Category Archives: Theatre

And now for something new…

Audience, Female Artists, Performing Arts, Playwright, playwriting, Theaters, Theatre, , ,

For those who don’t know, I am not only a playwright, but the Artistic Director (slash/Mad Woman) behind Little Black Dress INK – a female playwright producing org that produces an annual peer-reviewed short play fest.  Over the years we’ve grown our fest from a small group of playwrights produced in Prescott, AZ, to a now nation-wide new play reading series with productions slated in both Prescott AND Lafayette, LA in 2016.  I couldn’t be more proud of all the efforts our supporters, artist, and producers have put into this fest—and I am ecstatic that we continue to grow.

This year, we’re adding an online component to the festival—one that will allow us to produce online versions of full-length plays.  It’s called the ONSTAGE: ON-AIR podcast, and our very first one is now live!

ON-AIR poster-new-webSince it’s our inaugural podcast, we chose to focus on interviews with some of our VIP artists, and included excerpts from past ONSTAGE plays.  You should definitely check it out – the women we work with are all kinds of amazing!  And the great thing about podcasts is that you can listen while you’re working out, driving, cooking, and pretty much anything else-ing!

Listen to the first ONSTAGE: ON-AIR podcast HERE

~Tiffany Antone

Women’s Voices Theater Festival: Getting a Piece of Real Estate

Audience, Female Artists, Feminism, Playwright, playwriting, Production, Theatre, Women, , , , , ,

by Jami Brandli

For those of you who may not know, the two-month long Women’s Voices Theater Festival in the Washington D.C. area has officially begun. Over fifty of the region’s professional theaters (including Baltimore and northern Virginia) are producing over fifty world premiere plays written by over fifty female playwrights. This is an unprecedented event, and I am beyond thrilled to be one of the female playwrights to have my world premiere of Technicolor Life produced at participating theater REP Stage (which is producing an all-female season by the way). I also had the good fortune of being able to attend the invitation-only kickoff gala on the evening of Tuesday, September 8th at the National Museum of Women in the Arts. You can read about the seven originating theaters here, but I first want to give a huge, heartfelt shout-out to the festival’s producers, Nan Barnett and Jojo Ruf. Without these two rock stars, this monumental event would not be possible.

Here’s how my day went:

I arrived early in Washington D.C. with my director and co-AD of REP Stage, Joseph Ritsch. He had some meetings, which meant I had most of the day to myself. I decided to check out the collection at the National Museum of Women in the Arts since I knew that I’d be schmoozing and cocktailing later that night. I thought I’d spend about an hour there, but I wound up spending nearly three. Their all-female permanent collection is simply mind-blowing, as some of their paintings go as far back as the Middle Ages when women were not allowed professional training in the arts. Rather, a female artist was seen as a curiosity (why oh why would a woman want to create art?!). And if she did get any training, she received it from male relatives. These are female artists I have never heard of—Lavinia Fontana, Louise Moillon, Clara Peeters, Judith Leyster—and their paintings are absolutely stunning. As I moved from the Seventeenth Century to the Eighteenth to the Nineteenth, absorbing breathtaking landscapes and Vermeer-like portraits, I became angry. Strike that. I became really f’ing pissed. Women were still mostly excluded from professional training, and if they were accepted into an institution, they couldn’t study the naked human form until the end of the Nineteenth Century. Because of this patriarchal fear and ignorance, we—the collective human we—have been denied our female Renoirs, van Goghs, Picassos and so on. Because these female artists were denied their fair share of the art “real estate,” we have been denied paintings and sculptures that could have transformed individual lives and influenced cultures. Which brings me to…

Female playwrights’ fair share of the American theatre real estate.

Since the birth of American theatre in the 1750s, white male playwrights have successfully dominated the stage and won prestigious prizes with their white male (mostly straight) stories. This is fact. The more a culture sees and experiences a particular kind of story, the more it is considered the standard. This could be deemed as theory, but let’s get real here, this is fact. But I want to be clear. I’m not bashing the white male experience—so many plays that have moved and inspired me have been written by white males. (Our Town and Death of a Salesman kill me every time I read them.)  BUT the result of white male stories taking up all the prime real estate for the last 260 or so years is that all other types of American voices and stories have been marginalized. The only way for parity to be gained is to give the marginalized voices center stage for as long as it takes for them to no longer be marginalized. This is where the Women’s Voices Theater Festival comes into play. ALL of the theatre real estate is going to be given to female playwrights for the next two months. Which means our stories will be the standard. Yes, it’s for two months in the D.C. area, but the festival is getting national attention and there is great power in this.

As I left the National Museum of Women in the Arts and made my way back to the hotel, I kept thinking about this power and all the future possibilities it holds. One possibility is that the festival will be insanely successful and cause a ripple effect where twenty cities hold their own women’s voices theater festival over the next few years. This would then inspire ALL theaters to make the conscious effort to share the prime real estate in their upcoming seasons. But my dream? My dream is that ALL theaters will actually want to do this and there will no longer be a need for a women’s voices theater festival. I’m not sure if this dream will happen in my lifetime, but I know as sure as I’m typing this blog, I will proactively work toward making parity happen.

But back to the gala…

The night started with all the playwrights, artistic directors and other VIPs opening up the gala’s program and seeing Michelle Obama’s welcome letter. Alas, Ms. Obama, the festival’s Honorary Chair, couldn’t attend, but she was certainly there in spirit as you can see from my photo below.

Michelle Obama letter.9.8.15

Next, NPR’s Susan Stamberg interviewed the Tony Award-winning force of nature that is Lisa Kron. In case you missed it, you can watch it at Howlround TV. (Please note: You absolutely should watch this interview.)

Here are three of Lisa Kron’s gems from the interview:

“Unless you believe men are better writers than women, there’s an inherent bias. This isn’t a feeling women have. The numbers are there.”

“Women playwrights have the same authority to write about the world the way male playwrights have authority to write about the world. But we see the world from a different vantage point.”

“The definition of parity is that there will be as many bad plays by women as great plays…that women will produce great plays in the same proportion as everyone else.”

That last one really made me think. Because it’s the truth. As much as I hope for this to not be the case, there will be less than successful plays at the festival. But as Lisa stated, true parity means women should have the same opportunity to fail as well as to succeed.

After the interview, we all made our way into the main space of the museum where the rest of gala attendees were festively drinking champagne and eating creme brulee. They were waiting to celebrate us, our plays, and this revolutionary collective achievement to highlight female playwrights. I was filled with pure exuberance as it finally hit me. This festival is actually going to happen and history is about to be made! So I grabbed a glass of bubbly and celebrated with this fabulous group of women and men until last call…

And I would like to think that the spirits of the female artists in this museum—the ones who were denied to fully express their creative selves all those years ago—were celebrating with us, too.

5 Things Learned from the Other Side of the Footlights

Audience, Female Artists, Fringe Festival, LAFPI, Performance, Play, Playwright, playwriting, Production, Theatre, , , ,

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.

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.

Wrapping Up ONSTAGE and (nearly) on to 2016!

Playwright, playwriting, Production, Theatre, Women, , ,

By Tiffany Antone

I’m going to let you in on a little secret: I used to hate 10-minute plays.

I don’t know why exactly… perhaps it’s because—as a playwright—I found it a real challenge to create a satisfying story in just 10 pages.  My first 10-minute play attempts always seemed to bleed into more pages, and felt unsatisfying in their rapid resolutions.  But as I’ve gone on to do more and more with short plays, I realize that the thing that used to bother me about 10 minute plays was that I just wasn’t very good at them yet.

I’d like to think I’ve gotten better writing short pieces—of conserving space and creating tighter, more exciting worlds—and that by becoming more aware of the real-estate value a blank page actually represents, my longer pieces have become tighter, more exciting, and richer as well.

And as a result, I’ve become a huge fan of these tasty little 10-minute morsels of playwright excellence.  So much so, that I dedicate a sizable portion of my year to supporting and producing other short pieces… and yesterday I saw 15 truly awesome short plays brought to life here in Waco and can’t believe that I have to winnow this list down to just 11 or 12 pieces for production.

I’ve written a lot about producing from a playwright’s perspective this week, and I hope it was helpful to those of you who—like myself—have felt stuck, frustrated, or fed up with the stasis of waiting.  But I also hope that, even if you have no intention of ever donning a producer’s cap, that you feel like you’ve gotten a little insight how/why some of these festivals work the way they do.  We’re all in theatre because we love something about it’s incredible contradictions and magic, but the true power of theatre is the unity of intention it requires on all who come together in order to make it happen.

With that, I’m wrapping up my blogging week in love of writing, writers, and all who take joy from the realization of imagination!  If you want to stay in touch, you can follow me @LadyPlaywright or you can follow Little Black Dress INK @LBlackDressINK – we’ll be posting more updates on this year’s fest as it heads to LA for a reading of our winning plays at Samuel French Book Shop on July 11th, and then production in Prescott, AZ August 6-9.

And then we’ll get started on the 2016 Fest, and do it all over again!

 

Creating an Awesome Festival Line-up

playwriting, Production, Theatre, , , ,

By Tiffany Antone

Female-Playwrights-ONSTAGE-cropI got started in theatre as an actress.  I loved being on stage, but I hated auditioning because that very necessary internal confidence that keeps a persom from being a neurotic mess was rarely in full bloom for me.  Instead, I’d pretend I felt confident at auditions and then quietly go home where I could pick apart every choice I’d made and obsess in peace.

Then I directed my first show, which meant I was casting a show for the first time, and in so doing, I had a revelation: for the first time, I understood just how much time I had wasted locked in actor anxiety about things I had very little control over.  After that experience, I auditioned with a lot more boldness, confidence, and less personal worth on the line.  It was freeing.

I woke up this morning reflecting on this, because we at Little Black Dress INK recently announced our ONSTAGE Finalists and I thought it might be interesting to know how I came to narrow down what was a very awesome list of 36 plays to just 15.

First, it’s important to know that we use a peer review process to select our initial semi-finalists, so all of our participating playwrights are responsible for determining the first cut. After that, I consider peer-review scores and Partner Producer nominations along with the points I’m outlining below to create what I hope will be an awesome and successful line-up.

So, in the interest of helping alleviate some writerly anxieties, I’d like to talk today about what I’ve learned—as a playwright—in the five years I’ve been producing new plays:

  1. First, proofing your work is important, but a typo here or there won’t sink the ship!  I can’t believe how many playwrights send in work that just looks like a hot mess.  If you don’t take my time as a reader seriously, why should I take your play seriously?  Make your plays easy to read – format it in a way that is friendly to the eye and go over it for typos and grammar!  BUT, that said, if a play is truly unusual, gripping, or awesome, I’m much more likely to excuse a few formatting hiccups.  That’s just the way it is.  I would never not-produce a piece that I loved just because there were a few misspelled words.  On the other hand, most of the time, the work that is the most compelling is usually also in top readable shape.
  2. Contrary to popular belief, we don’t just select the “very best” pieces.  If I’m creating a festival line-up, I’ve got to build a satisfying one – and that means a mix of genres and topics and tones… I may have nine FABULOUS dramas, but if I produce an entire evening of dramas, my audience is going to be exhausted.  The same holds true if I have multiple pieces that tackle the same subject: even if they’re fantastic, I’m only going to put one of those in the line-up because including too many similar pieces in one night can feel redundant.
  3. I like to use monologues in my fest, so I do.  Monologues have been a really nice addition to our festivals – they are perfect curtain pieces that keep the audience engaged while we set the stage for the next piece.  So, when I select my final line-up, monologues are something I put a lot of energy into.  The other  fabulous discovery I’ve made as a producer is how incorporating short scenelets (a 10-minute play comprised of several mini-scenes) into our fest between plays can provide a delightful through line in what is usually a fractured event. This is just my own preference – and other producers will have theirs.  The reason I mention it is that if I’m selecting 5 monologues to help cover set changes, I might not be able to include that 9th totally awesome play in the line-up.
  4. “Best” is relative.  This one is a no-brainer, but I still mention it because I think even though we all know it, it helps to be reminded once in a while.  Personally, I like plays that feel like they can only live on the stage.  I like plays that challenge or delight me, plays that feel fresh and unique and unlike anything I’ve seen or read before… But what’s the common thread in all that?  Me, myself, and I.   What’s “fresh” to me isn’t guaranteed to feel fresh to she/he/you – so it’s an unpredictable factor that a playwright can’t control and shouldn’t fret over.  What I like about our peer-review process is that it identifies a broad spectrum of work that is outstanding – not just from my own personal perspective, but from a variety of eyes – but as I winnow that list down to the final selection, my perspective comes back to fore.  You could take our same group of 2015 semi-finalists and create a multitude of awesome festival line-ups, each uniquely reflective of what different producers were looking for… and there’s just nothing a writer can do to change that.  Which is why the best thing a writer can do is write work they believe in, send that work out in the best shape they can get it into, and repeat.  Meanwhile, we’ll be here sifting through the incredible amount of awesome work, trying our best to create a line-up that we feel best matches our mission, our audience, and—sometimes—our own personal aesthetic.

And there it is – my ten cents on festival selection.  I hope it’s of interest and of help to you, my fellow writers!

 

The Female Science Fiction Writers of Tomorrow

Female Artists, Feminism, Girls, Performing Arts, Play, Playwright, playwriting, Theatre, Young Women,

by Korama Danquah

It’s not a secret to anyone that science fiction writing has, in the past, been a boys’ club. I can’t really tell you why. Perhaps it’s a carryover from the gender gap in science education or maybe it’s just that women feel it’s more productive to construct a real-world society of equality before creating elaborate fictional future worlds. Whatever the reason, there are 20 H. P. Lovecrafts for every Ursula Le Guin.

This weekend, however, marks a momentous step forward for women in science fiction writing. Five young women will have staged readings of their science fiction short stories at Sci-Fest LA’s Tomorrow Prize. These LA high school students will have their stories (1500 words or less) read by prominent sci-fi actors and all five finalists are women.

Screen Shot 2015-05-15 at 4.58.39 PM
Finalists from Left to Right: Ashley Anderson, Erica Goodwin, Janeane Kim, Ruby Park, and Athena Thomassian

The five finalists are a beacon of hope for female sci-fi fans. For decades women in science fiction have been seductive aliens and, more recently, captains and starship officers, but we have not often been the authors of these fantastical stories. These finalists and others like them are saying no to the boys’ club of the past and carving a place for themselves in the annals of sci-fi history. It is often said that “you can’t be what you can’t see,” and these young women are making themselves visible for female science fiction writers of today and of tomorrow.

The Tomorrow Prize readings take place on Saturday, May 16th at 4:00 at Acme Comedy Theatre (135 N. La Brea Ave, Hollywood). Tickets are available for $10 online and $15 at the door. All box office proceeds and any additional donations received that day go to the winner’s high school science department. 

2nd Annual SWAN Day Action Fest – A Success!

Audience, Female Artists, LAFPI, Performing Arts, Theatre, Women, , , ,

Saturday’s LA FPI SWAN Day Action Fest was packed!SwanLogo2

 

The City Garage Theatre is a lovely space.

Each reading was fantastic.  The talent in the room was magnetic -even the micro-reads which are done with minimal if any read-throughs prior to reading them in front of the audience were exciting!  Such FUN.

Thank you to everyone who made this event a success – you rock!

 

City Garage LogoAOC - Free Association Theatre Logo 021315

LAFPI1

 

 

 

 

 

 

 

 

 

The Quest for Conflict

Female Artists, LAFPI, Play, Playwright, playwriting, Theatre, , , , , ,

by Kitty Felde

It’s the first thing we learn about drama: conflict is the engine that drives the train. So why is it so hard for some writers (ME!) to create and intensify conflict?

The truth is, I don’t like torturing these wonderful characters I’ve created. And I don’t like conflict in real life.

It’s not that I roll over and give up. Instead, I analyze the situation, try to charm my way out of it, win the other person over to my side. I’ll even fight back when I’m mad enough.

If I look at myself as a protagonist, I AM taking action. But it’s not very interesting to an audience.

My most produced play “A Patch of Earth” was all about conflict: a 20-something kid Drazen Erdemovic who found himself in an impossible situation, forced to make an impossible choice. I didn’t create that conflict. It was handed to me on a silver platter, testimony from the International Criminal Tribunal for the former Yugoslavia. It was his story, the story of a Bosnian Serb who served on all sides during the war, finding himself in a corn field outside Srebrenica, learning how to shoot large numbers of people in a short period of time. He didn’t want to do it and told his commander he wouldn’t shoot. “Then stand up with them and we’ll shoot you,” he was told. “And then we’ll go to your village and shoot your wife and young son.” The audience is put into that impossible situation, asking themselves what would THEY do? And arguing about what the just punishment would be for someone who confessed to killing “no more than 70” of the twelve hundred people killed in that cornfield, yet was the first person to tell the outside world about the massacre at Srebrenica.

But what do you do when you don’t have a civil war to create conflict?

It always comes back to the question: “what does my character want?”

If that “want” is small potatoes, nobody cares. It’s got to be important enough to the character to face all odds, go the distance, sacrifice anything, to achieve the goal. It’s got to survive the “so what?” test. If the main character doesn’t get what she wants, so what? The sun will come up tomorrow morning, babies will continue to be born, tea will still take 3-5 minutes to steep.

This is the challenge of a romantic comedy I’ve been fighting with for months. The “so what?” test. So what if Betsy doesn’t get the big story? Does she lose her job? Lose the guy? And if her “want” is so small, why should we care about her? Why should anyone pay $15 (let alone $115!) to see a show where the stakes are undefined? Why should they emotionally invest in a character who’s wants are just “meh”?

It’s time for me as a writer to become brave enough to torture my characters. Give Betsy impossible odds. Trying to overcome those odds will give her more backbone, give her action that will propel the action forward. She’ll survive. (After all, that is the rule of comedy: everyone lives happily ever after.) But make her earn that happy ending.

I suppose that’s the same message to me, the writer: make this play worth the struggle to write it and write it well so that I can earn my happy ending – otherwise known as “end of play.”