Next up: a reading of THE ALBATROSS

As part of the Underground Readings, my play THE ALBATROSS will be having a reading next Monday, June 20th at 7:00 pm at The Grey Box.

It was directed by long-time collaborator, Lisa Jackson-Schebetta, and features some pretty amazing Pittsburgh talent like Jeffrey Carpenter (Bricolage) and Mark Clayton Southers (Pittsburgh Playwrights Theater and The August Wilson Center) as well as up-and-coming talent like Laci Mosly and Fred Pelzer.

As those who know me and read this blog, I'm the guy always saying "self-produce, self-produce, self-produce".  So when Bill Cameron, the writer-director of Violet Sharp which is being produced by Terra Nova Theater, said to me and some other playwrights, "hey, we've got some dark nights at Violet Sharp, do you want to do something with them?" I jumped at the chance.  I hate seeing a dark theater.

So, I teamed up with playwrights Ginny Cunningham and Jeanne Drennan and we decided to do a series of readings and found some playwrights with some stuff to read--all of them of high calibre--and they got some great directors and celebrated local actors and next thing you know, we got us a great mini-festival of new works.

The first evening, Monday night, we heard Gab Cody's new play, The 2nd American Revolution and had wonderful turnout of about forty to fifty audience members.

On Monday, I'll be hearing THE ALBATROSS again.  It's been a few years since the last reading and I'm curious to dive into it.  It's the right amount of time to be away from the material, I think, in order to see it with an objective eye.  I hope I can see some new things or be proud of the things that I know are working.  Either way, I've got a fantastic director and talented actors to take care of the play.

For those of you wanting to know more about the play, or any of my plays, please click here.

Playwrights in Mind Kicks off

Playwrights hard at work in the "Haiku" workshop this morning

It's about 10:30 am and I'm about to head over to the Mason Inn Conference Center for Day 2 of the first ever national Dramatists Guild conference.

Last night kicked off with some workshops and panels in the afternoon--I went to one about getting a Fulbright--and then a "Conversation with Christopher Durang", followed by the first keynote speaker, Molly Smith, Artistic Director of The Arena Stage.

To say that she was inspiring and eloquent in her praise for writers is an understatement.  She seems to be the ideal artistic director--committed to theater as a social practice, as something the community needs and something that needs the community in return.  Her ideas are somewhat revolutionary and require a shift in thinking across the country. She also made a call to us playwrights to be revolutionary in our thinking as well.  We should not shy away from blossoming our own ideas and alternatives to deal with the economic issues of developing and producing new works.  We should make our own partnerships and connections.  In short, we should hustle.

Today is Todd London's keynote, author of Outrageous Fortune.  Then more panels, workshops and later a conversation with Edward Albee and Emily Mann.

The only problem I see with this conference right now is that there's too much going on--not enough time to hang out with all these fabulous playwrights!

Can't Make it to DC for the DG Conference? Watch it on your TV!

So this is cool...if you're a playwright in the middle of Arkansas or Kansas or wherever and you don't have access to Edward Albee or Marsha Norman but want to watch them on TV talk about their craft...then check out the Arena Stage's New Play TV!

http://www.livestream.com/newplay

For schedule of what might be broadcast from the conference, check out the New Play blog.

If you watch, maybe you'll see the back of my head!

(Ooooh, I know, I know, so exciting...)

Can You Make a Living as a Playwright?

There’s an old joke about playwrights.  They say “you can make a killing, but you can’t make a living”.  And it’s true.

What they mean is, if you have the good fortune of the theatre gods smiling on you (a big IF), then perhaps you will get a BROADWAY production which may garner good reviews and a Tony award.  This play will then be published and consequently produced in every regional theater for the next two years and then possibly be performed in some summer stock and/or community theaters for a few years after that.

It is the playwright equivalent of winning the LOTTO.

And you have about the same odds.

 

There has been much blog buzz about the recent statements made by Tony Kushner in a Time Out interview.  

Mr. Kushner is perhaps the greatest American playwright living and working today (Angels in America, pt I & II) with major productions going on, on Broadway, and off, with tons of commissions and has garnered many awards. 

Here’s the comment that brought about the buzz:

“I make my living now as a screenwriter! Which I’m surprised and horrified to find myself saying, but I don’t think I can support myself as a playwright at this point.”

This comment was picked up and commented on by Seattle playwright Paul Mullin 

And then also responded to by the Arena Stage New Play Blog

First of all, we have to ask, is this even an accurate statement for Mr. Kushner?  What does he mean by make a living?  Yes, he’ll make more money writing for HBO, but Mr. Kushner has done quite well for himself solely as a playwright with Broadway productions, publications, grants and commissions. 

Second of all, why should we expect that playwrights could make a living?  There are far too many actors out there who don’t “make a living”.  The average take home pay of a professional Equity actor is probably not more than $20,000 - $30,000 a year (from theater, not from TV and film, mind you).  And I would gather that’s a high albeit rough estimate. 

Is that making a living? And let's be honest, there are many professional actors who aren't making anywhere close to $20,000/year.

I think all of us would agree that all artists should be paid for their work and should be paid well enough to not have to have a full-time or part-time job doing other things besides their art.  Unfortunately, we live in the U.SA. which is not a nation that believes in or supports the arts.  I would love to change that, but don’t see that happening any time soon.

Many people in this country are surprised that you even have to pay for royalties for a play.  What? You pay the playwright to do the show?  And you pay your actors?  People don’t just do art for free? For the “love of it”?

Having a playwright on salary and giving them health benefits is a radical idea.  Thank God for Arena doing something just like that.  They have five mid-level playwrights on salary for three years each.  They will produce at least one of their plays that they write during that period.  That’s pretty awesome.

But again, that’s like a mini-lottery.  Who decides those five playwrights?  There are thousands of writers to choose from.  The amount of playwrights in the Dramatists Guild is somewhere around 6,000.  Now, we have to admit, not every playwright deserves to be on salary, just like not every business major graduating from college deserves to be a manager or CEO or a corporation. No, let’s say only about %10 might be really good and/or mid-level.  That’s still 600 playwrights.  If you had to choose six people out of that, you’d have a 1% chance of getting a salary position.

These are the odds. 

I’m not saying we shouldn’t make money.  I’m not saying we shouldn’t get paid for our work.  I’m saying maybe we should reevalaute our expectations given current circumstances.  Would I like to live in a country that pays playwrights and other artists decent wages?  Yes.  Will I make efforts to change that in our country.  Of course.  Will it happen over night?  No. 

There's been a lot of discussion in the theater world about this very topic--especially given the recent publication of Todd London's book Outrageous Fortune.  Molly Smith, of Arena Stage, will be at the Dramatist Guild national conference, as will Mr. London, so I'm sure it will be a topic if debate this coming week.  

A few years ago, I was interviewing an established award-winning playwright, who was also writing and directing movies, and said something about making a living as a playwright.  He responded, "That's like saying you're going to make a living as a poet.  No one makes a living."  

So it's not just Tony Kushner saying these types of comments.

I don't believe we should think of writing plays in the same terms as playing the LOTTO.  I do feel there should be more avenues to make money doing theater, in general.  But for now...well...If you’re writing plays because you think you can make a living, I’d have to say to you….um, don’t give up your day job.

 

Playwrights in Mind: A National Conference June 9-12

Looks like June will be almost as busy a month as May and to kick things off, I’m traveling to Washington D.C. to the first ever national conference of The Dramatists Guild of America.

I’m fortunate enough to live close enough to D.C. so that this trip is not too expensive for me.  I’m sure we won’t see to many playwrights from west of the Mississippi coming to town.  The idea of this conference, though, is that it will travel from coast to coast, city to city, thoughout the years, so that all members of the Guild will at some point make it to a conference.

I’ve been to my fair share of conferences, both academic and professional, and this is exciting just for the fact that it’s the first one ever for this almost 90 year old organization.

Guests planning to appear and/or give workshops include Edward Albee, Marsha Norman, Christopher Durang, David Ives, Julia Jordan, Doug Wright, and Jeffrey Sweet.  Plus, I’ll get the chance to see an old faculty member from my UNLV days, Julie Jensen, in addition to other Dramatist Guild Regional Reps.

While some skeptics may be wary of this gathering, as playwrights are known to grumble about not enough productions, I think it will be a positive and empowering experience.  As I’ve said before when I was a regional rep in Seattle, never underestimate the power of a group of playwrights in a room.

After the DG conference, then we move into The Underground Readings at the Grey Box in Lawrenceville.  My play THE ALBATROSS will be having a reading on June 20^th, directed by Lisa Jackson-Schebetta and featuring Jeffrey Carpenter and Mark Southers.  More on that later. 

And at some point, I’ll be working on a new full-length play.  Not the robot play.  A new idea of a story set in the Pacific Northwest about two feuding sisters.

Black Kerchief Coming Soon!

Hey kids,

Check out the trailer to the short film "Black Kerchief", coming out soon!  This is my one-eyed cowboy movie!

What I'm Reading: Tell Me a Story by Roger Schank

To say that May was a busy month is an understatement.

After a successful run of Shining City at Off the Wall Theater--which critics called "provocative, well-acted and the "perfect cast" by the way...) I’m ready to do a little relaxing and actually read something that I'm not trying to memorize as part of a performance.  

 

I just finished reading Sherry Turkle’s collection of essays The Inner History of Devices.  This book is part memoir, part clinical textbook about how we related to objects and technology—how it literally changes our lives or affects us, in some ways we don’t even notice.  It looks at the obvious like addictions to online fantasy games or chat rooms, but also looks at people who are living with internal cardiac defibrillators or prosthetic eyes or being hooked up to a dialysis machine.  Written before the rise of Facebook, its startling to think about how we relate to the cyber world and technology, in general.

Why am I reading this book?  For robot research, of course.  As prosthetics get better and better, how will we related to our artificial limbs or tehnologically advanced companions?  Like our robot nanny?

For instance, imagine if Facebook wasn't just a two dimensional interface on a screen, but an actual robot and you could ask it, "So what are my friends up to today?" and it could tell you instead of you having to read it.  How would you start to relate to that robot?  Even if it didn't have a personality?

Now I’m reading Robert Schanks’ Tell Me a Story: Narrative and Intelligence.  (Yes, another book about artificial intelligence for my robot research.)  In a nutshell, this book basically says “Humans are intelligent, as opposed to computers or animals, because we relate and store information in the forms of stories.   Our stories are linked to our memories and its how we communicate and relate to each other.  Stories are who we are.  It’s the best argument for art and culture I’ve ever heard.  Why else do we go to the theatre and movies and read books?  It’s not just a form of entertainment.