This just in…

The headline in today’s L.A. Times Calendar Section: Too Nude? Too Gay? DEATHTRAP at L.A. Gay and Lesbian Center is canceled after the author’s estate balks at staging.

According to the article, DEATHTRAP ran last spring at the Gay and Lesbian Center with 30 seconds of nudity, but author Iran Levin’s estate has revoked permission for the September run.

Hmm… What happened between last spring and now? Did the estate (Ira’s sons) not know about the nudity earlier?

This time around, the estate said cease and desist, and then upon appeal, they said the production could continue but under the condition the staging would not include any behavior indicating a physical relationship between the two men in the play.

Producer Jon Imparato’s reaction: “No director could adhere to these restrictions. They were so limiting.”

Director Ken Sawyer said the staging featured some kissing and embracing between the male protagonists and described the nudity as “innocuous. They [the estate] are making a big deal out of relatively little.”

But then there is this from a professor of theatre: “It’s a gay relationship, but it’s a tacit one.” And a Backstage review last spring described the nudity as “gratuitous” and said that it does a “disservice to the play.”

The actor who took off his clothes for the part didn’t feel it was gratuitous and felt it was appropriate for the production.

My head’s spinning. Since I haven’t seen the production, though, I’ll weigh in generally as a playwright. I’m a little peeved by Imparato’s words. “These restrictions… so limiting.” Well, the play was written in 1978, did the author intend to have physical contact and nudity in the play? And if you don’t like those parameters, then don’t do the play.

Of course there are the productions of (Mr. Public Domain) Shakespeare’s plays where the concept is updated and re-imagined. But if something’s in the public domain, does that allow directors some ”give” in their interpretation? Or not? Where is the line? I suppose somehow staying true to the intent of the play would be key in deciding. Back to my earlier question: Did Ira Levin intend for this relationship to be tacit and not overtly physical? Did the director update the play to 2012? And is that okay? I’d be a little nervous if someone inserted nudity into my play written and set in 1978… unless I saw it and thought it was fabulous. But once a play is published, you can’t check every production. And if I were dead… hmmm, really hard to check up. The sons are trying to do right by their dad, I’m guessing.

I’m not writing at the moment. Well, I’m writing this but I’m not writing plays and screenplays. People wiser than I have said a writer needs to get her work out there so it can be seen.

So, that’s what this writer has been doing for several months – sending out my stage play comedy COMMUNITY, helping put together the filming of THE CALAMITIES OF JANE (a webseries I co-wrote), watching rehearsals for a monologue I have in the Hollywood Fringe Festival, and the biggest enterprise of all, getting the creative team and money in place for my feature film SHELBY’S VACATION.

Some weeks ago I ran into Dan Berkowitz of Alliance of Los Angeles Playwrights fame and we were noting that the ALAP / West Hollywood play contest deadline was approaching. I said I actually wasn’t entering it this year, and he put on his mock scold face and said in a taskmaster voice, “GET ON IT.” I laughed but part of me wanted to explain where I was in my life right now so he wouldn’t think I was a SLACKER.

When I was much younger, it took awhile to cultivate the habit of writing regularly. The blank page was SCARY.

Okay, these days it’s still a little scary. But I get past that pretty quickly and just get on with it. (I attribute this to doing a ton of Natalie Goldberg’s timed writing exercises years ago, where you write as fast as you can for ten minutes; if you haven’t read her books WILD MIND or WRITING DOWN THE BONES, I highly recommend them.)

Because it’s fairly easy for me to sit down and write (please note, I’m not saying everything that flows out of my pen and computer is genius), I know I could jump on a couple of different ideas that are waving to me from the sidelines and get going on them. But if I did that, I would be consumed with them and COMMUNITY, JANE and SHELBY’S VACATION would not get launched and I’d be annoyed as hell that my writing isn’t being seen by audiences.

So, that’s the answer, Dan. I’m not a slacker. I’m a businesswoman marketing her work right now.

While God and good art are in the details, I’m actually going to be vague here because I don’t want to hurt anyone’s feelings, although I wouldn’t mind if this posting got people to think.

Over the past several months I’ve seen some evenings of short plays that were pretty lacking on all fronts – writing, directing, and acting. I went to support dear friends (whose talent in these shows was quite evident) but at the end of the evening I was questioning why the producers were doing this type of showcase.

Was it in the name of giving writers, actors and directors some experience? I suppose I should’ve polled the participants at the time to ask THEM if they thought it was worth their time and effort. Did the producers feel proud of the work? Did they hope things were going to turn out better? Where they disappointed? Or did they set the bar low and were perfectly happy with the shows?

This isn’t college or even grad school – where frankly, the artistic level at my venues of higher learning was higher than in these productions. If you’re going to charge an audience money, and perform at one of our equity waiver houses, please don’t waive the artistry. Even if you think you’re doing writers and actors a favor by offering them a couple of weekends for their short plays, if the audience gets burned by shallow, obvious plays and hammy acting, they won’t come back.

I said to someone recently regarding my film I’m putting together that, “I’m not just slapping particle board together.”

Less particle board, please.

I gave a film script of mine to a young director some weeks ago. She read it and liked it but had an interesting observation I’ve never heard from a reader before: “All of the characters are gay.”

Technically this is not true, the other people populating the office scenes, the mountain resort scenes, the main-drag-in-the-little town scenes, the restaurant scenes… they are not gay. But those people don’t have lines except for a few of them and the lines are small in number.

The director went on to say it seemed a little odd and an amazing coincidence, as if she, a Pittsburgh native, had gone on vacation to a mountain resort and run into three people from Pittsburgh. Mmm, sort’ve but not really. The focus of the script is a lesbian on vacation and to move the story forward, she needs to run into these other lesbians. There are other people in the background but the story isn’t going in their direction. They’re providing local color.

Am I going to change the script to reflect a more, ah, balanced view? No, I am not.

If this straight director were to visit Outfest or any other queer film festival, she would see that many of the offerings have gay folk front and center and the straight troops are relegated to the spear carrier roles.

The reason I’m making this film (and probably the motivating factor for a lot of other lesbians walking around in my [comfy Merrill hiking] shoes) is to get to see our stories on screen. It doesn’t happen often enough in the mainstream and if we’re hogging all the lines in our scripts, so be it.

Pass the popcorn.

Here’s a dilemma I’ve never faced before: I volunteered to be on the writer selection committee of my playwrights’ group and the first person’s work I read was lacking in many, many ways. My first reaction was thumbs down. The dialogue, characters, plot and storytelling all needed major work (in both pieces that were submitted), and I pointed out to my fellow committee members that we weren’t in the business of teaching basic playwriting.

But then I started considering this writer’s personal qualities… even-tempered, has the ability to give constructive feedback. Now if someone were an ogre, I would count that against them, and no matter how talented they are, I wouldn’t want them wrecking havoc on our group. So if someone is pleasant, thoughtful and has helpful insights (even with a blind eye towards their own script – which can be true of most of us writers, ho ho ho!)… should that tip the scales in their favor?

Then someone on the committee wondered if we could ask for a rewrite, giving the writer some of our feedback, to see if improvement in the work were possible. That seems like a workable solution… and isn’t just a thumbs up / thumbs down thing, although the feedback has to be open-ended enough that we’re not making the writer conform to how WE want the play to be. The extreme version of this would be Hollywood studio executives man-handling a script with a million notes so the writer’s vision and voice are completely compromised if not lost.

The other extreme would be saying “Sure, c’mon and join us!” and not having the guts to say no just because we’re too polite and don’t want to hurt someone’s feelings.

Discussion to ensue, no doubt, as we balance what’s best for this writer and for the group…

Throwing it open to the bloggers and any readers who want to weigh in – how about we take these gems of wisdom we’ve been writing in this space and collect them into a book? Let’s see a show of hands… (in the comments section).

Secondly, how should we determine what goes in? Should we pick our own top five? And then appoint an evaluation team? Or throw the selection process open to voting by the bloggers?

Finally, is anyone besides the bloggers reading these postings? Show of hands (down there in the comments section)?

Thanks!

And now relax and enjoy a little winter wonderland… and let us be thankful we’re not shoveling it or driving in it.

It was a tough morning today, I alternated between crying and trying not to cry. In the scheme of things, this is fairly small, but still.

A few years ago I wrote several articles for eHow.com, which is owned by Demand Media. I was paid a modest weekly amount and expected to churn out 10 articles a week. After cranking out 70 articles, I and another writer complained. We proposed paying us per article instead of a flat rate because to make the rate be better than minimum wage, you really had to whip out the how-to article in half-hour – and that was REALLY tough. The company’s response? They let both of us go (and kept the non-complainers).

The upside of all of this was I would get royalties (hooray) on each article, depending on how many people viewed it. So for a few years, I was getting a bit of cash deposited into my PayPal Account from Demand Media (I’m talking $25 – $40 a month, but still, it adds up).

A year and a half ago, I got a letter from Demand Media stating they were ending the royalty program. I could get a one time payout (a modest amount) and leave the articles up on their site or take them elsewhere. I chose to take the payout and figured I could still enjoy the whoo hoo factor of having my by-line out there.

Imagine my surprise / dismay / rage / betrayal today when I happened to look up one of my old articles and there, instead of my byline, was someone else’s. Apparently this other writer (who goes by the moniker “Brainiac” – really??) had “updated” the article this past May and now his or her byline is on MY article. I looked through the article, it’s still mine – I’m not even sure what the heck Brainiac changed. I’m sure in the piece of paper I signed I gave up the rights to my articles, but this is still wrong.

I felt as if I’d been stabbed in the heart by some thief’s pen. Yes, I’ve written a complaint to eHow. Their email address is [email protected]. I’m not feeling very zen about this at all.

The LA Times featured a brief interview with theatre director Michael Matthews on September 21st. He’s the director of the current production at The Celebration Theatre, What’s Wrong with Angry?

This caught my eye:  he said in college, he and his classmates were given this exercise to do for every show they directed –

1. Describe in 10 words or less what happens in the play
2. In 10 words or less tell what the play is about
3. Then in 10 words or less tell what the play means to you

I thought these were great questions for writers, too.  Enjoy!

I just finished my rewrites on Shelby’s Vacation. This is the power of a good reading combined with time and distance away from the script so I could actually see the forest and the trees of the script, so to speak.   

I’m several minutes in to the reading of my script Shelby’s Vacation (see previous entry) and something’s gnawing at me. Why is this woman on vacation? I’m asking as an audience member. I’m feeling the need to know. Then suddenly my writer brain kicks in (not to be confused with my reptilian brain), and I suddenly remember: a scene is missing.

Fortunately, this didn’t derail the whole reading. What was going on in the present was engaging, I cared about who was onstage and their relationships and wasn’t worried about the past.

The next day, on a sunny porch (with 117 acres of woodland behind me and a pond made for taking a dip in front of me), I calmly chatted with the director and asked about the missing scene. He apologized and said he couldn’t figure out a way to stage it but would try and work something out for that night’s performance. He was a genius at all the other scenes so I was surprised this one scene tripped him up.

That night… the scene was missing again. In the Q & A with the audience afterwards, one fellow mentioned he had trouble following Shelby’s boss in a scene near the end where she’s talking about her upcoming wedding. Mmmhmm. I politely mentioned there was a scene that hadn’t been read that would have set it up. The director spoke up and said this was his fault.

There was so much that was funny and sharp and relatable and touching about the reading, I actually wasn’t angry about the missing scene. It seemed not worth having my reptilian brain go on the attack. And the fact that an audience member missed it, well, that was confirmation it needed to be there. The director asked (not during the Q & A on stage) if that scene is in the script, then wouldn’t it stop Shelby from fantasizing about her boss? The boss is no longer available. Good question.

No, she would still fantasize for awhile – it’s hard to let those things go, even when your fantasy person is off the market. And that happens to be the journey of the play – she learns to live in the present.

The same cannot be said of me. Part of me is still in Vermont.