HowlRound recently published their notice for a Jubilee in 2020:
“We plan to celebrate this vision with a Jubilee year in 2020, in which every theatre in the United States of America produces only works by women, people of color, artists of varied physical and cognitive ability, and/or LGBTQA artists.” (See more at: HowlRound Jubilee)
Then the comments started. Oh the comments. Let’s just say there were lots of…objections to this idea. I won’t list them, but you can find them at the bottom of the article.
And the follow up articles started appearing:
“As someone for whom the Jubilee proposal might (might) open a door or two, I read it with great interest and a gleam of hope. For those who might see a door or two temporarily closing, I heard some trepidation and some outright fury. Who will Jubilee close doors for, albeit at just some theatres for just one season? Straight white non-disabled cisgendered men. The biggest constituency on American stages today and yesterday and the day before that and many tomorrows.”
But a couple of the comments in this response really resonated with me:
“I’ve never read a call for submissions that openly stated “there will be one slot held for a female playwright, unless we just don’t feel like it this year.” But look through enough festival histories and the four-guys-one-woman pattern is a well-established thing. The mainstage is even worse. That’s the reality. When I go for an opportunity, I’m really competing for a much smaller, much more limited slice of the pie than advertised. It’s the same (and worse) for artists of color. Apparently, nobody means to do this, but it’s done. And really, don’t bother denying it. Since The Count, no one with any sense is buying that argument”
“OK, you’re still mad that Jubilee is not for you. I get it. I’m an American playwright and the American theatre has been telling me it’s not for me all my life. So throwing a tantrum is not a crazy response, but consider: when women and POCs speak up about systemic sexism and racism, we are risking our careers. We get labeled as bitches and whiners (see recent yellowface Mikado flap or any online forum on any topic in which any woman dared voice an opinion ever). Check out the nasty backlash and consider: do you want this?”
And then, my favorite comment: “Because as much as I like a bitter drink or a bitter green, no one likes a bitter playwright.”
I saw this some of this reaction to the OSF Announcement to translate/adapt the Shakespeare plays (OSF Facebook Page).
And I marvel that opportunities can bring out the worst in us, when we feel excluded.
I’ve been following some of the posts here about challenges of producing/performing in solo performances, and I wanted to share the experience I had earlier this year when I went to New York and I had a chance to see “THE OTHER MOZART”, written and performed by Sylvia Milo. This play is the story of Nannerl (yes, that is the real spelling of her name) Mozart, the sister of Amadeus – she was a prodigy, keyboard virtuoso and composer, and performed throughout Europe with her brother. I had never heard of her, although I recall seeing her portrait in a painting with her brother and father some time ago.
It was one of the best things I have ever seen – and I’m still thinking about this play, months later.
Sylvia performed the piece in a stunning 18-foot dress (designed by Magdalena Dabrowska from the National Theater of Poland). The original music was written for the play by Nathan Davis and Phyllis Chen – featured composers of Lincoln Center’s Mostly Mozart Festival, BAM and the International Contemporary Ensemble – for the instruments Nannerl knew intimately, such as clavichords, music boxes, and bells, as well as teacups, and fans.
The performance was held in one of those New York black box performance spaces, with creaky folding chairs surrounding a rather ratty looking stage. But the vision and creative ingenuity to produce this piece really affected the audience; and I still remember the intense curiosity and focus that we felt watching this story unfold in front of us.
This show won several awards this year, and I would encourage you to see it if you get the chance. Here is more information on this production: The Other Mozart website
Mozart family portrait by Johann Nepomuk della Croce
Both McDonalds (French fries, Ronald McDonald, Cheeseburgers) and the Oregon Shakespeare Festival (Hamlet, Macbeth, King Lear) have a problem. They’re both trying to rebrand their image to the public, and oh the noise.
McDonalds recently broadcast that they are no longer using margarine, they’re now using butter. And furthermore: “The company announced recently that it would stop selling chickens that have been raised with antibiotics that could affect human health, and milk from cows that had been treated with growth hormones. They introduced low-calorie “artisan grilled chicken” sandwiches..” The New York Magazine, November 2, 2015: Freedom From Fries
And then the Oregon Shakespeare Festival announced it would launch a new project: “The Oregon Shakespeare Festival has decided that Shakespeare’s language is too difficult for today’s audiences to understand. It recently announced that over the next three years, it will commission 36 playwrights to translate all of Shakespeare’s plays into modern English.” The New York Times, October 7, 2015: Shakespeare in Modern English
The artistic director of the Festival, cited his deep interest in rewriting the plays of Shakespeare: “My interest in the question of how to best create access to these remarkable works is life-long,” OSF Artistic Director Bill Rauch said. “As a seventh grader, I translated Shakespeare’s A Midsummer Night’s Dream into contemporary English for my classmates to better understand it. I am delighted that the Play on! translations will give dramatists a deep personal relationship with Shakespeare’s words and that they will give artists and audiences new insights into these extraordinary plays.” Broadway World Article, September 9, 2015: OSF to Translate Shakespeare’s Plays for Modern Audiences
And The New Yorker chimed in: “Last week, the Oregon Shakespeare Festival announced that it had commissioned thirty-six playwrights to translate all of Shakespeare’s plays into modern English. The backlash began immediately, with O.S.F. devotees posting their laments on the festival’s Facebook page. “What a revolting development!” “Is there really a need to translate English into Brain Dead American?” “Why not just rewrite Shakespeare in emoticons and text acronyms?” Beneath the opprobrium lay a shared assumption: that Shakespeare’s genius inheres not in his complicated characters or carefully orchestrated scenes or subtle ideas but in the singularity of his words. James Shapiro, a professor of English at Columbia University, used a regionally apt analogy to express this opinion: “Shakespeare is about the intoxicating richness of the language,” he told Oregon Public Broadcasting. “It’s like the beer I drink. I drink 8.2 per cent I.P.A., and by changing the language in this modernizing way, it’s basically shifting to Bud Light. Bud Light’s acceptable, but it just doesn’t pack the punch and the excitement and the intoxicating quality of that language.” The New Yorker, Why we Mostly Stopped Messing with Shakespeare’s Language
Afterwards, Bill Rauch wrote an essay, American Theatre Magazine, October 14, 2015: Bill Rauch Why We’re Translating Shakespeare, giving more insights as to the project: “First of all, I question the dangerously elitist assumption that old language is superior and new forms of language are somehow inferior. Shakespeare brilliantly invented new words at an alarming rate, sometimes daringly mashing up language from the streets with heightened poetry. I am not the first to observe that Shakespeare would probably have been a hip-hop artist were he alive today.”
If this project needed more buy-in, Mr. Rauch also plugged the culture correctness of the casting of the players on the project. “The Play on! project, by commissioning more than 50 percent women writers and more than 50 percent writers of color, will bring a range of diverse voices and perspectives to the works of Shakespeare…” (Will we ever get to a time in our history when this is a given, and not a promotional note?)
The comments at the end of the American Theatre Magazine article were fully of noise, fury and some enthusiasm and defensive wordsmithing.
It is rather disconcerting to hear that the Artistic Director still references his seventh grade translation of “A Midsummer’s Night” so his classmates could better understand it. I’m not sure that’s a real recommendation (unless, of course, we can find some of his seventh grade classmates and ask them to weigh in on this project.) And somehow, likening Shakespeare to a hip-hop artist makes me rather tired. Yes, or course, Shakespeare was a man of his time. I just don’t know that he would have that whole hip-hop thing down.
What I’m more interested in are the original plays that OSF is developing – the American Revolutions: The United States History Cycle, a 10-year commissioning program of 37 plays that spring from moments of change in U.S. history. And yes, one of those plays, All the Way, won the Tony Award for Best Play in 2014.
So, in three years, OSF will have 36 new (adaptations? translations? or per Bill Rauch: “specify up?”) Shakespeare plays. And in ten years, we’ll have 37 original plays.
I sense a culture of Hollywood’s sequel-madness in this Shakespeare adaptation / translation / mash up. (“The Avengers: 4”; “Fast and Furious: 7”; “Mission Impossible”: 8). I did wonder what they will title the “newly adapted”, “translated” (mashed up?) Shakespeare plays.
So I offer you possible titles of the upcoming plays at OSF:
“Twelfth Night” now known as “11.5 Night”
“The Tempest” or “The Very Bad Storm”
and lastly:
“Two Gentleman of Verona” now appearing as “Two Millennials Try Hooking Up Without That Iambic Pentameter”
And after I read all this press, I found the blog Bitter Gertrude, which has some great comments at the end of her article, including a comment from the man who is subsidizing the series, (Dave Hitz).
And then I read this in the Bitter Gertrude blog: “OSF has no plans to stage them either, apart from the developmental readings.”
Oh. So these are developmental readings. Not scheduled stage productions. All of this press, all this angst, is about a series of developmental readings. It does seem more than much ado about nothing.
After the last performance of my solo show, I was spent. I couldn’t believe that I had written this piece, then performed it for an audience. There are still parts of it I am trying to refine, because even after workshopping it, having someone else perform it, it took me finally performing to see the holes. Of course these realization occurred while I was on stage mid-performance and by the time I got to the end of the show, I’d forgotten what the change was. So I moved on to part 2 of my show. Writing and re-working the beginning. Trying to capture that magic that I felt during the first show. Bad thing about that was that it took me quite a while to actually muster the courage to complete the play. Filled with mixed feelings and emotions about the truth of a solo show pained me at every turn. Show #2 is going to be completely fictional, what are the craziest, most outlandish scenarios I want to discuss, that was going to be this show. So here I am, 3 different beginnings and no further than 10 pages in.
As a new writer, I am still making discoveries on my writing style. I contemplate the correct way it should start. My mind gets caught up in getting it perfect the first time around, instead of the messy first draft it should be. To help me with this, I attend table reads and writers groups to help me feel inspired. While listening to the works of others, I learn different styles and ways of telling a story. During the discussion after the read, I listen as playwrights and audience share their opinions and thoughts. I watch the writer during the comment section. I take note at how they take in each statement, nodding their head, taking notes. From being in the room, I know what types of questions to ask and how to ask them when asking for feedback. What drew you in? What took you out? What do you want to more about? It’s somewhere to start. So I guess I’ll get back out there and write. I have a million ideas and some great opportunities coming up. No time to waste.
When you’re listening to a script for the first time, what’s the first thing you comment about?
I’m of the messy desk set, the folks who find that filing something away means I’ll never think of it again, or even more likely, won’t be able to find it again. I like everything I need to deal with spread out in front of me, where I can touch it and move it around, and feel the satisfaction of tossing it in the trash.
Last night, I heard a talk by writer Mindy Klasky. She writes a little of everything – romance, baseball, middle grade novels, and “how to get organized” strategies for writers. She’s a former attorney who was used to billing by the hour and a former librarian, one of the most organized professions in the world.
Mindy is a great believer in spread sheets. Now, I use a spreadsheet to keep track of my play submissions and responses. But Mindy takes it half a dozen steps further. She uses spread sheets, not just for tracking her submissions and publication schedules, but also for keeping her metadata information organized – everything from an up-to-date bio to reviews to key words for Google searches. She uses them to create a business plan. And most interesting to me, she uses them to create a strategic plan for writing.
That strategic plan starts with setting her writing goals for the year. In other words, how many books, essays, short stories, etc. does she plan to write this year? And then she uses her spreadsheets to set out a 12 month schedule with specific page goals that must be met each week.
How productive is she? She averages 400,000 words a year – 5,000 words a day! Last year, she wrote nine 40,000 page novels in nine months. Yet, she only writes three days a week – Mondays, Wednesdays, and Fridays. Tuesdays and Thursdays are left for the business of writing, running errands, and having lunch with friends. She takes the weekends off – unless she didn’t meet her page goals for the week.
I’m not Mindy Klasky. I don’t think I’ll ever fall in love with spread sheets. And I certainly don’t have the stamina to write 5,000 words a day. But I like the idea of setting goals.
Playwright Jose Rivera advises those of us who toil in the theatre to write one new full-length play a year. Every year.
I think I can do that. No, wait. I know I can do that.
So here is my plan: tomorrow I get on an airplane and will have five-plus hours of flight time when I can think. I’m going to think hard about my schedule, about committing to regular writing time, about setting page goals and play goals and sticking to them. I may not open a spread sheet to map out my writing plans for 2016, but I will write them down.
How about you? Do you map out your writing life? What works best? What organizational tools do you use?
It is so difficult to write a play based on real characters, particularly people who lived in a time different from our own. What were their mores, their culture, their understanding of the world? How did they talk? What did they wear? What did their world look like?
And how do you make the events of long ago feel immediate and new?
Laura Shamas took all that on and wrote Lady-Like, an enchanting musical with all the elements of a really good story – love, jeopardy, suspense, surprises, humor and sadness.
I felt as if I knew the characters, two aristocratic women, Lady Eleanor Butler and Sarah Ponsonby, and their faithful Irish maid, Mary Carryll , who in 1778, ran away from English society and made a home in Wales, where they lived together until they died.
What was thoroughly engaging was the sense of place and time that Laura evoked. She researched the story with a research grant when she was a grad student and traveled to “Kilkenny, Woodstock, Waterford, Oxford, Aberystywyth and Llangollen to retrace the women’s steps, hold their letters, and smell the flowers at Play Newydd” (their home in Wales).
We got to know the women, whose elopement was sensational and who became known as the Ladies of Llangollen, “the two most celebrated virgins in Europe.” (On a modern note, as they became famous, they were visited by other famous or soon to be famous people, like the Duke of Wellington, Josiah Wedgwood, and William Wordsworth. The cult of celebrity is not new!)
Laura first wrote Lady-Like as a play and then turned it into a musical, teaming up with Lisa Donovan Lukas, who wrote the lyrics and music. I was happy to attend the “very first reading” of the show at the Santa Monica Playhouse in June.
Lady-Like has only three characters. Sarah was played by Emma Appleyard, Eleanor by Janna Cardia, and Mary by Jean Kauffman. Each was excellent. A lot of humor was supplied by Jean as Mary, who was a perfect foil for the two. Alex Shamas was the stage director.
The music, which is lovely, had the composer at the piano. You can listen to her music on You Tube and on her website www.lisadonovanlukas.com.
Congratulations to all. I’m hoping that I’ll see a full production soon, perhaps at the Geffen or the Taper.
A few months ago, from out of the blue, I got an email from Lynde Rosario. She and her fellow producer, Kate O’Phalen, founded Lady Plays, which records and podcasts bi monthly readings of plays by women and airs them online, as a new way to provide a platform for women to have their stories told.
Lynde is a Harvard/ART trained dramaturg and Kate is an Equity actor who has played in New York and at regional theaters across the country.
They were interested in producing my romantic comedy, Sunday Dinner.
It would be the second play they had put up on the free Podcasts, which are available on Itunes. I listened to the first play and enjoyed it thoroughly. It was an intriguing play, called Box of Lies, by Karin Diann Williams, about an encounter in an airport bar between two strangers, a man and a woman, one a psychoanalyst and one the writer Anais Nin.
The quality of the recording was very good and I felt as if I was in that bar with them.
I don’t know where they found a copy of my play and but “Yes,” immediately.
The recording is excellent and meticulously done. Lynde sent a comprehensive list of stage directions for Sunday Dinner, which were to stay and which to be replaced by sound effects.
The sound designer, Chris Gillard of Sound Haus Audio added the excellent sound effects. Here they are. (Just for fun.)
Wine pouring / Glasses clink
Munching chips / wine pouring
Bottle on table
Phone dialing
Intercom buzzing
Intercom buzzing
Banging of cupboard doors, cutlery being dropped, glass smashing
Bag of chips falling / wine pouring / intercom buzz / different buzz sound
Bottles clinking
Wine pouring
Glasses clink
Papers flapping
Door slams
Intercom buzzing / different buzz / cupboard doors opening and shutting
The third play is up now, By Any Other Name by Carol Lashof, about a married couple in transition. I won’t tell you more. You’ll have to listen.
Each of the plays ends with an interview with the playwright.
Email [email protected] if you are interested in becoming involved or if you would like to interview the producers. You can also find them on Facebook at www.facebook.com/LadyPlays.
The travel gods smiled on me this fall, and I’ve been able to catch several new plays that are part of the historic D.C. Women’s Voices Festival, currently running in our nation’s capital. The Festival’s mission, according to their website, is one that I love and support: “To highlight the scope of new plays being written by women, and the range of professional theater being produced in the nation’s capital,” as part of “the largest collaboration of theater companies working simultaneously to produce original works by female writers in history.”
About fifty-two world premieres of female-authored plays and musicals are being produced by 48 D.C. area theaters, a mix of large and small companies (Equity and non-Equity); the launch party was on September 8, and the last show closes on Nov. 22, 2015.
With a budget of over $500,000, co-produced by Nan Barnett (Executive Director of the New Play Network) and Jojo Ruf (Managing Director of The Global Lab at Georgetown University and Executive & Creative Director of The Welders), the Festival was modeled on the 2007 “Shakespeare in Washington” celebration that lasted for six months across the city. Over a two-year period, 7 D.C. area theaters created the Women’s Voices Festival: Arena Stage, Ford’s Theatre, Round House Theatre, the Shakespeare Theatre Company, Studio Theatre and Woolly Mammoth Theatre Company.
Make no mistake about it: the Festival is both a boost to women playwrights and a way to draw attention to the scope of D.C. theaters – a win/win.
I am unable to see even 1/10th of the shows being offered, so I don’t consider myself an expert about the Festival in any way – just a lucky pop-in attendee. Here are some of my informal impressions, with quotes from some of the amazing artists involved in the Festival.
“Witches Vanish” by Claudia Barnett – Back row from left, Lakeisha Harrison, Vivian Allen and Tara Cariaso, with front row from left, Leticia Monet and Jennifer Berry, directed by Deborah Randall. (Photo by Deborah Randall)
1) WITCHES VANISH by Claudia Barnett
The first play I got to see in the Festival was Witches Vanish by Claudia Barnett, directed by Deborah Randall at Venus Theatre. LA FPI’s own Jennie Webb put Barnett’s play on my radar, and I’m so glad she did. I’ve had a longstanding mythological interest in The Weird Sisters from Shakespeare’s Macbeth, and this play features the archetypal trio as a metaphoric theatrical entity who witness (or sometimes cause?) women vanishing, in real life and in literature. As playwright, Barnett asks from a political, historical and sociological perspective: “Why do women vanish?” With elements of puppetry, dance and fascinating vignettes, Barnett’s script interweaves scenes about “lost” women; it runs 90 minutes without an intermission. I admired the theme and originality of Barnett’s play and Randall’s inventive direction. I admired the all-female cast.
Witches Vanish closed in late September, and I asked Barnett for her thoughts about her play and the Festival: “Witches Vanish gives voices to women who’ve disappeared throughout time—both by telling their (fictionalized) stories and by explicitly naming them in a series of chants between scenes. Given the common theme, it fit the Festival perfectly.”
Barnett described what it was like to be there as a playwright: “The sense of community was amazing, even for an out-of-town playwright who was only in Maryland for four days. One reason was Lorraine Treanor, who introduced the playwrights to each other with her series of interviews, which she distributed to us daily with cheerful emails. (The interviews are posted on the DC Theatre Scene website.) Another reason was the American Theatre photo shoot, where many of us met. I remember the moment when we were all nervously posed on the staircase at the Arena Stage and were told this shot would be the cover of the October issue. First I felt shock, then acceptance, then delight. It’s a tremendous honor to be part of that group.”
Claudia Barnett is the author of No. 731 Degraw-street, Brooklyn, or Emily Dickinson’s Sister: A Play in Two Acts, published in October by Carnegie Mellon University Press.
2) CHIMERICA by Lucy Kirkwood
The next play I saw related to the Festival was Chimerica by British playwright Lucy Kirkwood. Although it was not an official part of it, it was scheduled to “coincide” with the Festival. This is Chimerica’s U.S. premiere. I‘ve wanted to see this play since I’d first heard about its 2013 run in London (and its subsequent wins for Best Play for both The Evening Standard and the Oliver Awards). The title refers to the domination of the U.S. and China in modern geopolitics, covering a span of twenty years. A photographer’s iconic photo taken in Tiananmen Square becomes a catalyst for a mystery that spans generations and cultures. The two-act play, masterfully directed by David Muse, at the Studio Theatre, is ambitious, powerful and quite moving. It was over three hours long but seemed to fly by. Kirkwood’s approach was cinematic in style and epic in scope: I find myself still reflecting about her characters and images more than a month after seeing it. (For more on Studio Theatre’s production of Chimerica, click here.)
3) IRONBOUND by Martyna Majok
Ironbound by Martyna Majok, directed by Daniella Topol, at Round House Theatre was the next show I caught in the Festival. Majok, who was born in Poland, is an award-winning playwright on the rise (New Play Network Smith Prize, David Calicchio Emerging American Playwright Prize, 2015-2016 PONY Award, among others). Majok was inspired to tell the story of Darja, a Polish immigrant who works as a caretaker and factory-laborer, because “poor women” are misrepresented in our theatres; in the video linked below, Majok comments: “I wanted to see my own story on stage.” Ironbound is a 90-minute tour-de-force that takes place mostly at an urban bus stop; it has a cast of four. A huge “X” image in the industrial set by James Kronzer marks the spot; it embodies the protagonist’s economic and emotional quagmire, suggesting a steel cage. The protagonist Darja (beautifully played by Alexandra Henrikson) holds the stage the entire show, and we learn in real time and flashbacks about the key points of her life and relationships in the U.S., from 1992 – 2006. Without giving too much of the plot away, I felt especially lucky that I got to see Ironbound with my mother. It’s ultimately about the bond between mother and son, and the meaning of love.
Ironbound will open next in New York in March 2016, co-produced by The Women’s Project and Rattlestick Playwrights Theatre, again directed by the talented Topol. (For a brief interview with Majok about Ironbound, scroll through this page.)
4) INHERITANCE CANYON by Liz Maestri
“Inheritance Canyon” by Liz Maestri, directed by Lise Bruneau. Pictured: Esther Williamson as Shell. (Photo by Brittany Diliberto.)
I’ve followed playwright Liz Maestri for years on Twitter, and was thrilled to have a chance to see her new play Inheritance Canyon as part of the Festival, directed by Lise Bruneau, produced by Taffety Punk Theatre Company. Maestri is based in D.C. Her most recent projects include the site-specific piece LAZE MAJESTY with Field Trip Theatre, and she was a 2015 O’Neill Playwriting Theatre Conference finalist.
Inheritance Canyon is a zany and thought-provoking look at a scientific experiment and the meaning of life. It takes place in a canyon near a desert, and involves three friends: Shell (Esther Williamson), Sal (Teresa Castracane) and Gary (James Flanagan). They witness a mysterious explosion, and then are put under medical surveillance, a sort of limbo-quarantine, for the rest of the play. This work was commissioned by Taffety Punk and is related to a previous Maestri play, Owl Moon (the program notes describe Inheritance Canyon as an “un-prequel”). I didn’t see Owl Moon, but I did catch that the owl is a major symbol/prop in Inheritance Canyon, and is connected to “doubling.” The play, in two acts, runs about two hours, with intermission.
And speaking of intermission, the character switch that happens (during it?) between the first Shell and the other Shell (Gwen Gastorf) was theatrically fun at the top of Act Two. One of the meta-themes in Maestri’s play was “performance” in modern life: if we “perform” a function, does that mean we become it, Maestri asks? Gary, one of the doomed trio, repeatedly states his longtime dream to be a performer, and rehearses songs, wearing a wig, as he impersonates Olivia Newton-John in anticipation of an audition that never comes. Shell wants to pretend to be a scientist, and in the end, a Camera Kid/Intern comes along to document the “reality” of it all.
I asked Maestri for her thoughts on attending the Festival, as well as being featured in it: “The Women’s Voices Festival has been a powerful and formidable ride so far. I’m very much inspired by all the new and exciting work I’m seeing, the energy around the Festival itself, and the remarkable efforts of Nan Barnett and Jojo Ruf realized. I’m still processing it all–the past few months have been such a whirlwind of new experiences, hard work, and straight-talk about the industry’s commitment to parity. The Festival is churning things up, causing trouble, changing lives, starting conversations, and catapulting new art into the world. I’m proud to be part of it.”
“Queens Girl in the World” by Caleen Sinnette Jennings, directed by Eleanor Holdridge. Pictured: Dawn Ursula. (Photo by Teresa Wood.)
5) QUEENS GIRL IN THE WORLD by Caleen Sinnette Jennings
Playwright Caleen Sinnette Jennings has two plays in the D.C. Women’s Voices Festival. Jennings’ one-person play Queens Girl in the World, directed by Eleanor Holdridge and produced by Theater J, is the last show that I saw.
This play stars the virtuoso performer Dawn Ursula as the young Jacqueline Marie Butler (“Jackie”), during her tween to teenage years–until the mid-1960’s–in Queens. Ursula plays every character in the piece, including her worldly “best friend” Persephone Wilson, Jackie’s parents, young male suitors, the grandfather of a friend who molests her, her teachers, her mixed race middle school friend Doug, Persephone’s mother, and more. Jackie must constantly navigate dual worlds: neighborhood street life versus her stricter home rules as the daughter of a doctor; Queens versus Manhattan, as one of four black students in a progressive Greenwich Village school; leaving childhood/entering adulthood.
Queens Girls in the World depicts in two acts (with the act break serving as a tone shift marker when the script turns from “fun” to “serious”) what it was like for a studious, bright African-American girl to grow up in the Civil Rights era, and to live through its violent days: the 1963 death of Medgar Evers, the assassination of President John F. Kennedy. She memorizes the names of the four girls who died in the 16th Street Baptist Church Bombing in Birmingham, Alabama: Addie Mae Collins, Cynthia Wesley, Carole Robertson and Carole Denise McNair. Jackie gets to meet Malcolm X one night, and then, soon after, mourns his death. By the end of the play, Jackie’s parents are so fed up with life in America that they move to Nigeria. The beautiful star-field projected at the end of the show, as they sail away, serves to highlight Jackie’s poignant continuing search for her identity. Everything about the production is top-notch, and the super-talented Dawn Ursula is unforgettable.
One thing I’ve been tracking is the number of excellent female directors working in the Festival. It’s been inspiring to see so many female-helmed productions. I asked Eleanor Holdridge, a director in great demand and the head of the MFA Directing Program at Catholic University, about directing in the Festival: “It has been so thrilling to direct not one but two World Premieres by Caleen Sinnette Jennings in the D.C. Women’s Voices Festival. Just opened her Queens Girl in the World at Theatre J, a semi-autobiographical piece in which the wonderful work of Dawn Ursula evokes a girl coming of age in a very turbulent time. A really remarkable process.”
Holdridge continued: “On October 8, I will embark on rehearsals for Caleen’s Darius and Twig, a TYA show at the Kennedy Center, based on Walter Dean Myers’ stunning young adult novel about two kids growing up in Harlem whose friendship and resilience take them through very difficult times. The current draft gets beautifully at the difficulty and joy of growing up in rough circumstances. And somewhere in the middle of it all, on October 19th, I will direct a reading of a new play by Sarah Gancher at Mosaic Theatre, The Place We Built, about the lives of young people striving for voices and a place of their own in Hungary. It’s a thrilling bi-product of the festival that so many women directors are being brought along for the ride. For my female directing and playwriting students, I find the season a wonderful inspiration for what enriching strength that women theatre artists can bring to the art form in America.”
6) MORE, PLEASE:
I wish I could see many other shows in this Festival, which runs until late November; it is such a rich, thrilling expansive endeavor. I tweeted an inquiry several days ago, to ask if the D.C. Women’s Voices Festival might become an annual event. (Fingers crossed?) They responded: “Great question. At this point it’s still too soon to say. We’ll keep you posted on any updates.” In Holly L. Derr’s recent Howl Round post about the Festival, Nan Barnett mentions plans for a post-Festival handbook that could be used as a guide by other cities to mount their own versions of this kind of festival. Yes, please!
Martha Richards, Founder and Executive Director of Women Arts, attended the first October industry weekend of the Women’s Voices Festival, and was part of a Gender Parity panel on October 4 at Woolly Mammoth Theatre. Richards notes the Festival’s significance: “I think that history will recognize the Women’s Voices Theater Festival as a turning point for women in theater. Gender parity activists have been looking for ways to reach our goal of 50/50 by 2020, and large-scale festivals like this provide a perfect mechanism to push our numbers up quickly. So many women in theatre are fed up with the inequality in our field, and I predict that the Washington role model will inspire them to create similar festivals all over the world.”
7) 2.0 THOUGHTS, TO IMPROVE?
While there are some who feel that the concept of a “Woman’s Festival” is patronizing in and of itself (e.g., shouldn’t “women playwrights” just be considered “playwrights,” after all?), I applaud these innovative producers and theatre-makers in D.C. for taking positive action, and for bringing attention to female writers and the thriving theatre community in our nation’s capital.
In future iterations, one always hopes for improvements. Here are a couple of areas to consider:
a) Inclusion – Playwrights of Color. In the October 2015 article entitled “Women’s Work” by Suzy Adams in American Theatre, Arena Stage’s artistic director Molly Smith regrets that the number of writers of color in this Festival is less than 10 percent: “When we talk about diverse voices, it always has to include race, and I think that’s one thing for me that’s a weakness of this particular festival” (p. 47). That’s an important factor that should be addressed in a future festival incarnation or iteration.
b) Coverage Disparity? It’s so hard to get press for the arts these days, so we’re all grateful for the theatre reviews that are published. But as is standard in reviewing festivals these days, the practice of combining critiques of several shows within the same review seems to infer “competition” among the shows (a “see this, skip this” consumerist tack, sometimes even at the headline level). Also, some plays in the Festival received their own stand-alone reviews, while others didn’t. I don’t know what the remedy to it is from a press perspective, but I’m sure some of the theaters noticed levels of disparity in the coverage. Surely the playwrights noticed, too.
8) LOS ANGELES? EVERY CITY IN THE U.S? AND BEYOND?
Could this festival be replicated/produced/curated in another city? Yes! How about it, L.A.? Why not try to organize a multi-month festival involving fifty (or more) L.A. theaters that’ll produce shows by female playwrights at the same time? Let’s consider this, SoCal theatre-makers. It’s a great way to promote the high talent level of our theaters, large and small, as well as promote the high level of female playwrights who reside and work here.
And beyond L.A., I hope the D.C. Women’s Voices Festival launches a worldwide movement: Women’s Voices Everywhere! Maybe if enough female-focused festivals occur, it will eventually be “normal” to include a 50/50 ratio of female playwrights in all regular seasons on the world’s stages. A playwright can dream, can’t she?
It’s that time of year again: Time to crack those knuckles and get down to perfecting your submissions for the bevvy of 2016 playwriting fellowships and development conferences whose submission windows are open this month/next! I’ve been glued to my computer these past few weeks, working on creative, witty, and breath-catching artistic statements/mission statements/biographical statements/and statements about why I deserve an invitation here/there/EVERY-friggin-WHERE…
Yeah, no, actually I’m pulling my hair out like the rest of you, completely unsure if I’m coming across as a desirable candidate or just (heaven forbid)…
Immorten Joe from Mad Max:Fury Road
Well, allow me to throw another submission opportunity your way, intrepid lady playwrights… An opportunity that doesn’t require a statement – just an awesome short script and a willingness to take part in the selection process as a peer reviewer! Yes, Little Black Dress INK is accepting submissions for its 2016 festival—and here are all the nail-biting details to prepare you for total festival domination!
Furiosa from Mad Max: Fury Road
LBDI’s Female Playwright ONSTAGE Festival is entering its 5th year, bringing new reading and production opportunities to female playwrights! Submissions will be accepted (following the criteria outlined below) until November 15th, 2015. Participating playwrights agree to read and evaluate one another’s scripts in our unique peer-review process. Semi-finalists will receive readings in various US cities, with winning plays read in both LA and NYC before going on to production in Arizona.
Please read the following submission details before submitting—plays must fit with festival theme and adhere to festival guidelines in order to be considered.
They’re having a #ParityParty! Love this. Check out WorksbyWomen.org if you don’t know them. (Stage Source in Boston holds Parity Parties, as well, in conjunction with outings to see plays written by women.
Thanks to LA FPI Instigator Gina Young for keeping us Instagram fresh! (Are you following us?)
