Tag Archives: Green Light One-Acts (GLO)

Words from GLO 2015 Playwright: Robin Byrd

GLO, LAFPI, Playwright, Production, , ,

GLO (Green Light One-Acts), featuring 5 new plays by local women, runs at The Miles Memorial Playhouse November 5-15th. For more information and tickets please visit: www.greenlightproductions.org.

 

Why Fiddlin’ on the Mountaintop…  by Robin Byrd

Lulla Bell Jury has lost her momma; all she has left is the fiddle her mother gave her and the beauty and pain of life in the Appalachian mountains. Sometimes you lose so much it’s hard to see what you’ve gained. Fiddlin’ on the Mountaintop is an Appalachian tale of music, loss, family, and land.

Robin Byrd
Robin Byrd

About Fiddlin’ on the Mountaintop: The piece began as a short story created while I was a student at Indiana University; it consisted of only the first scene which you will see here in GLO 2015 (Green Light One-Acts), the remainder of the play is scheduled for development, so stay tuned.

The short story was written in a creative writing class. Writers tend to work out things in their writing as a way to find answers and closure; I was working out my own sense of loss and Lulla Bell became my voice. In a very broad sense, this piece is semi-autobiographical. Universally, it is a story many can connect with as we all struggle with loss and the journey that life puts us on after that loss.

Part of my family originates from Appalachia which I only learned of in the last few years when writing another story set in the area and looking at the map of the Appalachian region of the United States. One of my grandfathers and an uncle worked the coal mines before migrating to the Midwest. My other grandfather still has family as well as a family cemetery located in the region. I think my comfort of putting Lulla Bell on a mountain came from an ancestral/genetic memory of place; it’s like muscle memory for a violinist/fiddler, any musician – there are songs that come through my fingers that I have forgotten I knew how to play and sometimes that I have only sang and never played before but they start to play themselves because the memory of these songs is more alive than even I am fully conscious of.

From short story to stage play: Ben Harney (Tony Award Winner for the original Broadway production of “Dreamgirls”) developed the short story for performance (at the time, aptly entitled “Me, My Fiddle an’ Momma”). Upon reading the piece, Ben suggested that it was a theatre piece that should be staged and I should perform it. It was at this time, Lulla Bell Jury’s story became stage worthy. Ben encouraged me to rework it and flush out areas that I eluded too but did not go into fully. He taught me to attack it from several point of views – the audience’s, the actor’s as well as the writer’s – making sure that the scenes were rearranged in the right order. I learned as much about writing as I did about acting. The exhilaration of performing her on stage was as wonderful as creating her on the page. I am forever grateful to Ben for his mentoring.

Expansion: Over the years, Lulla Bell Jury has made it known to me that she was not finished talking. Taking my cue from Lulla, I began to expand the piece which became Fiddlin’ on the Mountaintop. In Fiddlin’…, I tune back into Lulla Bell Jury to see how her life is going and how she has weathered the storms. In Fiddlin’ on the Mountaintop, I would like to share just what weathering storms means…

About the Playwright: I am a product of the Midwest, mine is a Midwestern voice with flavors of the South. I am a playwright, poet, screenwriter and actor. I love to incorporate authentic regional flavor into my work. Growing up in Indianapolis (sometimes referred to as the northernmost southern city), attributes to my affinity toward southern themes and language in some of my pieces. My work also deals with things of the spirit; I am known for sifting through memories and ghosts and other intangible things for stories… I have studied acting to enhance my voice as a writer. I play the violin; I am more comfortable calling myself a fiddler.

 

(Article written by the playwright:  Article also (posted/to be posted) at “Lightbulbs” on the Green Light Productions website www.greenlightproductions.org.)

Words from GLO 2015 Playwright: Diane Grant

GLO, LAFPI, Playwright, Production, , ,

GLO (Green Light One-Acts), featuring 5 new plays by local women, runs at The Miles Memorial Playhouse November 5-15th. For more information and tickets please visit: www.greenlightproductions.org.

 

All About Harold and Me by Diane Grant

Diane Grant
Diane Grant

All About Harold is one act play that eventually became a two act play called Has Anybody Here Seen Roy?

It began with my daughter who used to work for a visually impaired woman, named Jean, who had been married to a man named Harold. Jean had many stories about him and the one I loved the most was the one about the big black Cadillac. That triggered the play.   Harold also conjured up in my memory a man named Roy who once picked me up in the university cafeteria, chatted me up, wooed me, and then set me up with his friend who was 5’4”. (I have never topped 5’. Indeed, it’s stretching it to say I’m 4’11”). And then Roy disappeared. Like Harold.

I don’t know if either Harold or Roy sang but I’ve always felt in my heart of hearts that most male singers, tenor or baritone, are just a bit treacherous.

I started to write when I was very young and began with stories. The first one was about my piano teacher who would excuse herself from the music room to take some of her medicine. When she returned, her breath always smelled somewhat different. Sweeter. Stronger. My second teacher enjoyed a sherry with my Mother after my lessons, which got shorter and shorter. Somewhere around Chopin’s Nocturne #2 in E Flat Major and the last glass of sherry, I stopped taking lessons but am still writing.

Although I was part of a radical troupe of actors in Canada, called Toronto Workshop Productions, and threw myself into political writing and performing, I’ve always loved and written comedy. The humor in my plays is always about something underneath, something that keeps us going or stops us from living fully. And I hope it makes people laugh.

About the same time I worked with Toronto Workshop, two amazing and energetic women, Francine Volker and Marcy Lustig, asked me if I wanted to join them in forming the first professional women’s theatre in Canada. I did and we called it Redlight Theatre and wrote about women! Most of my protagonists are still women because, well because I’m a woman, and because they are interesting and funny and complex and bound to run up against a man or two.

I’m so pleased to be part of GLO, and thank them for giving women a voice and the joy of working together.

 

(Article written by the playwright:  Diane Grant  Article also (posted/to be posted) at “Lightbulbs” on the Green Light Productions website www.greenlightproductions.org.)

Words from GLO 2015 Playwright: Karen Howes

GLO, LAFPI, Playwright, Production, , , ,

GLO (Green Light One-Acts), featuring 5 new plays by local women, runs at The Miles Memorial Playhouse November 5-15th. For more information and tickets please visit: www.greenlightproductions.org.

 

On Writing “Gentleman’s Pact” by Karen Howes

Karen Howes
Karen Howes

The tap on the keyboard that began the writing of “Gentleman’s Pact” was a desire to take a new look at the age-old “affair.” For good reason, adultery is typically kept a secret, so I wondered what would happen if the secret was made known and the person who was the “outsider” took an action that changed everyone’s roles. Enter the meek “other man” to ask his friend if he can marry his wife. What would be the response? How would the play go? I wondered the effect that such a proposal would have on the relationships of the people involved and I wondered what it would do to each person as an individual.

As a playwright, I was most interested in the dialogue. I enjoy getting to know characters by listening to how they respond and speak, so writing this play was a lot of fun. I came to know the characters as I would real people. What they said, even though sometimes a lie, was a building block that enabled me to understand what they really wanted. It was an intriguing process to be involved in a chess game between three characters who had a lot at stake. I was curious as to how the friendship, marriage and affair would devolve, and I was eager to see a love triangle in which the power and sides would continually shift.

As an unexpected plus — the rehearsal process with the play’s director, Michelle Joyner and the actors at Green Light Productions enabled me to go deeper into this play and discover the threads that weave the larger tapestry. The experience has given me the insight to develop the play into a full length, which I have already begun.

 

(Article written by the playwright:  Karen Howes.  Article also (posted/to be posted) at “Lightbulbs” on the Green Light Productions website www.greenlightproductions.org.)

Words from GLO 2015 Playwright: Katherine James

GLO, LAFPI, Playwright, Production, , , ,

GLO (Green Light One-Acts), featuring 5 new plays by local women, runs at The Miles Memorial Playhouse November 5-15th. For more information and tickets please visit: www.greenlightproductions.org.

 

The Plan by Katherine James

Katherine James
Katherine James

The characters in my play The Plan are young women I have met in every decade of the six decades of my life. Young women who put their hopes and dreams aside for the hopes and dreams that others have for them.

This would be sad enough.

What is truly amazing to me is that the hopes and dreams that supersede their own have been the same two over 60+ years: marriage and working for the family business.

It didn’t strike me hard until my older son (who is now 36) was 18 and I met yet another “Anna” who was his contemporary. Anna is the character whose parents have come from another country to the United States to make a better life for themselves and their children. Their success here depends on this child giving her life to the family business with the promise of her own child some day being allowed to have the right to her own hopes and dreams. The “Anna” who was the contemporary of my son’s had not been able to take the S.A.T.’s because her family made sure she was working in the family restaurant that day. As they did every day. I looked back and realized I had met that same girl again and again from the time I was little. I have continued to meet her since, the latest “Anna” a brilliant actress whose parents didn’t want her to get an MFA. They needed her to run the family business and to translate for them.

Will I ever stop meeting “Kiki”? The girl whose family wants her to marry the nice guy and put her hopes and dreams on hold while she helps him achieve his? I hope so. But so far so bad.

What I hope The Plan does is to wake us all up to the fact that our young women with hopes and dreams need to be mentored by those of us who have realized our hopes and dreams. The most soul searching part of the play for me is when the audience realizes that these girls had mentors. Mentors who didn’t follow up with them.

Some women who have read The Plan don’t believe that family pressure to abandon hopes and dreams still exists. They think that when The Feminist Movement of the 20th Century “was no longer needed” it was largely because girls like Anna and Kiki no longer existed. Of course I would say they were wrong on both counts – Feminism is still needed and in large part because Anna and Kiki still are struggling.

I say about today’s Annas and Kikis, “They are our girls.” Let’s give them the encouragement that their families might not be able to. Let’s help them reach their “American Dream”.

 

(Article written by the playwright:  Katherine James.  Article also (posted/to be posted) at “Lightbulbs” on the Green Light Productions website www.greenlightproductions.org.)