At the Fringe: The Count of Monte Cristo: the Musical

Fringe Festival, LAFPI, Performance, Playwright, Production, , , , , ,

by Guest Blogger Sarah Dzida

I am a huge fan of The Count of Monte Cristo by Alexandre Dumas. I remember being introduced to it by my father through the copy he had on his bookshelf. I’ve reread the epic book many times because it has … well, everything, and when I say everything, I mean it literally. There’s greed, revenge, love, hate, family issues, mistaken identities, embezzlement, history, politics and pirates! It’s over 1000+ pages of pure drama. So when I met Kelly d’Angelo at an early Fringe Workshop who said she had been working on her adaptation for a Count of Monte Cristo musical for 10 years, I was pretty impressed. And curious—just how was she going to pull that off?

On the way to the world premiere this past Friday, my dad and I played a game: What scene would get turned into a song?

“Can you imagine Edmond singing?,” I asked. “Like, ‘REVENGE!’ ”

“Maybe there will be a duet? Something … ‘You killed my father!’ ,” my dad said.

There really was no way to guess the right answer, but my father and I were delighted with what we saw. The cast and crew performed over 10 scenes full of music. It’s two days later, and I still find myself humming certain lyrics in songs. We were also pleased at how much humor Kelly, her crew and cast pulled out of the plot. Funny jokes. Funny moments, and even funny songs, like the duet between pretty Valentine de Villefort and her fiancé who she does not want to marry.

You put diamonds and stars in our eyes, Kelly! Congrats to the cast and crew. I hope you have a successful run through the 2015 Fringe!

To learn more about The Count of Monte Cristo: The Musical, by Kelly d’Angelo, playwright and Matt Dahan, composer, go here: http://hff15.org/2075.

Sarah Dzida is a Los Angeles playwright who also has a play in the Fringe Festival, please also go see 5 Sirens: Beware of Rocks!

“Where and what is my audience?” – playwright Laurel M. Wetzork is at the Fringe!

Audience, Female Artists, Fringe Festival, LAFPI, Performance, Playwright, playwriting, , , , , , , , , , , , ,

by Guest Blogger Laurel M. Wetzork 

First time fringer

Where and what is my audience?

Myself and four other female playwrights have a 55-minute show, 5 SIRENS: Beware of Rocks!  One show of five 10-minute plays, about miscommunication and the longing for connection. We all felt, when we met months ago and decided to work together, that this theme could apply to our different pieces.  Yet when I’ve turned to my usual group of friends and loyal ticket buyers, some people’s response to buying tickets has been withdrawn, almost muted or terse.  Is it the month of June?  That they’ll have to drive to Hollywood and brave the crazy parking nightmare that is the Fringe?  Is it that they aren’t sure they want to see something I’ve warned them is for those over the age of 18 (language, adult themes)?

I do feel that some of our shows will challenge some people. But the people who expect a Disney ending shouldn’t be surprised, as they supposedly know my work and the work of the other writers.  Maybe they’re tired of the dark themes I tend to explore.  Yet, should I write for a particular audience?  Make a happy ending to please someone else?  Stupid questions, I know.  Of course we shouldn’t write to please others, unless we’re hired to do so (or are writing for a specific audience — more on this later). 

As playwrights and writers, I feel that it is often our job to explore hidden, subconscious, and sometimes emotionally laden subjects. Whether the writing comes out as comedy, drama, or a dreamscape, is up to the writer.  People have said about my piece for the Fringe, “Well, that changes tone.”  But life, to me, does change tone, and isn’t one note.  Laughter often goes with tears, and without laughter, life would be unbearable.  Theater, to me, can change lives in a way that movies, films, and books don’t.  It is experienced right now, the plays themselves can make people think or argue or question preconceived ideas, and the emotions that come up can heal.

About writing for a specific audience, my play LEVELS was written for an audience consisting of abused women.  It wasn’t my intent as a writer to entertain or make happy endings.  I wanted to share my own healing at the hands (fists?) of abuse, and show that it was possible to find hope, healing, and love. After the performances of the play, women came up to me afterwards and repeated the same phrases: “I thought I was alone, that I was the only one who experienced this abuse.” “I’m not alone, or a freak, am I?”  “Thank you, I thought I was the only one who reacted this way.”  They were moved to contemplate the possibly of healing, of a shared experience, of a future that might be filled with hope, by a very uncomfortable theater piece. 

So if those particular friends respond again with terse replies, I know now what I’ll say.  Our job as playwrights is to write what we see and explore uncomfortable truths, and by bringing our writing to light in a performance, perhaps facilitate healing.  “Be brave,” I’ll say. “And be willing to explore what theater, and the hearts of so many playwrights, have to offer. You might be surprised, moved, and unexpectedly changed.”

So where is our audience? I do know, even if a theater is bare except for one person, that one person may experience a life-changing event when watching what we write.  They may see the possibility for hope.  And they may also just laugh.  So keep writing those plays, and sharing your vision.  You never know who it will touch. And heal.

For tickets to “5 Sirens: Beware of Rocks” go to http://www.hollywoodfringe.org/projects/2125?tab=tickets 5 Siren playwrights: laurel m wetzork, sarah dzida, laura steinroeder, autumn mcalpin, kiera nowacki, caron tate. Laurel is the LA FPI Onstage Editor.

Women, Writing, and Mimosas – LAFPI #FringeFemmes Gathering

Female Artists, Fringe Festival, LAFPI, Performance, Playwright, playwriting, , , , , , , , , , ,

by Guest Blogger Samantha Emily Evans

In the backroom of the Samuel French Bookstore on Sunset Boulevard surrounded by brilliant manuscripts, a group of forty or so women came together to support each other in their Hollywood Fringe endeavors. It was inspiring. The place was buzzing with pre-Fringe excitement, as postcards and smiles were exchanged.

Jennie Webb introduced the meat of the meeting, the Micro-Reads, where the writers and actors are able to promote their work and receive encouragement and feedback. At the front of the room was a box where writers had dropped a page to be read. The writer, when picked, would introduce the piece and select actors to perform it. This was my first Micro-Reads, my first LA FPI meeting, and my first time in the Samuel French Bookstore. I was astounded and warmed by the respect and enthusiasm of the audience and the writers. People eagerly volunteered to act and the responses were energetic and encouraging.

2015-05-30 13.50.15
Micro-Reads in Samuel French Green Room

The pieces read were eclectic and promising, most were excerpts from the plays going up at the Hollywood Fringe Festival, a taster to get us to the theatre. From a mother addicted to smoothies and in love with her blender (Snack) to a woman in love with an elevator (a short story excerpt) to a woman falling from an elevator (Susan Tierney) – each preview was so very different, and yet I wanted to see them all. And, I could. I could see them all at the Hollywood Fringe!

Each performer was asked to introduce herself, what she was working on, what she needed, and what she could give. The concept of stating what one could give was beautiful and electrifying, concreting the firm support system of LA FPI – we need to work together in order to succeed. Most writers just wanted their play to be seen, their message to be heard; they wanted to support other women’s plays, and in return be supported. They offered comp swaps and PWYC. They offered to help run the box office and Front of House. Constance Strickland has even created a facebook group where women can ask for and offer support. I had a fantastic time at the LA FPI meeting, and was truly inspired.

Flyers
TY  Tara Donavan for the pic! #50ShadesofShrew

I left in a fuzzy, happy cloud of dreams, amazed at the encouragement, support, and commitment of the LA FPI, and wanting to get involved. The excitement for the upcoming month of June was palpable. The Hollywood Fringe is just around the corner with previews starting Thursday June 4th, and performances all throughout the month (and even into July and August for whoever wins the Fringe Awards!). I am excited to see what presents the #fringefemmes have prepared for Fringe 2015!

It’s Christmas time in Hollywood, the Fringe is finally here!

 

Samantha Emily Evans is the editor-in-chief of thetribeonline.com. Check out her writing and reviews at literarypixie.com.

In-the-Moment Moments

playwriting

by Erica Bennett

“I love new plays,” says a friend and colleague. And, so do I. So, I drove west to the Kirk Douglas Theatre today to witness the work-in-progress Throw Me On The Burnpile and Light Me Up, written and performed by Lucy Alibar. I attended with a friend and another fan of Beasts of the Southern Wild screenplay that Alibar adapted (from her play Juicy and Delicious) with the films director Benh Zeitlin.

As we took our seats, we remarked over the scenic and lighting design from the charming string lights, to the (overly dense) Spanish moss, to the lovely antique twin bed insignia. And, I thought, “look at all those props,” and remembered those words coming at me from my last director, and grinned.

I settled in, and then I remembered the time I unwittingly ridiculed the “swap meet” design of an Americana exhibit I’d seen, within earshot of the colleague who had designed it. And, I felt ashamed. Lights dimmed, and I was perfectly primed; a tremulous mess (ready to feel).

The play is filled with wonderful language told by a magical, gentle-voiced performer who deftly painted her stories in the air for us. But, it was also a lesson for me, as a playwright. I realized tonight that I wished Ms. Alibar had let us see more of the moments, like when Daddy got mad, rather than tell us about them after the fact. Because, it was those in-the-moment moments, that kept me enthralled today.

And, this brings my realization earlier in the week that a play is about Action full circle.

“Drawn to the Womb”

playwriting

by Erica Bennett

I drove up to Studio City for a quick visit with friends over coffee and chocolate croissants. And, as per usual, I lost track of time when the discussion turned to the topic of his dissertation. But, kindly reminded, I pulled myself away, hit the road, and wound my way through Laurel Canyon to my second stop of the day, the LAFPI gathering at Samuel French Film & Theatre Book Shop. I arrived late by nearly an hour, found parking in back, and took that for a positive sign.

I found myself walking down Stanley to Sunset and east, feeling this sense that I was going somewhere. Certainly, I had the numbered address, but as I walked, I ruminated over having attended the first LAFPI meet (back in the day), and realized that I missed far too many gatherings over the years. So, it was that I approached the bookstore entrance feeling a little like an excited kid and an alien being called home, at the same time.

A gentleman held the front door open for me. I walked in, and was greeted by a friendly bookstore associate who directed me to the back of the store. After walking up a short flight of stairs, I stood in the back, was offered a seat by a lady, sat, and I wallowed (mouth slightly ajar) at the sight and sound of the funny, profane, charming, loving, inspiring, powerful and encouraging female (and male) playwrights, directors, and producers attending the event.

Many of the attendees are participating in the 2015 Hollywood Fringe Festival, as Fringe Femmes. This was their moment to bring in 1-page samples of their work to be heard, and in turn, talk up their needs and wants. And, shine they did.

Then Joanna Bateman spoke of being drawn to the gathering, as if “drawn to the womb,” and I thought, that’s it. That was my feeling. That encapsulated it.

I cannot remember being in the presence of so much loving acceptance from any group. Thank you, Jennie Webb, Robin Byrd, and all who make LAFPI possible.

Write. Write. Write.

LABOR

playwriting

by Erica Bennett

I’m beginning to feel the itch; the push; the nudge; my water is about to break. I need to write. Maybe it’s the beat of the bluegrass music egging me on. Maybe it’s Dave’s sad eyes. Maybe it’s Robin’s blinding faith. Maybe it’s Rikki’s unrelenting kindness. Whatever it is, I feel the tug from ambition to write something quick and dirty (funny), but there is Joel’s imagined voice, yelling at me again, DO THE WORK.

Okay. Checking out until my gathering and Throw Me On the Burnpile and Light Me Up posts.

Ruiz’ Four Agreements

  1. Be impeccable with your word
  2. Don’t make assumptions
  3. Don’t take anything personally
  4. Always do your best

Survival

playwriting

by Erica Bennett

There is perhaps one thing that is innate to us all and that is the need to survive. I’m not proud of the lengths I’ve gone to protect myself from perceived predators, but I’ve survived. But, I was born with this brain that considers death and guilt and purpose, and wonders if I’m better than a beast. And, I realize right now, that I’m not. And, I blessed the chicken for giving its life so I could eat dinner. I’ve survived, and my intelligence, for the most part is intact. So, with this brain and some time over the summer, what’s it going to be? I am tentatively reaching out: Lunch with a friend, Federal grant workshop with a colleague, LA FPI gathering, Throw Me On the Burnpile and Light Me Up, folk music, Crystal Cove Beach Cottages… Baby steps. I gave myself permission to take the time to heal. Not healed yet, but in the process of healing. So, in the meantime, before the writing starts, I curated a speech transcript. A living history. Doing it the Erica Bennett way. No apologies.

Thank you

playwriting

by Erica Bennett

My heart skipped a beat. Actually, it took my breath away. Tonight, theatre colleagues reached out individually and across social networks to offer me advice and encouragement. Because, and for the first time in months, my brain peeked through the pneumonia fog and made positive relevant connections that they could respond to. I know that I am recovering because I didn’t nap today. I’m actively listening to bluegrass while drinking a stiff strawberry margarita after eating my stovetop cooked bbq chix and Spanish rice dinner. I’ve survived again. And I’m here discussing action in a play. How fortunate am I? Sincerely yours, Eh.

Big Uh-Huh Moment

playwriting

by Erica Bennett

A friend told me yesterday that he didn’t understand my intentions behind something I recently wrote. Words to the effect, he didn’t understand how I wanted him to feel… “Is crying a bad thing?” That made me curious. Because, I realize that I don’t want people to feel any particular way when experiencing my work, but certainly, yes, feel something.

I’ve been trained as an archivist where being unbiased is part of the mission. I realize today that I must be conjoining archivist-dramatist because, as a playwright, I know I have written other even less focused stories.

Perhaps this has been my fatal flaw. Maybe I need to lead my audience toward what it is I intend to say rather than letting them experience the character’s story and determine for themselves what it means to them and how it makes them feel?

Maybe that’s what they mean by plays are about Action.

10 (theatrical) things that make me cry

playwriting

by Erica Bennett

  1. In discussing her method of acting now, after years of study, Meryl Streep stated in an interview that it was a lot like driving a car… she doesn’t have to think about it anymore. It was simply part of her. (or words to that effect.)
  2. Reading Jane Eyre on the beach on Cape Cod in the late-1980s and thinking, “Wow. This is literature. What the hell have I been reading all my life?” (and wishing F. Scott Fitzgerald had been in charge of my reading list.)
  3. Thinking I’ve read a ton of books… Before I went to graduate school, became a librarian and discovered myself surrounded by a literal ton of books.
  4. Thinking, if I’ve read a ton of books, I’ve read a million plays.
  5. Realizing that I exaggerate a lot.
  6. When I was an actress, directors wanted to cast me when I projected a foul mood at auditions, and seeing no pay-off for that behavior in the real world.
  7. Bambi.
  8. Tennessee Williams.
  9. If there are no new stories, what are we writing for?
  10. Puppets. Massive puppets. Massive puppets shaped like horses will do.