Category Archives: race

Why I write

Performance, Play, race

by Jennifer Bobiwash

Writing is usually a solitary event and sometimes I forget about the rest of the world.  This week I was reminded of why, after terrible procrastination, I write.  I left my cave of solitude, to be surrounded by creative people breathing life into the characters and stories of playwrights.   A show closing, Inner Circle Theatre’s “The Doll” by Miro Gavran, and a show opening, Native Voices at the Autry’s “Off the Rails” by Randy Reinholz.  As the show starts, I sit in the back of the theater listening as the audiences laugh or “ooo’d and ahh’d”.  After the show, I watch as people discuss the show they’ve just seen.  It is Sunday night and I am reflecting on why I need to continue writing.

After a successful reading of my first solo show, “There is no I in NDN“, I was done.  My story finally written and performed, I could put it to bed.  But then I was asked to perform it.  I said yes, without a second thought.  It wasn’t until I was polishing up the piece, that fear once again began to set in.  As an actor you take the words in front of you and give them life.  But as the playwright, I know where these words come from.   They may not be the full version of the story, but as I write, the whims and fancy that fill my characters lives may have some truth to them.  And this frightens me.   How will it be received?  Will people get “it”?  Will they get me?

I say all this as I am trying to complete a second half to my solo show.  To delve further into the mind of an off-reservation Indian and her continued struggle with identity.     I am bringing back a character that I had to cut from part one.  His name is Pooley.  When I first began writing his voice, he was to be my bad guy, spouting all the ugly, negative things that are wrong with the world.  But then as he spoke to my main character, I found the truth in his story, their shared story and all the ugly things I imagined him saying melted away.    He sits on his well worn stool at the end of the bar, his back to wall, his eyes on the door.  As he sips his tall glass of whiskey, he narrates tales of the life he left behind.  The dark pinched leather door creaks open, and as sunlight pours in, the regulars at the bar shield their eyes.  Pooley jokes with the bartender he knows all too well.  This is his home now.

It’s not a traditional story, there are no headdresses and ceremonies.  He could be anyone, he just happens to be native.  Working with Native Voices, I am reassured of why the story is important.   The lack of stories that speak to an entire population, inspires me to continue.

So, I write.

A few more thoughts about playwriting from David Henry Hwang

LAFPI, Playwright, playwriting, race, Uncategorized, , , , ,

Playwright David Henry Hwang had a few more things to say about the craft of writing when he dropped by a revival of his play “Yellow Face” in Washington DC this weekend.

He says it’s his practice to write the first act as a comedy, which allows the audience to more fully embrace the more difficult, serious topics of act two. Ah, the old “give the kid dessert first” technique I used to employ as a babysitter.

He also poked fun at one of his own less-than-successful plays, even presenting a snippet on stage that could make your teeth hurt. Would I be brave enough to publicly expose my own writing foibles night after night? When I write a lousy play, I want it to disappear.

And for a play that debates race appropriate casting, the play itself demands the director and producer make hard decisions about which actors of which races are appropriate for playing the characters in “Yellow Face.” Can a non-Asian play the mother of Henry Hwang? What does it say to the audience if he’s not? The multi-cultural casting was fun, but it was even more fun to hear the producer Ari Roth and David Henry Hwang talk about the hard choices. It was a debate the audience also joined in on. What a wonderful idea to find a way for the audience to see the political questions of a play at work in front of them, forcing them to ponder the same questions!

Tomorrow, I fly to Denver for the Colorado New Play Summit. Stay tuned for updates from the Mile High City on a new Matthew Lopez play and more!

Playwriting tips from David Henry Hwang

LAFPI, Play, playwriting, race, Uncategorized, , , ,

by Kitty Felde

Theatre J here in Washington DC just revived the 2007 comedy “Yellow Face” and I was lucky enough to hear David Henry Hwang talk about his writing process. Hwang is about to open a big off-Broadway show – “Kung Fu.”

As you know, Hwang makes himself a character in “Yellow Face” – a technique he says was inspired in part by all the times he’s been asked to play himself in small, indie films. Why not try it in a play?

I can’t quite imagine writing Kitty Felde as a character, but it’s something to chew on.

He says he knew two things when he sat down to write the play: he wanted to start it with the controversy that enveloped the Broadway opening of “Miss Saigon” where Cameron Mackintosh cast Jonathan Pryce as the Asian Engineer. Hwang was outspoken on the issue and became embroiled in the debate over colorblind casting. He also knew he wanted to end with a “New York Times” article suggesting his banker father had broken the law. How those two events were connected, he wasn’t sure when he sat down to write the play.

Whether he successfully connected the dots is for you to decide, but what a terrific way to attack a play!

He also knew that the emotional spine in the middle of the comedy and political commentary was his relationship with his father. The humanity shone in those scenes.

Again, a good lesson to learn: what’s the emotional spine in our plays?

An evening of theatre and a playwriting class for one ticket! Quite a deal!

In Which I Ask A Lot Of Questions

Audience, Feminism, playwriting, race, Theaters, , , , ,

By Tiffany Antone

Something about my previous post stuck with me this week… I couldn’t quite put a pin in it until today.  At the end of the piece, I mentioned “I can’t presume to tell a woman of color about her own life anymore than a WoC should be telling a transgender white woman about hers.”

It stirred the question, “Where do transgender playwrights fall in this fight for gender parity?”

Does our drive for equal representation on stage scuttle transgender authors into Male/Female categories, or do we recognize them with a third gender category, thus indicating that an ideal season would include plays by men, women, and transgender playwrights?  And, if so, how would those genders break down from there?  Does a truly balanced season include an exact number male/female/transgender playwrights of color/queer/disabled/et al distinctions?

I guess what I’m getting at here is that in our bid to be better represented on stage, we become but one segment of an assembly of segmented voices demanding to be heard.

So…

What does this mean for theatres on the grand scale?   Should they try to appease each and every piece of these divided masses?  Could they?  What would a season look like if they did?

And what does this mean for playwrights on an individual level?  Is it possible to fully engage theatres en masse, or do we ultimately split time between our soap boxes and our desks, desperately self-promoting our own brand of whatever it is we’re selling whenever we’re not talking about everyone else in our “group”?

Is this just the way of things?  Are we all really just choosing the battles that lie closest to us, and to hell with the rest?

And if so, how can theatres – besieged with criticisms from so many groups – be expected to satisfy everyone?

Unfortunately, the answer for theatres is they cannot.

In order to “revolutionize” their production schedule in a manner that would satisfy our collectively diverse demands, theatres would need to be indifferent (at best) about alienating their patron base.  (The bigger the theatre, the more true this statement.)  A regional theatre that has primarily produced classic works by white men, for instance, would face a marketing and attendance nightmare were it to do a complete 180 – because it takes time (not decades, granted, but time) to grow new audiences*.

Smart purposefully-diverse substitutions in a theatre’s season, on the other hand, can serve to satisfy a theatre’s established audience as well as bring in new audiences previously deterred by what may have been perceived as static programming.   And when I say “smart” I mean searching for work that will challenge your theatre’s audience without alienating it.  If your theatre is in a city with a strong Latino community, and that community isn’t frequenting your theatre,  finding/producing work by Latino artists could be the first step your company takes towards diversifying your season.  If your company exists in a community with a large gay/lesbian population, but that population doesn’t visit your theatre, you should be seeking out playrights who can speak to that audience over and beyond playwrights that wouldn’t.  And if you’re one of those theatres producing Neil Simon after Mamet after Donald Margulies, you might be able to spice things up without mystifying your (probably) primarily white audiences just by bringing in some Sarah Ruhl or Theresa Rebeck.

Yes, adding one new voice to your season – new to your theatre and to your audience – could quite the change make.

In each instance, you are working towards a more balanced and robust season one new play at a time without moving too far beyond the circles of what you know your community will support.  You are contributing to a shifting theatrical landscape that continues to diversify and grow at a pace that allows audiences and hesitant administrators to keep pace.

Yet, would such incremental season changes be enough to make us happy?  If a regional theatre includes two plays by white women in their season where before they had no women at all, do we credit them as moving closer to gender parity, but berate them for ignoring playwrights of color?  Or do we decide on an individual level whether or not the fact that they are producing two works by women is satisfying and encouraging “enough” to us as women playwrights that we sort of “settle” down for a bit and direct our energies elsewhere?  Do we then look at other artists demanding the theatre give voice to their cause and say “Good luck!” or do we allow their fight to color our “victory” less victorious?

Which brings me back to my initial query – when we say we are asking for “gender parity”, what does that really mean?  And does it supercede or walk in step with the fight for diversity on stage in total?

Do we, in aligning ourselves with the fight closest to us, become a hindrance to those walking beside us?  Or can we all fight for our chosen “team” and still fight for all of us together?

It seems to me that the answers to these questions help us decide how we talk about gender parity/racial diversity/etc. with theatres and with one another, and it decides what we want to happen as a result of those discussions.  If we can agree that diversity at large is the goal, then we can work to encourage theatres to adopt changes in programming that best reflect the communities surrounding them by giving voice to the artists who serve those communities.  This might be a more realistic and attainable goal than asking theatres to give stage time to all of our voices at once.

So, the question becomes, is it a goal we can all work towards together?

 

* The topic of growing new audiences is worthy of a deeper discussion in and of itself  – of which there have been many.  For a fresh take and very insightful article on the topic, check out David Schultz’s Soil, Sunshine, Fresh Air, and Water on HowlRound