Why not use my blog week to shout out about a new writing opp?
Plays Project is launching a new #GetOutTheVote initiative and invites playwrights to draft short (1-10 minute) plays/monologues/musicals on the theme HINDSIGHT IS 2020. We would like interested writers to consider the following:
This is a forward-looking project = Speculative fiction!
Imagine the world AFTER the 2020 election and what it might look like
without a change in leadership. We are looking for thoughtful pieces
that demonstrate consideration into the myriad different ways four more
years of current GOP leadership might manifest.
We invite interested playwrights to consider the following:
Voter turnout is vital to a thriving democracy, and yet only 54.7% of eligible voters participated in the 2016 election.
are several pressing issues at stake in the 2020 election—which issues
should we be most concerned with? What do our lives look like post-2020
election, if these issues continue to go unchecked/unaided?
What do reticent voters need to hear in order feel motivated to vote – especially if their ideal candidate isn’t the nominee?
regrets will people have if they abstain from voting in the 2020
election? How might abstaining effect their day-to-day lives/kid’s
Humor is an excellent delivery mechanism – don’t be afraid to make us laugh!
love a good expletive, but for this project are hoping to have broad
audience appeal – if you are an F-bomb expert, please provide
alternative options for public spaces J
Selected plays will be featured on a special Protest Plays Project
podcast Our goal is to also make these plays available to theatremakers
across the nation in the hopes that they will put them to work as
motivational theatre aimed at rallying voters!
Scripts will be accepted through March 10th – Please use the Google upload form on this page (which will become available Feb 1st)
Questions? You can email us at ProtestPlays@LittleBlackDressINK.org
If you read my first post this week, you know I’ve been asking some questions about playwriting. One of the things I promised I’d talk about was a project called 45’s 24—a collection of monologues written by thirty female playwrights inspired by the twenty four (at the time) sexual misconduct allegations against the president.
The project itself is interesting and the collection of monologues super powerful and moving—and I encourage anyone who wants to read the script to register for a copy on the Protest Plays Project site. I’m also working on a collaborative writing project with seven other AMAZING female playwrights right now, and although it’s less centered on a specific topic, it’s been a really cool process of sharing the “mic” so to speak.
So, for my last post of the week, I’m going to talk a little about those processes of collaborative writing, and how it’s been a really exciting and rewarding experience. And—full disclosure—I’m writing this on cold medicine and very little sleep… so buckle up, it could get bumpy.
45’s 24 was inspired by a FB friend posting an article about all twenty four of Trump’s accusers and tagging me in it with a note that “You should turn this into a play or something in order to amplify these women’s stories” He was right, and I was immediately like “I’m ON IT!” Because of my work through Little Black Dress INK, I know some pretty cool female playwrights I thought might be interested. I’ve also initiated a number of theatre actions with some awesome writers through Protest Plays Project. So I sent out an email invite to people I thought might be interested… and then I posted the invite to Twitter too, because maybe there would be more people wanting to get involved. There were!
The nice thing about this project is that I had a very clear roadmap for the process. Essentially, I created a Google sign up sheet where writers could select a woman to write about, then linked to the article about the accusers. Each writer then had a few weeks to research and write a 1-3 minute monologue inspired by each woman’s story. Because we had thirty writers working on the project, each piece took on it’s own voice – this is exactly why I wanted this to be a collaborative project. Who am I to try to write 24 monologues about/inspired by these real women? But together, the collection sounds like a group of individuals—and that’s awesome.
Another great thing about writing this piece collaboratively? We got it all written and assembled in just a little over six weeks! And, honestly, the hardest part was me finding the time to write the stitching—that’s what I call the interstitial bits that create the frame around the monologues—and formatting the dang thing! I write in Final Draft, but for this, everything had to come in Word… and nobody formats the exact same way, soooo = AAAGH! I’m NOT an editor at heart. If I was, the whole thing would have been done a lot sooner.
Anyway, the process of working on this piece with such a large cadre of passionate playwrights was inspiring, motivating, and empowering. I am so incredibly proud of the final collection – and it’s set for at least three readings in the coming months, which feels incredible because nobody ever writes a play just to have it sit in a drawer somewhere. Especially when the play is, at its heart, a protest piece.
Untitled Collaborative Writing Project
The other collaborative writing project I’m working on involves seven other female playwrights. It’s essentially the thing I’m devoting time to this year instead of doing another ONSTAGE fest. That decision, while difficult, was a really good move personally as I was starting to feel like ONSTAGE was sucking me dry. I worked work on that festival all year long for nine years, and although I love producing, it took a lot of energy and focus from my own creative projects.
However, as I said before, I haven’t been writing much lately. I’ve become very action-focused and playwriting feels kind of passive. This project, on the other hand, is itself a sort of theatre action because I am working with others to create a collaborative script that isn’t just all about me, my vision, or my perspective. instead, it is intentionally designed to allow for a multitude of voices.
We’re still in the “Seeding” phase of the work, and I have no idea of this experiment will result in a final script, or if it will instead result in some sort of collaborative folio of scripts. But I can tell you how we’ve been working in case anyone else wants to do something similar.
We started off by sharing questions we were interested in exploring, articles we found inspiring, and themes we were curious about. Then (almost) every week I send out an email with a new writing prompt, found artwork, and musical inspiration. We also spend some time doing a sort of chain-email kind of writing project where we each write a page, then send just that page to the next person to add a page, and so on. The results have been a lot of really cool, weird, interesting monologues and scenes that we will then look at building on. We may decide to write a play around one of these scenes, or to stitch several of these pieces together, or we may do something else entirely. And as someone who is usually very much in charge of projects, this new place of discovery and shared responsibility is a very cool place to be!
That’s it. I made it to the end of my blogging week with three articles written, plus the children and cats are all still alive and fed. Three of us have colds however, and everyone in my house is exhausted because when the kiddos have colds, none of us sleeps, but I’m happy I was able to check in and share some thoughts with all of you. And if you’re interested in writing socially aware short plays, we’ll be launching two new #TheatreActions from Protest Plays Project soon. Follow us on Twitter and FB to be notified when they launch. All it takes to collaborate with us is a collaborative spirit and desire to effect change!
My nearly-three-year-old got sick. He yacked all over the place, and then I felt like I was going to yack all over the place, and he definitely yacked all over my husband, and I definitely almost yacked back, so that took several days to recover from.
We’ve been traveling. My husband presented at a conference. The tot finally got better, then we got on a plane, and then we got to spend a day at the beach. Who wants to hunker down with their laptop when the San Diego beach is in your face?
I have grades to enter. Students to email. Lesson plans to make. It’s Thanksgiving break, and I’m thankful for the time it gives me to get caught up.
My toddler is screaming. He has a poopy diaper, but he likes it that way (apparently) because he is screaming at anyone who approaches to try and change it. Speaking of poopy diapers…
Donald Trump is president.
I wake up everyday with trepidation… What will happen today? Whose shoe will be the next to drop? How am I supposed to write when there is all this news to obsess over?
I’m pregnant. My back hurts. I’m tired. I’m making another human, even as I panic about the world going to absolute shit, and I wonder how irresponsible it is to be creating life in the face of so much global disaster. It’s exhausting.
The cats are meowing. They want some of my cinnamon roll… well, they want the butter I slathered on top of it. They’re adorable. I definitely need to spend the next thirty minutes trying to convince them to sit in my lap and snuggle.
My imagination is tired from imagining how many ways the apocalypse might come, what shape it might take, and what we’ll do when it gets here.
Buckle in, readers! This post’s soundtrack is LET’S GET RADICAL by Gogol Bordello.
*DISCLAIMER: There is a prominently placed F bomb at the start of this song.*
Did you know the LAFPI is almost 10 years old? Crazy, right? On the one hand, it feels like it’s been much longer than that, and on the other is the old adage “Where has the time gone?”
I’m sure there will be much room for discussing what has changed in the ten years since LAFPI started instigating its parity-focused programming, so I’m not going to try to do that here. BUT, I mention this upcoming anniversary as a precursor to the following question:
And I don’t just mean for the LAFPI, but for female playwrights and theatremakers everywhere. What are we doing/going to continue to do to make an impact not only for ourselves, but for each other?
This is a question I ask myself a lot—and I’m sure, if I were a more selfish writer, my own playwriting career would be a little more… distinguished. But I believe I have a responsibility as an artist to not only to make art that makes me happy/fulfilled, but to put my skills as an artist to work in support of a making this world better.
And yes, I know there are a lot of men out there doing great and important things, but this is the LAFPI, so I’m going to focus on the women. I’ve been hugely impressed by the fact that the overwhelming majority of theatremakers who have been joining our producing efforts through Protest Plays Project are women. I’m hardly alone in making this observation when it comes to some of the contemporary socially engaged theatre initiatives of late.
In Chantal Bilodeau’s article, “Why do Women Climate More Than Men?” she notes that the majority of theatremakers involved in supporting the theatrical work she organizes in climate change, are women. And theatremaker Claudia Alick recently noted in a roundtable discussion I participated in for HowlRound that the majority of organizers applying theatre and art to gun control issues were female.
Its obvious that female theatremakers are engaging in political and socially active theatre in impressive numbers, and no wonder: there are so many problems facing the world, and our nation, right now that it can feel hard to focus on anything else.
I’d love to hear what YOU are scheming up/working on/dreaming about taking action on. I’ll even start you off with my own #TheatreAction wish list!
A nation-wide outreach designed to teach people how to talk to one another again. Seriously, why isn’t this already a thing?! We have lost the ability to engage in political discussion without dissolving into partisan mud-slinging and it is tearing us apart! This project could create collaborative opportunities for theatre makers, psychologists, community organizers, and mediators to develop effective non-partisan programming.
An expanded engagement with plays written by playwrights working from a community perspective. Why aren’t theatres reading more works about their own communities alongside plays about communities in different parts of the nation? I’ve tried to make some progress on this front with my Heal the Divide/Heal the Divide on Campus projects, but I don’t own a theatre and I don’t have the ear of that many Artistic Directors. If we all made a concerted effort however…
I am currently trying to get theatres to put #TheatreActionVOTE! Plays into their theatres. These pieces are written to be performed pre-show (they’re only 1-3 minutes long!) and are non-partisan and available royalty free. It’s harder then you’d think it is to get a theatre to join this effort- even when the message is as non-controversial as “Please Vote!”
Why aren’t more theatres collaborating with local non-profits in their communities? There is such an incredible opportunity not only to increase their community outreach/effectivenss (aka, demonstrate their commitment to non-profit community-centered work) but also to just expand their audiences.
Bring theatre to the people! I wish I could do/see more theatre in unconventional spaces, whether that theatre is entertainment for entertainment’s sake or more efficaciously-minded, the people who need theatre most (and it’s power to teach empathy/compassion) are often the people who see it the least. Price and access are very real issues, and I love the many organizations who are taking strides to improve access. I think individual theatremakers have more agency to create theatre in The People’s Spaces than they thing. You can make theatre anywhere! If you believed that, where would you make theatre next?
So there are a few ideas from me. What are YOU working on? What do you wish you were working on? Let’s talk in the comments!
Hey, it’s me, Tiffany! The used-to-live-in-LA-but-now-I-live-in-Iowa playwright who launched Little Black Dress INK, had a baby, and then (because I wasn’t busy enough – duh) started Protest Plays Project too. I’m pretty much busy ALL THE TIME now, and it got me to thinking…
It’s all Jennie Webb’s fault.
She’s the one who invited me to the first LAFPI meeting all those years ago. The meeting where I got a taste of she-playwright POWER and decided I needed MORE! I knew I was moving to AZ, far away from my cherished playwright coven, but what the hell? If Jennie Webb (with Laura Shamas) could unite the female playwrights of Los Angeles, I could certainly found and operate a female playwright producing company in Arizona, right?!
And now we’re in our 7th year. We’ve just announced 2019’s Female Playwrights ONSTAGE Theme. I’ve been privileged to get to know a ton of amazing female playwrights from all around the country (along with some international playwrights as well!) It’s been a hell of a ride, and a TON of work, but it’s also been totally worth it.
But I wanted to do MORE, remember? Especially since I was politically mortified with the results of the 2016 election. So I founded Protest Plays Project (PPP). My initial aim was to collect plays about social issues that theatre-activists could use for protest or fundraising* purposes. (*Specifically, fundraising for non-profits working for positive social change.)
Well, PPP has been busy. Super busy.
And I want to take the start of my blogging week to tell you how you can get involved, in case you’re that kind of theatremaker!
First, we’ve got our #TheatreActionVOTE! Initiative going on and all you have to do to get involved is commit to presenting Vote! plays or monologues in your pre-show.
You can write your own piece for this purpose, or select pieces from our Collection. The plays in our collection are:
1-3 minutes in length
Available royalty free
Written to be presented pre-show in whatever location works for your theatre
You can sign your theatre up to participate HERE. (It’s free, it’s easy, and we won’t spam you!)
We’re also collecting plays on Immigration. The AMAZING LA playwright, Diana Burbano along with the awesome playwright Ricardo Soltero-Brown, are curating the collection – and we’ll be encouraging theatres to present readings for fundraisers. You can find more info and send us your play, HERE.
Protest Plays continues to support #TheatreActionGunControl and if you want to put up a reading, we have links to a number of excellent collections on our website!
But does it ever feel like enough? Does political theatre work? Can we truly effect change with passionately written, socially conscious plays? I plan on examining these questions later this week, right here, on the LAFPI blog.
So stay tuned, stay connected, and if you see Jennie Webb – hug that wild woman for me!
An hour ago, my toddler wouldn’t have let me sit down with my laptop.
A week ago, I wouldn’t have had time to blog ANYTHING.
A month ago, I wouldn’t have been able to talk about Protest Plays’ new #TheatreActionVote initaitive.We can write all the socially engaging work in the world, but if our audiences aren’t registered to vote/aren’t showing up at the polls, our work/our audiences’ work is only going to reach so far. But when we shout out – and take action – together, we can create change on the macro level.
And let’s be honest—we need MACRO changes right now.
I hope you’ll join us in our effort to get audiences to the polls! Plays/monologues must be 1-3 minutes in length and non-partisan. Their goal should be to activate audiences to register/to vote. It’s that simple!
Hot jelly and biscuits, is there a lot to talk about!
A fewweeksmonths longish time ago, when the LAFPI crew asked if I’d like to get back on the blogging bandwagon, I said “Hell, yes!” because I was feeling productive and all kinds of mouthy with super important sh*t to say. But now my week is here, and it’s almost too much because Little Black Dress INK’s final ONSTAGE lineup from 2017 has a reading on Jan 15, and then a bunch of this year’s ONSTAGE semi-finalists have readings all over the place on Jan 21 as part of International Women’s Voices Day, (oh, I run Little Black Dress INK), plus the Spring semester starts on Weds, and I have a letter of rec to write, revisions to do, and a toddler to keep track of…
So I don’t have time to write the deep, thoughtful, life-changing post I intended to. If I could, though, I would probably have some witty/deep things to say about the following:
The Golden Globes
Were they feminist enough? Too feminist (is that even a thing??) Will Oprah be our new president? Was that woman from 50 Shades of Grey giving Angelina Jolie side-eye during Jennifer Aniston’s speech? I mean, I don’t have cable, but the news coverage is enough to make me want to stuff cotton in my ears and unplug the router for good.
What’s that you say? You don’t believe me? You’re saying that if I haven’t stuffed cotton in my ears and unplugged the router after the monstrous orange shit-show of a year we just wrapped, that I must be engaging in a healthy hyperbolic outburst and nothing more?
You’re probably right.
I’m trying it out. Anyone else write for that site? I like some of the writers a lot… Maybe, if I write some truly epic stuff there, I’ll get more traffic on Medium than I do on my personal blog… sh*t, I don’t have a personal blog anymore? Why not? Oh yeah, because I don’t have time…
Heeeyyyyyy, do you think, MAYBE, that I might have a problem with over-committing myself to things? I mean, could I possible suffer from (faux gasp) Artistic FOMO?
(Yes. The answer is yes, yes I do.)
I love my son. He is the apple of my eye, the sugar on my cornflakes, the laughter in my ears… but he’s also the little tyrant screaming at me to escort him to the washing machine twelve times a day, where he will sit for interminably long periods of time flipping the dials around in abject pleasure, waiting for my eyes to gloss over with boredom so that he can QUICKPUSHTHESTARTBUTTON! before I catch his hand with mine and remind him that he is not yet allowed to do the laundry on his own, and can we please go back to the living toy room now so that mommy can sit on the couch and check her Facebook for a hot second?
New Year’s Resolutions
Are for chumps. And perfectionists. And people with stronger will-power than I possess. So be nice to yourself, even if you’ve already failed at whatever ridiculous demands you put on yourself last week. I signed up for Red Theater’s playwriting challenge last November and didn’t even make it past the first day. The FIRST DAY. Sometimes you just have to shrug your shoulders and tell your expectations to take a hike.
I’m not too busy to tell you you should check out one of our ONSTAGE readings! If you’re in Los Angeles on Jan 15, make sure you swing by the Zephyr Theatre for the final reading of our 2017 Female Playwrights ONSTAGE Festival: Hot Mess.
And if you’re in Los Angeles (or Bemidji,MN; or Columbus, OH; or Magnolia, AR; or Milwaukee, WI; or Prescott, AZ) on Jan 21st, check out one of our Female Playwrights ONSTAGE Festival: Volume Control readings! They’re sure to be a hoot/make you feel the deep feels (and all that other cathartic magic that theatre does) PLUS you’ll be supporting International Women’s Voices Day, which is all kinds of awesome! Here’s a LINK for more info.
Tune in later this week for more words/sentences composed by me (along with—hopefully—some deeper thoughts)
It’s that time of year again, time for Little Black Dress INK’s annual Female Playwrights ONSTAGE Project to begin!
And that means we are looking for some seriously fabulous female playwrights to participate!
Little Black Dress INK is thrilled to continue creating production opportunities for female playwrights through its Female Playwrights ONSTAGE Project; a short-play festival dedicated to producing peer-selected works by women. In addition to contributing to the selection of plays, participating playwrights are able to review and revise their work during semi-finalist readings, and are encouraged to blog about the process along the way.
Submissions are now being accepted from awesome female playwrights for consideration in this year’s festival! This festival utilizes a peer-review process for evaluating submissions, so please make sure to read over the following guidelines carefully before submitting.
This year’s festival theme is Hot Mess. Playwrights are invited to submit short plays and/or monologues written on this theme. In the past we’ve also had great success with short scenelets (10-minute plays comprised of a couple of scenes, which we can sprinkle throughout the line-up)
LBDI strongly suggests you do not submit plays or monologues longer than ten minutes. Keep in mind that in all instances, shorter truly is better. Plays running longer than ten minutes stand very little chance of making it into the festival, as we strive to produce as many playwrights as possible.
Little Black Dress INK utilizes a peer review process for evaluating plays. By submitting to this fest, you agree to participate in this unique opportunity to help select plays for production.
Once our submission window is closed, you will receive a selection of plays to read and score using the LBDI online eval form. You MUST read and submit your evaluations by the required date in order for your play to remain in consideration.
Submitted works will be read by other participating playwrights and LBDI artistic personnel. By submitting to the festival, you agree to share your work for review in this process.
Submission materials must be emailed to LBDI by December 10th, 2016 and should include:
The following information in the body of your email:
The title of your play
Your contact information *It is very important that you use a reliable email address as all correspondence will be done via email!
A blind PDF of your script – do NOT include your name anywhere on the script!
Email materials to submissions@LittleBlackDressINK.org
LBDI will be producing readings of the top scoring plays at locations nation-wide. The top eight to ten scoring plays will also move on to full production with Little Black Dress INK.
For those who don’t know, I am not only a playwright, but the Artistic Director (slash/Mad Woman) behind Little Black Dress INK – a female playwright producing org that produces an annual peer-reviewed short play fest. Over the years we’ve grown our fest from a small group of playwrights produced in Prescott, AZ, to a now nation-wide new play reading series with productions slated in both Prescott AND Lafayette, LA in 2016. I couldn’t be more proud of all the efforts our supporters, artist, and producers have put into this fest—and I am ecstatic that we continue to grow.
This year, we’re adding an online component to the festival—one that will allow us to produce online versions of full-length plays. It’s called the ONSTAGE: ON-AIR podcast, and our very first one is now live!
Since it’s our inaugural podcast, we chose to focus on interviews with some of our VIP artists, and included excerpts from past ONSTAGE plays. You should definitely check it out – the women we work with are all kinds of amazing! And the great thing about podcasts is that you can listen while you’re working out, driving, cooking, and pretty much anything else-ing!
I think we can agree that this year has been a busy one, full of newsworthy events capable of derailing sensitive souls everywhere and sending them into a pit of despair over the current condition of the all-too-human condition.
I’ve had a couple days like that recently. (It doesn’t help that I’m 7 months pregnant and full of hormones that have turned even the most ridiculous of commercials into automatic tear-jerkers.)
But I realized something in the midst of my most recent news-induced funk: I’m a playwright!
I can write about the stuff that’s wrecking me emotionally.
And that snapped me out of my depressive couch-potato state, and my muse started brainstorming and plot-outlining, and even though I haven’t yet decided if I want to write the play I began crock-potting inside my playwright brain all those weeks ago, it has helped me feel actionable!
And I think that’s important.
As an artist, it feels sometimes like there is just too much suffering to bear — and, as an artist, it also feels like I have very little to contribute in the ways of actually affecting change.
But I can write.
I can try to create pieces of theatre that bring my view of things into focus, and that—if I do my job well—invite others to look closer at these things with me. To mine them for possible solutions. To create conversation and empathy, and to MAYBE make things a little better?
At least, I can try!
Because although I very much enjoy entertainment for entertainment’s sake, I also believe in theatre’s power to stir conversation, incite action, and engage an audience’s problem solving skills. Why then, can’t I create theatre that does something?
So, while there are a lot changes coming my way in 2016 (new baby, probably a move to a new city after my husband finishes his MFA program this Spring) and a lot of changes coming on a bigger scale (US elections and God knows what other crazy world events heading down the pipeline) I’m feeling a sense of optimism and anticipation about it all that was eluding me a few weeks back, as I sat on the couch, and wept for the world (and at those damn holiday commercials).
And so, I leave you with this: May your seasons also be brightened by the recognition of your own word-smith powers! Now, get to writing!