And the beat goes on…

…and on…. and on…

Is it the rythm of life?  My iTunes Genius?  A steel drum band?

Nope.

It’s the sound of my head, pounding against the desk… and a pile of DEADLINES!

I used to be the “high-anxiety-worry-the-project-to-it’s-near-death-before-it’s-even-close-to-being-due” type.

Now I’m the “I-know-it-will-get-done-because-I’m-such-a-worry-wort/plan-ahead-so-I-guess-it’s-okay-to-leave-things-to almost-the-last-minute-because-this-is-how-the-muse-likes-to-work-(even-if-I-don’t)” type… which means I butt my head right up against those due-due-due-dates till they’re done-done-done-dates… And the ceiling is getting a tad low over here at the moment.

But, anxiety around the task at hand aside, I have actually grown to (gasp) trust this process.

It’s one of the things I’ve learned about myself over the past two or three years; I’m still a worrier, but I’m a confident one.

I mean, the deadlines are looming, and I know I’ll make them all… (knock on wood)… but I’m also trusting that the Muse will poke me when she’s ready to buckle down… and until then, I’ll keep a pillow handy if the wait gets too intense (can’t be bruising up this skull of mine in the interim)

I just wish she would move a little bit faster… adhere to my three-days-before-the-deadline, deadlines… Instead of doing it her way.

(sigh)

But if I’ve learned ANYTHING, it’s that poking and nagging her is the shortest way to a headache… and I’m not in the mood for a tantrum!

Dramaturgy and the Playwright

I wasn’t sure what I was going to write about this week – Christmas is here, the semester is nearly over, and the possibilities seemed (frighteningly) endless; Should I lament the mountain of submissions that’s been haunting my desk?  Talk about what it feels like to send out job after job after job application as I pray for a professorship teaching playwriting and acting somewhere green (but snowy at all the right times too) allt he while trying to keep up with the algebra class on campus so I can continue to TRY to tutor these kids on absolute values?  Should I talk about my new play?  My new blog that is thrilling me but keeping me up late (www.LosAngelesFAIL.com)?  WHAT SHOULD I WRITE ABOUT?!

Then I woke up to a four-pronged debate happening on the Literary Managers and Dramaturgs of the Americas listserve.

Wow.

And I thought, this is going to be an interesting Monday.

Basically (and I haven’t the permissions of those contributing to the debate, or else I’d repost their comments here) the discussion began with someone sharing a post by a dramaturg lamenting the process of dramaturging a show being directed by the playwright him/herself.  (Woof, did you get all that?  Because, I ran that sentence all the way to the finish line!)  I imagine that in such a case as this, even the best intentioned playwright could be a bit unyielding to a dramaturg’s best intentions – (after all,  there’s certainly the chance for a more balanced discussion with three at the table instead of just two) but the firestorm of discussion it stirred showed me that there is quite a lot of contention amongst two of a play’s (very important) team-players…

Because, as with many things put together through community/committee effort, so many voices are sure to have different opinions on just how the idea at hand is to be realized.

Some interesting points made (on both sides):

  • A script ain’t a Play until others (actors, designers, directors, etc) get involved – the argument stresses that you can write a script, but you can’t predict the Play .  And until it’s “played” it’s just words/ideas on a page.

Hmmmmm….. How do you writers feel about that?  Doesn’t it seem just a wee bit pretentious to assume that a playwright can’t fully understand his/her own work enough to be able to “predict” what it will look like and therefore be allowed to expect that the thing will be treated with some form of reverential realization before getting dressed down by an outside “opinionator” (now, that’s a fun new word!) –  Does such a theory indicate the theorizer believes him/herself a necessary component to “helping” the playwright’s “script” become a Play?  And until it’s a Play, is it just, merely, some thoughtful scribble on a page requiring help?

This discussion point alone saw many comments… One of the best (and most balanced) arguments I read stated that “dramaturgy is a function, not just a title, and nobody has a monopoly on insight” (credited to John Guare in regards to a note he once received, and applied, from an usher)  Isn’t it healthier for the working relationship at large if ALL involved are approaching the play with this mindset?  Rather than approaching the play as a thing that needs to be beat into shape by these new involvees (dramaturge/director/etc.)?

  • A text isn’t ever really fixed… This argument was made a few times in regards to plays “evolving” over time from production to production.  The caveat being that “new/emerging plays” (vs. those by dead playwrights) need to be aware of this “ever evolving” theatrical condition (and presumably, more open to dramaturgical responses) than those “dead” plays, long proven to work (Williams, Miller, etc.) or old enough to allow for as much “evolution” as the public will allow.

Does approaching a script as a constant “work in progress” help/hasten the development process, or does this attitude in fact, get in the way of fleshing out what the writer has written?  Jessica Kubzansky, a talented writer/direct and mentor of much esteem, has oft said “Commit to everything, but marry nothing” when working with new plays.  I LOVE this mentality!  For how can you possibly know whether a thing works, if you don’t first try it out – and try it honestly, sincerely, and to the best of your abilities?  It is only then that the “team” producing a script, and the playwright him/herself can truly decide whether the thing works.  But to approach a script thinking “It’s only words, and it’s going to have to evolve to suit those producing it” is a little too close to Hollywood practicum for my tastes…

And this was right about the time that copyright got thrown in the mix… And also about the time that someone piped in with a flippant remark that

  • Copyright is an American invention and European playwrights expect their work will be meddled with. (obviously, you can discern my opinions on this… the commentator himself did not use the term “meddle”)

Look, I’ve had this discussion before – (who hasn’t?)- when I was at the Kennedy Center Page to Stage Festival with one of my plays, I got to speak on a panel with other playwrights, dramaturgs, directors, actors, and development people.  Someone asked how we felt about letting directors have their way with our work, and the discussion suddenly got a bit frosty.  The argument was made that Shakespeare gets re-vamped/reworked all the time, and my reponse was “Yes, but how many of those ‘revamps’ are ever any good?”  The last thing I need is some cocky director looking at my text as his/her own blank canvas… I don’t write that way.  Some might (Thank you, Charles Mee and others, who write in such open and bold manner as to invite collaborators to “play” with your text.) but, until I write a script and include the author’s notes “Do with this text as ye will” – I’d like those directing or producing the thing to honor my intentions.  After all, why produce the thing if you just want to change it all around?  (I do actually write for designers and directors to have a lot of interpretational freedoms in most of my plays – because I see the benefit to varied productions on those scripts… but I include those encouragements in my author’s notes… and they’re prescribed freedoms within the context/world of the play.)

Ultimately, my response to this argument is that we have copyright and licensing laws to protect the text, and I’m THANKFUL for this “American” process!  I am thankful that we, as playwrights, can write with the expectation that our intentions should be honored and that we can also chose to eschew those protections if we see fit.

In any case… I’m not going to sit here and exclaim that the text as I first excitedly print off is the same that will be left on opening (or closing) night… but I am going to declare that until I’ve worked with actors and directors and maybe even a dramaturg or two, the script deserves to be flexed on its own merit.  It needs to be tested, discussed, tried, and re-worked… and I will do the work/revisions based on my interpretations of those readings/run-throughs/and discussions.

For, if a dramaturg wants to write a play, they should, in fact, take up the pen and paper.

If they want to dramaturg a play, they should approach it as a lover of words and “inspector” of moments/theme/consistency… they should approach the script AND the playwright with respect. (and in my experience, most good dramaturges do just this)

If it’s tearing apart and remodeling a person is into, then I think they should consider a career change… Hollyweird is always looking for new development personnel to “Fix” and “Mangle” screenplays… And the pay is way better too 😉

Poison Fairy Finds Family In GFAJ-1

GFAJ-1

The Huffington Post story was headlined, “NASA Discovers New Life:  Arsenic Bacteria With DNA Completely Alien From What We Know”

The words “completely alien” are incendiary, because anything alien is really degrees of differences in colors, or shades of grey.  After reading that story that NASA has discovered a new life form that is “unlike any other living lifeform on the planet – from the simplest plant to the most complex mammal”, I felt a great sense of hope.  I am not alone.  I am not just a black sheep after all.  This newly discovered lifeform survives off arsenic, known to be  toxic to all other life forms.  GFAJ-1 (a microbe that is a member of a common group of bacteria, the Gammaproteobacteria).

When I was a kid I loved eating the apple cores my mom threw out whenever she made pie.  Later on I learned that apple seeds and other stone pitted fruits (peach, nectarine and plum) have naturally occurring arsenic.  I still chew on the pit till it splits open and exposes its soft almond-tasting seed.   

This story brings to mind my Halloween costume.  I was Poison Fairy.  The idea of the costume literally was a bulb that turned on a half hour before going to work.  The incentive to dress up was a $100 VISA gift certificate.   The fun of it was to come up with an idea that would cost me nothing more than resourcefulness and imagination.  (The night before I had the idea of going as Woody Allen’s character in the movie Sleeper, but I couldn’t find a pair of “IRS” type glasses at the thrift store.  That costume would be fun to put together for next year.)

That morning I also had to make an emergency trip to the vet to havedog’s floppy ears drained of blood.  She had hematoma.  After a haranguing experience with a cab company I got home in time to shower.  “Hmmm… what to wear? what to wear?” I pondered as I shampooed and scrubbed away.  This meditative moment gave birth to nada.

I flung open my closet door and saw a sea of black clothes:  black t-shirts from rock concerts, black jeans, black or dark blue motorcycle gear.  I push to the back and saw this sparkly green ball gown.  “Oh this…”  I meant to tear it apart and use the material for curtains.  I pulled it out into the light.

Possibilities:  I have a shiny strappy silver high-heels and shimmery sequined purse.  I can go as a princess.  Nah… ho hum boring.  Then out of the blue a flash:  “Poison Fairy!”  I have a bottle of “Poison” (a la Christian Dior) and vase full of Thistle thorn flowers.  I slapped on some thick make up and got dressed. 

Poison Fairy

The gown was at a yard sale from a young English gal who was leaving LA to go home.  When I told her about my plan for the dress her pretty face fell to a sad expression, “Oh… Maybe you could try to tear it at the seams so it doesn’t ruin the dress, in case you decide to put it back together again.  I meant to wear it to a party as a fun thing, but there was never an occasion.”  I bought the dress for $2 and it hung once (intact in its form) against the window pane.  But after I got some proper sheers it got stuffed at the back of the closet.)  Now I wish I would’ve kept that woman’s email.  (Claire was her name.)  She would’ve been happy to know that the dress did find an occasion to go to.

At the costume judging event, I threatened to poison the judges if I didn’t win with a big squirt of “Poison”.  (We all know that a squirt of any perfume is enough to give almost anyone a headache.)  A stem of thistle served as my scepter.  (I even researched on the net if there is such a thing as Poison Fairy and indeed there was.)  How did my ancient brain come up with this idea?  I marvel at our imaginative capacity if when we allow ourselves to play and daydream.

As Poison Fairy I was 1st runner up to Benjamin Franklin.  During the final judging I was dismissed by one of the judges.  She said she’s been poked with enough needles and poisoned with enough drugs from her radiation and chemo therapies that my ploy to “kill ‘em all if I didn’t win” did not scare her.

What’s poison to some is medicine for others.  I truly believe this.  Many people in our society is conditioned to believe that the traditional medicine manufactured by pharmaceutical companies that synthesizes the real thing can’t imagine to try something different prescribed by the doctors.  However, it’s sometimes not until someone is at the threshold of death that they might consider an alternative source of cure.   Pharmaceutical giants have acquired massive tracts of the Amazon Basin. There are in-depth considerations for citizens of this planet to find out the motives for this act.  (Too much to get into in this blog, and the seriousness of which takes the lightness away from my intention.  I need to lighten up!!) 

Thank you NASA!  My tax dollars are finally being put to good use for my own purpose.  Thanks for finding my family.  In the Huffington Post article the agency stated that with the discovery of the new life form “will impact the search for evidence of extraterrestrial life.”  (i.e. – there is a greater possibility that there is more of my kin out there and on this planet too.)  I’ll be making plans to drop in on family this coming holiday break.  I love arsenic opium-poppy cakes. 

And the moral of the story is… a whole apple a day keeps the imagination at play!

(Here’s a link to the Huffington Post article:  http://www.huffingtonpost.com/2010/12/02/nasa-new-life-arsenic-bacteria_n_791094.html)

Dream Board – Vision Board

December 1st, 2010 is rent day and I wrote my last rent check for this year.  Seeing the date with the passing of the Thanksgiving holiday weekend and beginning the preparations for December festivities and more time off, I reflected upon the events of the past year. 

On my desk is a picture I took of a special tree in Vancouver that I saw everyday for three years.  One day the tree looked different.  Its limbs were decorated with an assortment of clocks and watches.  It reminded me of the Pink Floyd’s song, “Time”:  the shrill of the alarm bell then the chimes and ticking seconds… “Ticking away the moments that make up a dull day…Fritter and wastes the hours in an offhand way.”

This picture is a reminder of how I fritter away the minutes in an hour; how readily I take for granted that the sun comes up and around everyday bringing in a new day, a new week and a new year.  During the reprieve from the routine of working in the office and doing chores to maintain life, I finally acted on a project I’ve been considering for sometime.  I started my “dream board”/”vision board”.

A dream board is a collage of images and phrases/words that represents a visual map of your goals and dreams.  Sunday, I sat on the living room floor, and it was a patchwork of pictures, captions and words I had cut out from magazines and other periodicals.   I started late in the afternoon and thought I’d be finished by the time I got to bed.   That was 3 days ago, and I’ve been up early yesterday and today putting together my dream board.  It’s not as simple a task as I had thought.  Once I got my heart and imagination into it I was immersed in more possibilities than I originally started out with; and also further introspection and clarity on what it is I really want to create.

I don’t have nearly enough pictures to express my dreams, and I’m still collecting catalogues, and I have asked the mailroom guy at the office to recycle the old magazines my way.  As I flip through pages of advertising, articles and cartoons of magazines I’ve developed a keener sense of screening what magazines best reflect who I think I am and where I want to be.  An hour intended for collecting pictures is not enough.  I am building, taking down, re-shaping and molding my dream board.

This morning I woke up at 1 o’clock in the morning, put on some coffee and thought of putting an hour into the dream board.  By the time I’ve exhausted my resources of pictures and my being it was already 5 o’clock and the phone alarm goes off in a half hour.  I set it forward to 7:30.  I rested and felt elated.  My half-sleep state brought up more rich images.  I got up again and got through my day with surprisingly little fatigue and I look forward to going back to building more layers to my dream board.

I love the work.  It engages every fiber of my being down to my core and provokes me to poke the smoking embers of the fire within to a flame.  When the flame is exhausted I know I will be empty like that feeling after a long 8 hour hike – summiting and coming down.  Ah…I did it and how much I saw and learned.   

I created a dream board for a character I was playing in one of my acting classes.  It was shortcut way of getting to know this imaginary character.  The exercise opened up images, in a visceral sense, the dreams, fears, hope, joy sorrows and inspirations of that human being that was a part of me too.  It really stretched and strengthened the “empathetic heart”.

The dream board communicates the words and thoughts of our visions, and it’s an effective tool for planting the seeds of change in our subconscious.  By the way, I put the picture of that tree with the clocks and watches in the middle of my dream board.

In closing I want to quote a visionary…

“Carefully watch your thoughts, for they become your words. Manage and watch your words, for they will become your actions. Consider and judge your actions, for they have become your habits. Acknowledge and watch your habits, for they shall become your values. Understand and embrace your values, for they become your destiny.”

Mahatma Gandhi

 

In Reality

 

Recently I was looking through the guidelines for a play contest. Play running 90 minutes. Check.

Actors must play only one character. Ouch. That hurt. One of my aesthetic pleasures of theatre is watching actors play multiple characters. It’s like watching a trapeze artist go from bar to bar. First, he’s a butler, then he’s a doctor, then he’s an undertaker. Watch him hurl himself from one role to another role and another and another.

Okay, so I wouldn’t be entering this contest.

Then, the final requirement for the play was: The play must exist in reality.

Don’t all plays exist in reality? There’s a reality called a stage. It’s the place where actors come out, do stuff and create. That reality could be centuries before now or centuries after now. It could be another country, or it could just be a reality never seen before. 

Nowadays I feel that with everything being filmed and videotaped and photographed, we are becoming too literal about reality and losing our collective imagination. What is our reality these days? 

Yes, I am not totally naïve. Obviously the theatre company is looking for kitchen sink naturalism.

I recently wrote a kitchen sink play. The kitchen sink spoke. It said some interesting stuff.

And on that note, it’s been a pleasure blogging this week, and I’ll see you all next year.

Jen

A Material World

Today is Black Friday in States. This is the day where all the good little consumers get out and spend, spend, spend in order to keep the economy afloat one more year.

I thought this playwriting quote would be appropriate for today.

Recently in a room full of playwrights and directors, a wise old playwright stood up and said this:

I don’t like my plays to be called material because I’m not a tailor. I’m a playwright. I write plays. 

This led to a round of applause from the playwrights in the room. A few directors looked baffled. 

Please directors, it’s a play. It’s not material. You’re not making a dress. I made the dress. Now, you get to style it. 

I might be a material girl, but my play is not a material world. 

Gosh I love the old school Madonna references. HeeHee!

Mentors Mentoring

 

On this Thanksgiving day, I want to say a public thank you to my playwriting mentor. 

Yes, I have a playwriting mentor. We’ve known each other for years, and I still go to him for advice. He still gives me books to read. He was reading my work when no one else was. 

I won’t embarrass him by giving out his name. I’ll just call him The Coyote (not Coyote—that’s a Joni Mitchell song—The Coyote). I hope he gets a kick out of being called The Coyote. It reminds me of a 1960s British spy thriller. Beware The Coyote.

Back when I was a young playwright learning to walk, I gave my first play to The Coyote. This was the play that blew it all open for me artistically. I threw everything I had into the play. A week later, The Coyote told me he had read the play several times, but he didn’t have much to say about it.

–You should get it produced, Jen. He said.

–But what about the ending? And the beginning? And the middle? I asked.

I had questions. Lots of questions. I was young. I was supposed to have questions.

–No Jen. GET IT PRODUCED. The Coyote howled.

The play was produced, and The Coyote was right. All my questions were answered in rehearsal.

Fast forward to now. Or this past June. I mentored a young playwright for the Young Playwrights Festival at the Blank Theatre.

I read her beautiful play over and over again. I had no notes for her. We needed to get it into rehearsal. I spoke with the playwright on the phone and asked her where her play came from. She sounded older than her years as she talked about her inspiration. She knew what she was doing. In fact, she could teach me a few things about playwriting.

Still, I felt like I was a bad mentor. I supposed to help her. I was supposed to give her guidance. I was supposed. . .

Then I remembered The Coyote.

Sometimes mentors mentor by not mentoring at all.

And I hope the Coyote gets to eat plenty of turkey today.

On Comedy

 

Don’t write funny plays.  

That’s my advice for the day, young playwright. Don’t write funny plays. You can’t win.

Write serious plays.

Serious plays are taken seriously, but funny plays are dismissed as laughable.

So when writing a play, remember the mantra: Serious, Serious, Serious.

There is a famous quote about comedy: Dying is easy; comedy is hard. A google search revealed that this quote was said by Sir. Donald Wolfit on his death bed. He’s dead now. 

Comedy is hard to write and to play. I’ve sat with a dead quiet audience for one of my funny plays. Ouch. I’ve had plays where I thought I was taking on heavy and serious things, and the audience was laughing hysterically. I’ve given up trying to predict the funny in my work. 

To me, the history of playwriting has three gods of comedy: Shakespeare, Chekhov, and Beckett. Shakespeare for his ear, his wit, and his timing. Chekhov for his eye for behavior and brutality. Beckett for his physicality and sense of destruction. 

I spent about sixty seconds in the comedy world. All everyone seemed to ask was is it funny? is it funny? Personally, I would rather ask deeper questions.

I can’t help being funny. I was just born that way. Some days, I wish I was born a wealthy super model.

I think Steve Martin said it all when he said, comedy is the art of making people laugh without making them puke. 

Words to live by as we head into Thanksgiving.

Talking Animals

 

When I was a kid, I watched Saturday morning cartoons. Every Saturday, the coyote chased the road runner, and every Saturday, the coyote failed. I knew the coyote was destined to fail and fail again and God was truly dead.

I also found it frustrating that neither the road runner nor the coyote spoke. The coyote could only express his frustration with the aid of a sign before plunging off the edge of a cliff yet again.

Flash forward a bit. The touring company of Cats came to my Midwestern City, and it was a big deal. Ahhh Cats. Yes, in the eighties, people paid money to see dancer/singers in spandex and cat makeup sing light pop songs to lyrics by T.S. Eliot. The magic of theatre.

Flash forward to college. I reread Where the Wild Things Are in between doses of Beckett and Ibsen.

Flash forward to the new millennium. I write plays with talking animals in them. Not all my plays have talking animals. Not all my talking animals are the same. My intention is to not write plays for children or little skits.

In my plays, things get wild pretty easily, so it’s only natural that the animals talk. I had one animal, a vulture, who didn’t talk in the beginning, but she certainly had a lot to say by the end. Sometimes the human characters listen to the animals. Sometimes they don’t.  

When I write the animals, I know that a human actor will play it. However, let me be clear. I’m not looking for the human in the animal. I’m looking for the animal in the human.

Still, actors like to know that they will come through the process with some dignity. If they can’t have their dignity, they at least want to look good, so my animals are always extremely good looking.

I don’t write the animals to be cute. There’s something that the animals can say about humans, about our relationships to the world around us. What does it take to survive? What are we to ourselves? Where can we find our own wildness?

Where are the wild things? All around us and deep inside each of us.

The Wasserstein Prize

 

 There has been some controversy in the world of women’s playwriting when the Wasserstein Prize recently announced that it had no worthy winner.

 How could that be? How could there be no worthy winner? We must support female writers even when they suck. A petition was signed by over 1400 souls. There were items in the New York Times. Women’s playwriting hasn’t been this fun since the last New York Times article.

 The Prize Committee back-peddled and announced that it would refine its selection process. Eligible playwrights will be asked to resubmit multiple plays. There will be a winner even if they have to invent one.

At this point, I should disclose that I am ineligible for the Wasserstein Prize. Even though I fulfill the no major production requirement, I am not thirty-two years old or younger. A true lady does not reveal her age, but I am most definitely not thirty-two. I was alive when Star Wars (the real Star Wars in which Han shot first) came out.

Am I jealous of my younger, more eligible fellow writers? Of course I am. Who wouldn’t want twenty –five grand in the current economy?

I wish to give my opinion of the whole affair not only as a playwright rolling around in the mud but also as a contest reader who has waded through play submissions with more muck than a death star trash compactor.

It’s okay to not give an award. You don’t have to. Wasserstein Prize Committee, stand by your decision. Stand by the work you did. If there’s no winner, there’s no winner. Don’t ask for additional plays. Part of being a playwright in the world is understanding when a play is ready to show to friends, to put up for criticism, to submit to contests. What will additional plays show you? False starts, rambling or disconnected ideas, first drafts (shivers)?

Now I know there are at least 1400 people out there who disagree with me. That’s fine. But ask yourself, why is a winner so important? Also, if someone had won the Wasserstein, would you remember her name next week?

A contest is a contest. It’s not a social obligation. It’s not something that will save the arts. All this outcry reminds me of dogs fighting for scraps. Besides, now that we’ve established that girls in their twenties can’t write plays, maybe the contest could be opened up to women.

Or maybe, if the Wasserstein Prize wants to support the future women playwrights, they could put the money toward high school performing arts programs. I was in high school when I started writing scripts. In a culture where sports are boosted and arts are cut, the next generation needs all the help it can get.