Category Archives: playwriting

5 Sirens: Women Rock!

Female Artists, Feminism, Fringe Festival, LAFPI, Performing Arts, Play, Playwright, playwriting, Production, Theatre, Women, , , , , , , , , , , , , , ,

By Guest Blogger Alex Dilks Pandola 

I’ve produced over 10 productions that feature short plays written and directed by women. So, I was intrigued by 5 Sirens: Beware of Rocks and excited to learn more about the 5 playwrights (all women) who joined forces to produce this show.

Graduates of the USC Master of Professional Writing Program, the 5 Sirens are: Sarah Dzida (Don’t Panic), Autumn McAlpin (Ten Years Left), Kiera Nowacki (Spock at Bat), Caron Tate (Whatever Works) and Laurel Wetzork (Out of Here). They realized that by pooling their resources and sharing in the production responsibilities they had the skills to tackle everything from advertising and publicity to fundraising (check out their super-successful Indiegogo campaign) and contracts on their own.

5 Sirens: Beware of Rocks features 5 10-minute plays centered around theme of miscommunication and longing for connection. What’s wonderful about the production is that the audience is treated to five distinctly different styles and approaches to the theme.

Director Laura Steinroeder had previously worked with Laurel Wetzork and came on board to direct the five plays. Wetzork says, “she was very brave to take on five different, very strong women and make this show work.” Though directed by one person, Steinroeder allows each piece to live in its own world, so that the audience can experience the progression of a debilitating disease through a rhythmic pattern in one play (Ten Years Left) and move seamlessly into the next play about the inter-species communication between intelligent and not-so-intelligent life (Out of Here).

What I find most inspiring about 5 Sirens: Beware of Rocks is that these five women, a group as diverse as can be, banded together as a community to support each other and produce their own work. Now, they are confident that they can produce a Fringe show on their own, individually. I’m certain that whatever productions they do in the future, 5 Sirens: Beware of Rocks will be an experience that proves to be both unforgettable and invaluable. Through June 27th at Theatre Asylum.

One-Woman Fringe

Female Artists, Fringe Festival, LAFPI, Performing Arts, Play, playwriting, Production, Theatre, Women, , , , , , , , ,

By Guest Blogger Alex Dilks Pandola

The Hollywood Fringe Festival is a fringe-purist’s dream where content is queen and storytellers work their spreadsheets to self-produce their show.

The first play I produced for Green Light Productions was for the 2003 Philadelphia Fringe Festival. It was a two-person show about the tumultuous and creative relationship between Zelda Sayre and F. Scott Fitzgerald called Boats Against the Current. From rehearsals in living rooms, costumes from Goodwill and one-hour techs to packed houses and standing ovations, I learned how to create magic on a shoestring budget by putting the story first.

This year there are over 20 one-woman shows in the Hollywood Fringe Festival.

At the last LAFPI meeting at Samuel French I was treated to a preview of Snack by Megan Dolan. In the hysterically funny world of Snack, Dolan traces the roots of her smoothie addiction back to her childhood, posing the question “How do you parent yourself and your kids at the same time?” Snack runs until 6/27 at Theatre Asylum.

This weekend I saw Jennifer Bobiwash’s Indians in a Box: There’s No “I” in NDN where Bobiwash sets out on a journey to discover what it truly means to be a modern American Indian. Through the laughs of Bobiwash’s story, we begin to understand the many complexities of her identity and how it’s shaped her life. NDN runs until 6/17 at Lounge Theatre.

There is an electric energy during the fringe, as artists become Olympians and audiences become active participants in the creation of these raw, intimate, now-or-never productions. Check out the “one woman show” tab on the HFF site where you’ll find an amazing group of storytellers who are the true heart and soul of this year’s fringe.

All I see is trees!

playwriting

by Jennifer Bobiwash

I have been trying all week to explain my first Fringe experience, but the words are jumbled and come out in a string of disjointed sentences. Which, truth be told, is how this whole experience has been making me feel.

My first show was a preview on Sunday. I have been fighting with the words that make up my play. As I try to memorize them for my show I wonder why the heck I wrote these things and why I want to share them with the world. As I sit on the stage, in an empty theater, running through my show. Pencil in hand, I cross out sections of text that will be cut next time. Right now my brain is settled in to the story, however repetitive the text is.

I try to distract myself by writing other things, poems, writing challenges on hitRecord, and random postings about how to use social media.  My brain seems to be distracted for a bit. Shhhh! Don’t tell it I’m blogging here.

My play has been workshopped on a few occasions and I’ve sat and read it to remind myself of the story, but it wasn’t until I had to perform it off book that I could see the (w)holes.  For as long as I have written and re-written the same circumstances with different characters and locations, it was always the same story.  After I had resigned myself to finally putting it to bed and completing it, I pulled together stories that would best lead to a completed play.  Workshopping it allowed me read the play for an audience, solicit feedback, see what was working and wasn’t.  I sat in the back of the room listening to the words I had thought were brilliant when someone else was reading them.  I explained to the dramaturg, director and actor about my thought process.  We spent a day with the timeline of the main character.  Me answering questions about the backstory of the story.  At the time not understanding why they were asking.  It was only later after I had a quiet moment that I could reflect upon their questions and why they mattered.  My story was missing the tiny details that gave color to the who and why.  The moments I took for granted as just knowing they were there, and when I read the lines I could see them.  I’m reminded about seeing the forest through the trees and I never understood the meaning of it.  Being in the thick of the action, but knowing what’s going on.

But now as I reviewed the lines and tried to commit them to memory, these tiny details are getting in my way and tying my tongue.  Alliteration and repetition fill my story and at times as I try to say the lines, I lose the poetry in an effort to just say the lines.  I can see the trees.

That’s where I’m at now.  I just have to be the performer and forget the writer. As much as I have been trained to honor the writer’s words, it’s time to trust that I know what I’m saying and just do.

I’ve taken so many different writing classes, but each instructor has said “go see solo shows”!  Luckily Fringe is filled with them and each offers me more insight into the writing process.

Now go out there and see some shows!

“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.