
What do you see the trends to be in contemporary theatre?
I’m seeing a lot of interest in self-production - this comes and goes, of course, but over the past two, three years, I’m hearing this come up more often. And it could be a very good thing - writers who bring a group of people together and just get a show up on its feet to see what comes of it. I’ve heard about this happening in school auditoriums, vacant warehouse space, even bowling alleys. It’s going to be very interesting to see if and how this continues to develop and where it might lead.
What do you think are the toughest challenges for new playwrights today?
The Dramatist just published an article that has some great information on this. I can give you three quotations from it, which are very incisive:
“[Playwrights] wonder why everyone is doing the same handful of plays. And artistic directors acknowledged that they are all after the same small group of playwrights.”
“There are specific things that are startling to hear. An artistic director saying, ‘We are all fighting over the same ten playwrights,’ is a startling revelation.”
“So one of the things we are hearing is playwrights saying, ‘This has made up my mind. I’m opting out. I’m going to produce my own work. I’m going to follow Young Jean Lee or Richard Maxwell’s model.’”
Is there a playwright or philosophy that has inspired your work?
I get a lot of inspiration reading performing arts memoirs and biographies. This might surprise you, but two people whose work has been quite helpful to me are, oddly enough, producers. When I wrote for The Producers Guild Journal, I started reading everything I could find about script-savvy, story-savvy producers. Two who stood out were Irving Thalberg and Desi Arnaz. Thalberg was sometimes referred to as “The Great Physician” of script doctors and Arnaz had such an intuitive grasp of storytelling, he made it seem almost effortless. A writer can learn a lot by reading about these two guys.
What type of message do you hope to convey through your writing?
You know, if there’s an overall message that should be conveyed, it would probably be that play going is a worthwhile activity. Worth the time, worth the effort, and worth the money. And this is an uphill battle in a beaten-down economy. When I go to any event, a concert, a show, a movie, anything - I make it a point to listen to the audience during intermission and after the show. Really listen, especially to the things they say almost under their breath. Now, this is hardly a scientific study, it’s anecdotal and based on “constructive eavesdropping.” But what I’m coming away with is the understanding that theatre going is truly a “tough sell” compared to movie going, concert going, and eating out. People think, “40, 50, 60 dollars for two tickets to go see a show? Maybe we’d have a better time spending that money on a nice restaurant or a concert or a movie and bite afterwards.” We have to be honest; theatre going is a pricey proposition for more and more people and we need to get creative in dealing with that fact.
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