and when my birthday was. But then she began to ask more and more questions: Why do you wear glasses? I have an astigmatism. What’s an astigmatism? It means a part of my eye, called the cornea isn’t shaped right, so my vision is a little blurry. What should it be shaped like? It’s supposed to be round like a basketball, but mine is shaped more like a football. What’s that thing? My asthma medication. What does it taste like? Medicine. Yeah, but what flavor of medicine? And on and on.

A fairly accurate representation of her side of our conversation

 

I wasn’t bothered by her questions. Quite the opposite, actually. I enjoyed conversing with her very much and was sad when her mother came to get her (and not just because it meant that I was about to do what felt like 1,000 burpees). She was fun and engaging in a way that I find adults often aren’t when you first meet them.

Adulthood!

When I was driving home, I realized that I could stand to be a bit more like this little girl I met in my writing. I’m not asking enough questions. Months ago, I started writing a science fiction play called The Fortinian Orbs, but I abandoned it when it started to get difficult for me to continue writing. After my conversation yesterday, I realized that it was only hard because I wasn’t asking myself enough questions; the few questions I was asking, I wouldn’t keep asking until I got the right answer. When I told her that my inhaler tasted like medicine, she kept asking until I gave her an answer she thought was acceptable. There are a hundred different ways medicine tastes and even she knew I was giving a half-assed answer.

I’m going to pick up where I left off with The Fortinian Orbs, ask myself more questions, and give myself more answers. It’s OK if some of the answers are dumb – I’ll just keep asking until I can come up with better ones. And for those of you wondering, my inhaler tastes like chemicals and water that’s been in a plastic bottle in a hot car for too long.

Harmony…

by Robin Byrd

Having gone through an entire year striving for harmony, I find myself in these last few days 1) very excited about the coming year and what it will bring, and 2) nearly undone by the journey thus far – nearly but not completely… It has been hard getting out of my old skin and becoming…more…but it has also been enlightening.

Harmony is a coming together, a joining together, unification, agreement, accord, synchronization…

Harmony enhances the melody. All I need to do is keep my strings tuned and know when to play second fiddle even though I can play first.

2014 has been a year of going deep, of following the rabbit down that rabbit hole and experiencing the entirety of wonderland. Forcing myself to go with the flow has taken me to new levels in my writing. I have finally shed the last of my inhibitions; usually less inhibited when writing poetry, I have seen my recent pieces come to the page in more exacting ways since I have decided to “write it like poetry”. Scary and exciting and liberating…

2015 hints at being a very good year…

May your 2015 bring you harmony and growth and prosperity…

Do We Really Need This?

GLO 2014 Casting

Jen Bloom, Allie Costa, Liz Hinlein, Alex Dilks Pandola & Katherine James casting for GLO 2014

Guest blog post

by Alexandria Dilks Pandola

I started Green Light Productions in 2003 to create new opportunities for women in theatre. As of 2008, Green Light has exclusively produced plays written and directed by women.

This year, Green Light completed The Shubert Report to examine the 349 theatres that received $16.4 million in grants last year from the nation’s largest private funder of the performing arts. We found that only 26% of the plays being produced were written by women and that 125 of those 349 theatres weren’t producing ANY plays written by women.   Foundations, especially those as large as The Shubert Foundation, play a huge role in sustaining American Theatre – most of which is classified as nonprofit. Imagine the impact it’d have if they required applicants to produce seasons that had 50% female writers and directors?   Imagine the impact if just one major theatre a year decided to do a season of plays by women.   Just that one step…

In 2005, I took that step. Heather Jones sent me her one-act play “Last Rites” about a life-long friendship between two women.   It’s a beautiful play and I walked around with Heather’s script in my bag for month thinking about how it could be produced. I had the idea to create a festival of one-act plays all written and directed by women: GLO,  Green Light One-Acts.   And since the first GLO in, we’ve given world premieres to 15 one-act plays with productions in Philadelphia, New York and now Los Angeles.

In GLO 2014 we introduce to the world 4 new plays written by female playwrights based in Los Angeles – Allie Costa, Jennie Webb, Julianne Homokay and myself – with directors Liz Hinlein, Jen Bloom, Ricka Fisher and Katherine James. I have met the most incredible women just working on this first Green Light show here and I am so excited to plan our next steps here in LA.

Alex with artists at first GLO 2014 Read Thru

Alex with GLO 2014 Artists at First Read Thru

Getting here wasn’t easy. While I’ve had the absolute pleasure to work with hundreds of women who support our mission, over the years I heard a surprising amount of negative feedback – much of it from women who felt that the theatre didn’t need companies like Green Light. A female journalist actually responded to one of my press releases with “Do we really need this?”

Yes, we do. And we need YOU!

I hope that by forming new collaborations, asking lots questions, challenging those who need to be challenged and producing work by women, Green Light will continue to have a valuable impact on artists and audiences. And I hope you’ll be part of it.

Mark Your Calendars: November 6-9, GLO 2014, 4 plays written and directed by LA women artists at Miles Memorial Playhouse in Santa Monica. www.greenlightproductions.org.

Be part of Green Light Productions first foray into the LA theater scene (after mixing it up in NY and Philly).  Join the FB Invite here (LA FPI tix for only $10!). This femme-fest is Green Light Production’s annual event, but the company is looking for more women artists moving forward. If you’re interested in getting involved, contact alex@greenlightproductions.org.

 

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