NECESSARY EXPOSURE: THE FEMALE PLAYWRIGHT PROJECT
Category Archives: playwriting
Dramatists Guild National Conference: #writechange – Writing Wrongs
by Robin Byrd
Writing Wrongs – Part 1 (Teaching Playwriting to Underserved Communities, Overview)
Panelists:
Ruby Berryman Englewood Boys: A Play on Portraiture
Cheryl Coons Storycatchers Theatre
“In this new national Dramatists Guild (DG) initiative, artists share ways they’ve given voice to others who would most benefit from self-expression. They’ve worked with victims of genital mutilation, adults in prison, incarcerated and court-involved youth, respectively. They’ll share how this work has been life-changing for everyone involved.” This is the description of the Writing Wrongs session one from the conference program book.
The men, the women, the children…
There were black and white pictures placed in the seats; not all of the seats but a few here and there. During her talk on her performance piece created in a prison, Ruby Berryman’s strategically placed portraits of inmates helped to create moments of intrigue for the audience. Impact: the visual portraits along with the description of how the project came to be and how it worked put us in the shoes of the inmates, if ever so briefly. As writers, we know what triggers story and to hear Ruby discuss how she was able to pull stories out of – non-writers /new to writing – men who before she gave them a place to create had never told their stories, was inspiring. At the end of her talk she had the audience bring the portraits to the front of the room and display them. Impact: we became the exhibit. Imagine an inmate with newly formed skills to tell his story, realizing his words could have…impact.
Sia Amma is a comedienne; her talk was peppered with jokes and laughter. Her subject matter was in no way funny beyond her comedic timing and hilarious take on how to make the most horrible thing speak-able. To utter it, to say it out loud, to hear it hit the air, female genital mutilation must be stopped! Impact: every person in the room was acutely aware of the atrocity of cutting off any part of the clitoris and/or vulva. It is unimaginable… We are changed forever…
Poet Nikky Finney has a poem titled “The Clitoris” from her book HEAD OFF & SPLIT “…New studies show the shy curl to be longer than the penis, but like Africa, the continent, it is never drawn to size…” the poem starts at 5:48.
Cheryl Coons works with the children; her Storycatchers Theatre teaches them a new way to navigate the world. She discussed her program with court-involved and at-risk youth and her process of getting the youth to open up and to participate in the program. Her program has received national recognition for its track record with this program. Impact: we remember the children. We imagine the change.
The theme for the 2015 National Conference was Writing the Changing World or the abbreviated form #writechange. The top of the handout for this session and the workshop session asks for playwrights to share their projects with the Dramatists Guild in an effort to connect and share information with other playwrights doing the same sort of thing. This session was also a call to action.
Impact: we see theater as a great resource to effect change in the environment, lives, and life choices of our communities; we simply must re-imagine the uses of the stage.
Starting or participate in a Writing Wrongs program, please contact Faye Sholiton [email protected] with a description of your project and some of the challenges you’re facing. Please tell about your project(s) and link us to your website. In that way, we can share your information with teaching artists embarking on similar projects. The Dramatists Guild hopes to offer a Writing Wrongs idea exchange on the Dramatists Guild website in the near future.
Writing Wrongs – Part 2 (Teaching Playwriting to Underserved Communities, Workshop)
Panelists:
Suze Allen 3 Girls Theatre
Melissa Denton The Unusual Suspects Theatre Company
Francesca Piantadosi From Prisoners to Playwrights: Why youth at MacLaren are learning to write plays
“This session features practical techniques to work with reluctant and often traumatized writers. Coaches will take you through initial trust-building steps, using group and individual exercises. An introduction to what it takes to open hearts and minds – and the potential for small triumphs along the way.” This is the description of the Writing Wrongs session two from the conference program book.
The playwrights (Suze Allen, Melissa Denton, and Francesca Piantadosi) in this session were a great follow-up for the previous session. Once you have a call to action, what do you do next? These playwrights answered those questions. Each gave pointers on how to interact with the group participants.
The sessions were hosted by Larry Dean Harris, our Southern California Regional Representative.
Don’t Ask Me About My Writing Ritual
(I’ve decided that my LAFPI blogging week will be nothing but clickbait headlines. Tomorrow – This Procrastinating Playwright Opened her Final Draft Document and You Will Never Believe What Happened Next.)
Last weekend, I was lucky enough to be on a playwriting panel, alongside extremely esteemed company, highly distinguished writers with established careers (basically, I was way outclassed here.) It was titled “The Playwrights’ Voice.” What was most interesting to me was that it was a very romantic title for what turned out to be a rather unromantic (but wonderfully fascinating, much needed) conversation. What inspires a playwright’s voice? It depends – it changes from play to play, as it should. What impedes a playwright’s voice the most? Lack of time, money and resources. Prosaic details that I was so happy we were talking about, because mere survival is so intrinsically tied into the ability to write.
At the end of this discussion, we ended with a question from a young playwright in the crowd. She asked us if we could share our writing rituals, if there was anything special we did in our process to get us in the mood. What did we need in the room? We were quiet for a second, and then I said, “Deadlines.” There were a few chuckles, then the other writers went on to give lovely, kind, thoughtful answers about the kind of music they listened to, how they liked their room and writing space, whether they wrote in coffee shops, how long each play took. I sat there feeling a little embarrassed for how snotty I’d been – even though it was totally true. The only thing I need to write is a reason to write, and for me, that’s a deadline, a guarantee that my work would be read.
But also, I was feeling a little sensitive because I have a problem with this question. We just love reading about the rituals of writers, about renting a cabin in the woods vs writing in public, about the latest scriptwriting software and internet-blocking tools, the hidden inspirations of working on a typewriter or writing longhand on legal pads, those “this is how I work” posts on Lifehacker, but all of that does not help us in the least. I mean, it helps if you’re looking to procrastinate, but there are better ways to procrastinate. The only thing that matters is what helps you finish a goal – whatever helps you finish that damn play. And that’s something everyone figures out on their own. In their own time.
And now, I’m going to cheat and just paste one of my favorite insights into creative writing rituals from the brilliant Seth Godin. This is an excerpt from his interview on Copyblogger (which I highly recommend reading or listening to in its entirety.)
Brian: (Laughs) So give us some insight into where the ideas come from, what’s your editorial process. Do you kind of wing it, or is it more planned out where you want to take people over time?
Seth: Well, I think it’s very important that I don’t answer that question …
Brian: Oh! …
Seth: … and the reason is … I mean, I’m happy to answer it for you when we’re not talking on the air …
Brian: Okay.
Seth: … but the reason I don’t want to answer it in person is, there is this feeling that if you ate the same breakfast cereal as Stephen King, you’d be able to write the way Stephen King writes. And the breakfast cereal has nothing to do with the writing. And the habits that I have developed are extremely idiosyncratic and totally irrelevant.
Everybody who is a fabulous writer, and I’ve met hundreds of them, does it differently. So there’s no correlation between how someone does it and what they make, and what we do is, because of our fear, Steve Pressfield would call it “The Resistance” to confronting the page — sometimes we spend a lot of time making sure we’ve got the same laptop as this guy, and the same writing setup as this guy, and the same process as this guy. And it’s all stalling.
And what I would rather say to the Copyblogger reader is, write. Just write.
And put it in front of people. And if you don’t put it in front of people, it doesn’t count. And if you get in the habit of putting something in front of people every single day, even if it’s only ten people by e-mail, your writing will shift, and you will adopt the voice you’re meant to have.
But everything you do that stands in the way of you writing — you know, going and buying a 12-pack of Black Wing pencils — is foolish, because you’re just stalling.
Lately I feel like I’m on a mission to communicate to the rest of the world that what we do isn’t magical, abstract, ineffable or romantic – not entirely anyway! Not most of the time. It’s a constant process of trial and error, relentless analysis and refinement, and the proactive challenging of one’s own ideas and assumptions, as you try and craft a story that is emotionally authentic, intellectually rigorous and structurally cohesive. More on that tomorrow, as I return with my next clickbaity headline – The Best Writing Advice I Ever Received.
Dramatists Guild National Conference: #writechange – The Count
Writing the Changing World — The Count
by Robin Byrd
Last night at the Lilly Awards, the Dramatists Guild gave a presentation on The Count (a national survey showing which theaters are producing the work of women and which are not). Marsha Norman, Julia Jordan, Lisa Kron, and Rebecca Stump went over the data and spoke on why parity matters.
Seasons used for the study were 2011/12, 2012/13 and 2013/14; the Count is an ongoing annual project which means the data will be tracked and reported for each season going forward. The national percentage of productions for the past three seasons for women playwrights is 22.18%. The project is managed by Julia Jordan of the Lilly Awards and Rebecca Stump of the Dramatists Guild.
The Count has been six years in the making, Julia Jordan and Marsha Norman began the process in February 2014 with funding from the Lilly Awards and the Dramatists Guild to do a collaborative study to determine how many women playwrights are produced in the US. The data was reviewed by Lilei Xu, a statistician and economist.
According to this study, between 2011 and 2014 74% of the productions were plays, the rest were musicals; 62% were new work, the rest were revivals. 12% were written by writers of color, 88% were white.
City Count:
| City | Productions | Female Writers |
| Portland | 66 | 18% |
| Los Angeles | 74 | 23% |
| Minneapolis | 82 | 23% |
| Seattle | 104 | 23% |
| New York | 234 | 25% |
| Berkeley | 63 | 29% |
| Philadelphia | 84 | 29% |
| Kansas City | 61 | 30% |
| Washington | 104 | 30% |
| Chicago | 120 | 36% |
In August 2015, research and data collection begins for the 2014-2015 season.
It was absolutely wonderful to see the presentation at the national conference. LA FPI was mentioned as one of the groups across the nation discussing parity. Lisa Kron suggested in her speech that theaters should check the Kilroys List, if having problems locating plays by female playwrights.
We all laughed…
but what is not funny is the fact that we still need to have this conversation.
For the complete report containing more thorough data, please check the Lilly Awards (thelillyawards.org and the Dramatists Guild www.dramatistsguild.com) websites.
Dramatists Guild National Conference: #writechange
This is the first day of the Dramatists Guild Conference in La Jolla, CA. Such an empowering day! LA FPIer’s Laurel Wetzork, Debbie Bolsky and I presented a very successful workshop: Using the Senses: Character and Story Creation. John Logan’s One-on-One with Joey Stocks was wonderful. He gave some wonderful insights to his journey as a writer. The regional reps met with their group members and the conversation was about getting to that next place as artists and how to use community to do so — the community of writers who make up the regions.
The drive in was 3 hours, one wonders how there is traffic at 1:30 am but there was.
5 Things Learned from the Other Side of the Footlights
by Kitty Felde
I started out as an actor. For ten years, I’d drive the freeways of Los Angeles for auditions for commercials and sitcoms, spending my evenings onstage in tiny theatres all over town. When I hit my 30’s, the jobs for women started drying up and I put my heart into the writing.
Now, decades later, I’m back on stage – again, driving all over town to perform on small stages, this time in Washington, DC instead of Los Angeles. It’s great fun. But I’m finding I’m learning more about the writing from the other side of the footlights.
As playwrights, nothing helps like hearing our words out loud – whether it’s a group of friends, happy with many bottles of wine and beer, who read a new draft in the living room; or onstage, standing behind music stands, before a small audience for a staged reading. Hearing those words spoken out loud is a completely different experience than staring at them on a laptop screen.
But now that I’m memorizing someone else’s lines, standing on stage, exposing my inner actor to the world, I’m finding new lessons in playwriting. I’m in a new play by a fine writer, D.W. Gregory called “Salvation Road” – the tale of a college kid trying to rescue his sister from a cult. I play the hip Catholic nun Sister Jean – part mentor, part nudge, battling her bishop and “that vow of obedience thing.”
Here’s what I’m learning about playwriting from the experience:
1 – Specific lines that are hard to memorize are usually because the actor can’t find a connection between what happens directly before the line and what happens after.
I watch this happen in rehearsal over and over again. There’s always one line that every actor stumbles over every time. Why? The logic of the lines is clear to the writer, but not to the actor.
Note to my playwright self: watch for these lines, rewrite to make the connections clear. Actors aren’t sitting with you at the computer, following your logic.
2 – Watch out for repetition.
My Skype playwriting pal Ellen Struve always says we writers say things three times – just in case the audience isn’t listening. True.
In rehearsal, there are certain words or phrases that are used repeatedly – toxic and hypocrite come to mind. They are perfectly fine words for a playwright to use – strong and clear words. But an actor’s brain scrambles them and the lines are often transposed from one scene to the next.
Note to my playwright self: look at repetition, but don’t let lazy actors be the reason you change them if that’s the word you need.
And yes, an audience sometimes does need to hear something three times.
3 – Actors hate stage directions. And punctuation. Especially punctuation.
I know as a writer, I want my lines to be performed the way that I hear them in my head. How do you communicate that to an actor? Sentence structure and punctuation can help.
As an actor, this is driving me crazy! My phrasing of a thought doesn’t want to come to a halt at the period in a particular sentence. I want to let this character speak the way she wants to speak! But I’m an actor, not a writer and it’s my job to bring the script to life the way the writer wants it. Sigh.
Note to my playwriting self: Trust your actors to bring meaning to your words.
4 – Acting is more difficult than writing.
I don’t really believe this. Writing, staring at that blank screen, battling all the demons that scream at you inside your head that you have no talent, nothing to say, and your play will never get produced anyway – that’s hard. Coming up with believable characters and scenes and a satisfying ending? That’s even harder.
But acting is hard work, too. I forgot how difficult memorization can be! And standing up in front of an audience is nerve wracking! I had my first Equity audition in decades and went up on my lines! I hadn’t been that nervous in forever. And there’s that baring one’s soul business. It’s easier to do it while typing than saying it out loud.
Note to playwriting self: when the writing is tough, remind yourself that nobody’s watching you fail in real time. It’s just you and the machine. The audience – and the critics – are a million miles away.
5 – It’s still all about that time in the rehearsal room.
It’s always been my favorite part of theatre. Yes, I love the opening night applause, overhearing the chatter at intermission, getting flowers when my husband remembers to get them. But the real joy in theatre – both as an actor AND as a playwright – is the work in that rehearsal room. “An effemeral art” as Cash Peters described it – here today and gone at the end of the evening. But what magic happens in that room! That’s the joy of the theatre.
Note to playwriting self: find more opportunities to BE in that rehearsal room. Get back in the regular habit of sending out plays. Self-produce. Find other writers who need a reading. Volunteer to read for them.
Note to acting self: see above.
“Salvation Road” opens Saturday, July 11 at the Capitol Fringe Festival in Washington, DC.
And the Fringe Goes On: Encore!
by Jennie Webb
Seriously, June is always one of my favorite (and craziest) months in LA theater. And that’s because of the Hollywood Fringe Festival and – more specifically – the amazing work of women artists at the Fringe, and the community that’s created each year. Yep, the Fringe Femmes. It’s a fabulous, gooey, full-of-kindness-and-generosity-and-inspiration hot mess that I can’t get enough of. It’s a month where women artists laugh at the “You must be threatened by other talented women!” edict that still pops up now and again when we least expect it, and come out of the woodwork to actually SUPPORT each other.
I also find that many of us spend most of June cursing because there’s just too much to see and only so many places we can be – especially me, if I’m to grab any sort of admittedly loose hold on my often questionable sanity.
So good. July means Encore! extensions, and that we have a second chance to catch stuff we missed. (Or see stuff a second time!) Nice to note that nearly half (46%) of the extended shows are written by women. (2016 Encore! producers: 50% please?)
It’s only got one more performance on July 2, so don’t miss Bella Merlin’s turn in “Nell Gywnne: A Dramatick Essaye on Acting and Prostitution” – Bella is a polished pro and her sassy Nell shines in an admirably tight package (pun intended), beautifully directed by Miles Anderson.
Also returning for one show only (July 3) is Penny Pollak’s dark and wonderful “No Traveler: A Comedy About Suicide.” LA FPI’s Constance Strickland was lucky enough to see it during the Fringe run. Read her thoughts here: http://wp.me/p1OFoi-48I
Was really glad to find Abby Schachner’s “U and Me and My Best Friend P” on the extension list, as well. I didn’t make it to Abby’s show last Fringe, so I was truly blown away by her rock-em sock-em performance and smart, insightful, ridiculously funny verses. (What? Just one Encore! date on July 9? Not fair.)
And this year I also became a huge fan of two female directors. The first is Rosie Glen-Lambert, who brought fantastic and fantastical touches to Veronica Tjioe’s evocative “Dead Dog’s Bone: A Birthday Play.” (Will be terrific to see how this transports to Bootleg Theater July 9-11 – love the action there!)
Then there’s my brand new acquaintance Kate Motzenbacker, director of Savannah Dooley’s all-femme “Smile, Baby,” a super savvy snapshot of what it’s like to be woman today in a man’s world. (Relate much?) Kudos to stand-out actors Jessica DeBruin, Sonia Jackson, Linda Serrato-Ybarra, Molly Wixson and Madison Shepard, all puttin’ the V in Versatile. (Only performance is July 3.)
Last (but not least) on my list of “Encore! Shows by Women I (and/or Others) Managed to See” is Megan Dolan’s irresistible “Snack,” directed by Chris Game. (Oh. Chris is a man. But he gets major props on this cracker-jack show.)
Book tix now for the July 12 show.
I could go on and on about why, but take it from GreenLight Productions‘ Alex Dilks Pandola, a writer/director/producer you should all get to know, who guest blogged for LA FPI during the Fringe.
Don’t miss SNACK! From the moment I read that Megan Dolan wrote “Writing is an act of defiance” on the top of each page as she penned SNACK I knew I was in for a real treat. The painful yet hysterical tale of Dolan’s childhood connected with my entire sold-out audience on so many levels. If you don’t love this show there must something wrong with you. Thank you Megan Dolan and Christopher Game for bringing SNACK to my world.
Check out the Women (Still) on the Fringe here: https://lafpi.com/about/women-at-work-onstage/women-on-the-fringe/
(Ladies: if your show’s not listed above, send LA FPI the info! https://lafpi.com/about/submit-show/)
Here’s a full list of all Encore productions that have been extended: http://www.theencoreawards.com/
And here’s Mick helping himself to my post-“Snack” Lorna Doones which I’d saved to enjoy at home with my Jameson’s:
Encore! of “No Traveler: A Comedy About Suicide”
by Guest Blogger Constance Strickland
We rarely find ourselves aware that every 12.95 minutes a human being commits suicide… unless we experience it directly.
Penny Pollak is a wonderful physical performer who, in her solo show “No Traveler,” combines intensity and prowess as well as having the ability to seem familiar. Watching Penny, you recognize the girl drinking too much who can’t seem to finish the puzzle, you recognize the pain of feeling completely lost. Then all of a sudden you find yourself laughing because that, too, is what occurs when we we are able to step outside ourselves and can see the bigger picture – we laugh, for we have found the humor within our pain.
“No Traveler” reveals what Hell sounds like, how glorious Heaven will ring upon our arrival and the questions that can arise if we find ourselves in Purgatory. Penny goes in between characters with stealth and ease and has a great co-actor in a vintage metal bucket onstage; it was a pleasure to see the bucket have a life of its own – I fully heard it talking.
What “No Traveler” does also does quite powerfully is remind us to listen, really listen, to those around us for we just may have the chance to save a life.
This piece can take many forms from an installation piece to theatrical staging so it will be quite interesting and beautiful to see it adapted into a feature film!
“No Traveler” is receiving one Encore! performance on Friday, July 3rd, 8pm at the Complex Theatres. Info Here: theencoreawards.com/projects/2385
A few numbers to call if someone you know needs to talk:
Didi Hirsch Suicide Prevention Crisis Line
877.727.4747
caring counselors are available to talk 24/7Teens Helping Teens
(310) 855-HOPE or (800) TLC-TEEN [toll-free in CA]
from 6pm to 10pm PST
No Traveler: A Comedy About Suicide
Written & Performed by Penny Pollack
Directed by Lindsey Hope Pearlman
Lights & Sound by luckydave
Music by Mike Milazzo & Lee Goffin-Bonefant
Expect The Unexpected: “The Halfwits’ Last Hurrah” by Four Clowns
The theme of the story can be likened to the spirit of a verse from a John Lennon song: “Life is what happens while you’re busy making plans” (from “Beautiful Boy”).
The first unexpected is being offered a free beer upon entrance into the theater (and it’s a designer beer too.) The theater is nearly full and the seated audience is already being entertained by a clown fawning for affection and laughter. People are all smiles and curious as to what will unfold for the Four Clowns presentation of “The Halfwits’ Last Hurrah”.
A young woman at the front row is being wooed by the clown. He draws her out to the stage, and they do a Simon Says act in mime. She’s surprisingly good as she follows his soft shoe dance and improvise some of her own. I wondered if she was a member of the troupe. She was a good sport regardless.
“Butterbeans Arbuckle” (Don Colliver) shoos away the clown from the stage. He’s half dressed in a white shirt and underwear. He butters up the audience with jokes. He flirts with the females (“Who likes sausage?” A drizzling of hands go up and he picks on a pretty woman. “We’ll talk later after the show. I know of a good sausage place in Echo Park.”) He cajoles the audience to imbibe on the free booze. Finally, he chooses a volun’told’ member of the audience to be his scapegoat should any any mishaps and failures befall the evening’s presentation. “Leopold, I’m blaming it on you.”
Butterbeans runs to the back of the curtain and hails fists upon the clown for good measure of proof that he will not accept failure or fault. Lights dim down, and the show begins. Welcome to an authentic American vaudeville. In a few minutes Butterbeans is back with his assistant Nimrod (Elizabeth Godley). Nimrod’s costume is a bowler’s hat and a black vest over a white shirt, and she holds an orange cone that pipes her squeaky voice. Her enthusiasm and sweet adoration of Butterbeans wins the audience’s hearts from the get go. Already the story is rich with characters that has possibilities of the unexpected.
The show is kicked off by the Inderdorf Twins (Jennifer Carroll and Dave Honigman). Their suggestive blue dialogue was, at first, strange to my ears until the the light went on – Ahh…that’s better. The twins describes their clean country living at the farm in the alps with strange acrobatic forms and sexual innuendos of “collecting morning wood” and “riding the chicken”. The risque content is standard fare of vaudevilles. “The Halfwits’ Last Hurrah” is complete with a burlesque act by Blonde Burlesque (Jamie Franta). Her mystique is the brave face she puts on and puts out. The black eyeliner, false lashes, bright red lips on creamy skin is arresting. There’s an awkward sexuality beneath the facade. I play along and want her to seduce me with her dance, costume and song. Then she braces for the finale of her act. “Here goes nothing!” she hopes, and shakes her titties to twirl the tassles of her brassiere that covers a modest 34B cup (maybe).
Between the first and second acts a mysterious character calls out from the darkness. “Soo wee!” the voice hollers, and Butterbeans falls into a hypnotic trance that is a combination turret-body contortion that disengages him from his normal faculty into a puppet. The voice is The Real McCoy (Jolene Kim), a figure in an all white western getup that haunts Butterbeans throughout the show. She taunts him to give up his dream of theater and accept that the future is in something outside himself. The latest magic is in technology which The Real McCoy claims as what Butterbeans wants. She holds up the magic wand beyond his reach like the forbidden apple on the tree of knowledge. The relationship between Butterbeans and the Real McCoy is symbolic of the hero and his inner dragon that taunts him to fail.
This relationship and its battles weave in and out through the show; they are the shadows to the light of the heartful comedic acts of: Madame La Merde (Helene Udy) who walks in stilts to spin plates on towers; the angelic singing of Pruella Tickledick (Charlotte Chanler); the liquor vendor (Julia Davis), and a handkerchief trick show by Nimrod. Her expressions are reminiscent of Charlie Chaplin’s ‘The Tramp’. Nimrod catches a teary-eyed audience, the same woman dancing on stage earlier. They have touching interlude that gives the audience some breathing space as the conflict mounts to a crescendo, like the wave building momentum to its crest.
The story has a lot of moving pieces like a chessboard game with each player having a specific contribution to the whole. Their common goal is to pull it all together for the audience. The mayhem culminates with The Real McCoy and her henchmans (Tyler Bremer and Jamarr Love) turning the stage into a scene from ancient Pompeii after the eruption of Mount Vesuvius and it is left to Butterbeans and Nimrod to save the the Halfwits from The Real McCoy. How does the hero face his dragon?
The unexpected of this wonderful souffle is the texture of airy lightness of the Halfwits’ performances to the soul-satisfying struggle of Butterbeans to overcome the struggle with The Real McCoy. It is the forbearance of the heroes to be in the light, thus their last Hurrah! and to shed their mediocrity to be the bright stars on stage as well as to be immortalized in the memory and hearts of the audience.
Four Clowns production of “The Halfwits’ Last Hurrah” is the company’s 5th appearance at the Hollywood Fringe Festival.
The last performance of the show for the Fringe is this Friday, June 26th at 10:30 in the Lillian Theater located at 1076 Lillian Way LA. CA. 90038.
Get tickets through this link: http://www.hollywoodfringe.org/projects/2166?tab=tickets
A Little #FringeFemmes Instagram Action…
Thanks so much to Gina Young. Are you following us? https://instagram.com/thelafpi/
More great shows by women at the @hollywoodfringe — what are YOU going to see tonight?? #fringefemmes #LAthtr #hff #hff15 A photo posted by LA Female Playwrights (@thelafpi) on
