I'll Eat You Last - A Chat With Sue Mengers - Unicorn Theatre

I honestly thought I was going to die during this show. Being born in 1977, some of the jokes went over my head, but I was extremely tickled by the audience members who are (just a bit) older than me who were dying. This was a raunchy, completely inappropriate show that I watched on 12/23/2014, two days before Christmas. Nothing feels more naughty than watching something completely inappropriate right before Christmas.

Donna Thomason was amazing.

I've been sick, and I have two plays of my own to finish for my women 365 workshop, so this review is brief. Just go watch it. I have to write plays myself, so I gifted my subscription of Baghdad zoo to 2 of my friends for tonight. We'll see how they enjoy that. Check out the calendar and buy yourself some tickets for this weekend: http://boxoffice.printtixusa.com/unicorntheatre/eventcalendar?v=0&i=0&g=0&g2=0&m=12&y=2014

Violet: Spinning Tree Theatre (Just off Broadway Theatre)

Okay, I almost didn't see the show because I began to doubt the Just Off Broadway Theatre actually existed. If you've never been there before, PLEASE read their website directions and follow those. It's under a bridge, through an enchanted forest, somewhere near but not quite under the WWI memorial and the Federal Reserve and the Roasterie.  (Which may or may not be true. I drove in circles and by the time I found it I may have entered a new dimension.)

Once arriving, however, it is a delightfully sweet theatre in a black box. The house was 3/4 full which I was surprised by because the reviews have been very good and it was excellently done. Hopefully, word of mouth will spread. 

I have been impressed by Andy and Michael. (I think I've said this before). They are extremely sweet human beings and are very welcoming. They give hugs and thank yous even though they've only met me a few times, and they take time to greet their patrons. 

As a season ticket holder, when I came in, I had a laminated tag for my own seat that specified it was for "Jessie Salsbury, season ticket holder". Now, these are little things, but they set Theatres apart. It gets the rest of the audience thinking about membership, but it makes the season ticket holder feel like a member of the company, and proud of their membership. 

This, as if said, is the "little theatre that could....and the little theatre that is!" Violet was a layered story, even more poignant that the disfigurement of Violemt isn't evident on her face, but something Lauren Braton and the other actors have to make the audience see with gestures and responses. (I could write a whole review on Ms. Braton's physical presence and work in this production; it's masterful.) Julie Shaw has to communicate the horror of the disfigurement by her dialogue delivery and her response. We see the scar and mashed cheek and crushed nose. "On your imaginary forces work," indeed.

Matthew A. King and Daniel Beeman are a great pair as Flick and Monty as Violet's competing love interests. Their voices are also a sharp contrast. Mr. Beeman has a rich, sweet tenor while Mr. King has what I would call a "clear out the room you can hear that young man sing from across a football field." I did not expect that big of a voice to come out of his mouth: that was amazing. 

Ms. Braton, Mr. King, and Mr. Beeman singing together? They could tour and never be broke another day in their lives. 

The supporting cast was phenomenal. This show is known for the climactic scene with the TV preacher and the choir, and this group lived up to the show. Jake Bartley, I had to cover my face with my scarf. He was so into it, the dancing and waiving his hands, him dancing in this scene and telling Lianna McKenzie before her bring the house down solo to "take your time, girl" was worth the price of admission alone. 

This show is quirky, I wouldn't call it fun, it's thought provoking, and moves you to think the way you view yourself and how others perceive you. The most interesting part to me is the bus scene after Violet mistakenly believes she is healed. No one looks or reacts differently. Is that simply because she believes she is now beautiful and worth looking at? It's a small, understated moment, but maybe one of the most important in the production. 

I have saved up money to donate to a theatre, a tradition I will continue each season. The competition will be random; there were set rules in my mind for who would win the "Brick Street Theatre Company Donation of the Year." Recipients will be Kansas City local theatres, but it could branch out to random ones across the country that I believe deserve their best chance. If you would like to be considered for the 2015-2016 season's award, put a note comment on my blog!

Why did I decide to donate this saved money to the Spinning Tree Theatre? I've observed other local Kansas City Theatres. Some didn't fare so well on my checklist as far as patron services, treatment, and responsiveness. Some were a close second or even a tie. Spinning tree, as far as patron care, went above and beyond and was the clear winner, and since they're new, I wanted to give them my support.

What was the deciding factor on the prize? There was a sign on my seat that said I was a season ticket holder.

(And every time I talk to Andy or Michael they talk to me like I'm a friend. And, of course, they do great theatre.)

So, the donation may be small, but I wanted them to be recognized, and to know that they did win a competition (even though it was a one woman competition with a medium size prize).

It's the little things. 

Who will win the 2015-2016 Prize? I'm not telling you next year's criteria. Keep doing what you do. If I don't know about your theatre, tell me, so I can attend.

Bad Jews

Bad Jews is labeled as a comedy, but it is a social commentary. It's there to make you think. Even after laughing at nearly every line, I'm still thinking about how faith and culture collide. 

The story hinges on 3 cousins and one of the cousin's girlfriend staying together after their grandfather's funeral. Dina Thomas is masterful at balancing an hilarious character that is trying to cover a broken heart. All of the characters rotate around her as their axis, and their responses to her reveal their character and how they feel about their faith and situation. 

In faith, is it a feeling? A cultural experience? Is it something that has been passed down from generation to generation? In this short play, the Jewish faith and culture is explored in a humorous and unexpected way. There are no caricatures; just an honest response to grief and what it may mean to pass one's faith to other family, or to potential spouses. 

As always at The Unicorn, masterfully done. 

(On a side note, I'm hopeful my play 'Blood and Water in Topeka' can do the same. Give a social commentary while entertaining.)

Brick Street Theatre Company Playwright Workshop 1

Today I workshopped two plays - "Fly Loft" (Full Length) & "Blood & Water in Topeka" (1 Act). I was able to get good criticism and feedback to move the plays to the next stages of rewrites. 

I am writing two one act plays for the 365 women a year: a Playwriting project. I am creating a one act about Henrietta Lacks and a one act about Michelle Obama. 

It's great to hear your writing spoken, to finally hear the critiques move down to more nitpicking changes than large adjustments. "Blood & Water in Topeka" will most likely be a fringe festival submission. 

More next week. 

365 Women a Year is gaining momentum and press. Follow us on our Facebook page, or at:

Twitter: @365womenayear

http://365womenayear.wordpress.com

Our Town at KC REP

I normally don't review KC REP since I like to keep reviews to the smaller venues, but I have to talk about this one. 

I lost it while ushering, before it started. I overheard two parents tell their kids "I played the organist in my high school production" and another said "I wanted to play Emily but my friend Susie got the role." This play is a United States cultural phenomenon. Everyone has had to read it or act in it. (Myself included, I was the milk man.) 

This production brings it into modern dialogue, modern dress, and lighting just like what you'd see in a high school gym. The actors are wearing street clothes. This is exactly what our high school productions of Our Town felt like. Simple. No costumes. No accents. Horrible canned lighting. You can see the audience because it's in a gym. Absolutely nostalgic in the most insane way possible. 

Being able to see the audience across the stage was brilliant and also a killer. Couples, parents and kids, friends were all leaning into each other, whispering, and pointing out different parts of the play. This play is familiar to everyone in the audience and they are reminiscing with the show. I could hear a woman next to me whisper to her girlfriend "this is my favorite scene" when Emily and George started talking to each other through the windows. Then, she started to cry. An older gentleman right in the front row on the floor aisle had to take out a handkerchief to wipe his eyes. We were all absolutely losing it. 

The ending I can't reveal to you without ruining the surprise. They've done something amazing with it. You have to see this show. This is an event. The audience is 110% with the production, everyone is a mess because they love it, and the ending will absolutely slay you. 

Kcrep.org

Unicorn Theatre Season 41 : Opening Night Amazing

They have a new roof, the newly christened Levine stage, and they are incredibly gracious and giving to their patrons. There was a snack meet and greet after the show. Cynthia Levin is amazing and I definitely want to be as brave and amazing as her when I grow up. 

What an opening night to Hands on a Hardbody. Sold out show, rocking music, champagne toast. 

Here's to the local KC theatre that now OWNS their own space. 

Here's to new improvements, including a new roof!

Here's to more new plays by new playwrights. 

Here's to 41 more amazing seasons!

My review is as simple as my Facebook update "omg I wanna make out with this show."

Www.unicorntheatre.org

See this. Get season tickets. Go!

Spinning Tree Theatre : Ghost Writer

The night after Ghost Writer (Thursday) I was so wound up I couldn't sleep until 2am. It was a great show and my dates, Lorraine and Katie, were fantastic fun. I've had the privilege of seeing great theatre lately, and I am amazed at everything in Kansas City. I've got to be careful to balance my theatre events, my family, and my school work. There is just so much going on! So many Kansas City premieres!

After watching "Hope and Gravity" a couple of weeks ago at Creede Repertory Theatre, I was extremely interested in how Michael Hollinger's writing would differ in this production. This playwright is a writer. He deals in the same wheelhouse as David Mamet: simple, heartbreak, missed chances, tragedy, and almost-could-have-beens. Words, not flash, are his medium. 

Both productions I've seen discuss writing and its pains; the waiting for inspiration, the rapid flow of words, the re-writes, the discussion about writing of others, critiques. Writing, the art and work; teaching about life itself. 

As Myra Babbage, (Katie Kalahurka) explains, you wait for the words. They can come quickly like rain, or not at all for long periods. 

Franklin Woolsey (Robert Gibby Brand), and wife Vivian (Jeannie Blau), bring nuance to the pain of loss, of pining for someone you cannot have, and losing someone's love, even before they've passed away. 

This production, however, showcases Katie Kalahurka* in all the range and delivery that this production requires. Hers is a dangerous performance; too weepy or melancholy, it would've dipped into something ridiculous, not funny in the right places, the pain wouldn't have been sharp enough. She delivers with humor, and heartache, and it is perfection. 

Sean Glass has created a lighting design that is its own character. Having to slip us between times, between Franklin Woolsey (Robert Gibby Brand) being alive and a ghost, was cued beautifully by the lighting. Harsh when Vivian (Jeannie Blau) was on set, softer when Franklin Woolsey and Myra Babbage were working, or dancing, I had to divide my attention between the beautiful design and the acting. I'll be sure to volunteer usher in the future so I get the chance to see Spinning Tree's future productions more than once. There is a lot to see, and much they should be proud of in their 2014-2015 season. 

Please note: support them by buying season tickets. Visit www.spinningtreetheatre.com

Some (professional) reviews that tell it like it is:

http://www.kansascity.com/entertainment/performing-arts/article1287929.html

http://m.pitch.com/kansascity/ghost-writer-spinning-tree/Content?oid=4547687

*To the patron who decided to eat a bunch of candy and play with wrappers during Katie's last speech: if I find out who you are, I will drop a typewriter on your foot. 

Spinning Tree Theatre : You're silly if you don't get season tickets

Tonight (or, last night) I had the privilege of seeing my first Spinning Tree production: Ghost Writer.

I'll get you a more detailed review later, but keep your eyes on Michael Grayman and Andy Parkhurst. They're bringing Kansas City three regional premieres this season: Ghost Writer, Violet, Black Pearl Sings and classic musical Fiddler on the Roof. 

Get your tickets now for Ghost Writer at www.spinningtreetheatre.com and purchase season tickets. 

Tomorrow night is a Premiere night for Hands on a Hardbody at The Unicorn. 

Kansas City Theatre Season 2014-2015

This is a great article summing up the upcoming KC season:

http://www.kansascity.com/entertainment/performing-arts/article1269746.html

Day 2 in Creede

Day 2 in Creede! Got to spend some time with Kate before her set of shows today. We are outside the Ruth theatre here. 

First show of the day at the Ruth theatre was 'Hope and Gravity' by Michael Hollinger. I'll be seeing Ghost-Writer by the same author in a couple of weeks at the Spinning Tree Theatre in Kansas City. 

There are shows that are created by actors for actors, or shows that highlight technical elements that cannot be divorced from the production.

'Hope and Gravity' is a writer's production. Two of the play's characters are writers, and the engine is the perspective of a writer. I appreciate and love large productions, but what I love about live theatre is the smaller dialogue exchanges that actors realistically volley back and forth. 

Hollinger and Mamet are similar in this way - heartbreaking, believable misses and choices that are wrapped up in small moments that are expanded to bigger themes. Can we take something small to be a sign, or a miracle, even if it's a catastrophe? 

As the author says himself, "Theatre dares to promise that we'll be more interested after sitting in our seats for two hours than we were when we first sat down. So we're all aspiring to engage an audience of fellow human beings, to thrill them, educate them, move them, then release them and send them home, hopefully with a little piece of ourselves inside." 

The set pieces, which had to change to go back and forth in time and place, were impeccably executed. Even though the scenes were cut out of order and referred back on others, it was able to be followed. Mandy Heath and Jacob Welch created a deep and gorgeous lighting design that helped drive realism when it was needed but created a beautiful back glow on the most gorgeous tree set piece. Original music, by Tina Watson and Jake Harbour, became its own character and set the tone the moment the audience entered the space. All of the actors were impeccable, but I was most impressed with John Arp. I didn't realize until afterwards that he played both roles of Marty and Douglas as his physical and vocal range were so varied. I wish I could watch this show at least one more time before we had to leave. 

In true repertory (whiplash style), the evening production, 'The Secret Affairs of Mildred Wild,' was a prop and costume heavy production. At the pre-show talk with the dramaturg, she explained this show was from the "magical realism" genre; a woman uses movies to escape her mundane life. 

The stage manager, Leigh'Ann Andrews, has to be in top form during every show. There are phones ringing, flying rocks, a King Kong hand, a live phone conversation paired with TV background noise, and actors going in and out of trap doors. There were some hiccups in tonight's show - some missed phone ring cues, some forgotten song lyrics - but for the amount of insanity it was well executed. Christy Brandt, 40 year CRT legend, played Helen Wild in the 1976 production of Mildred Wild, and is now reprising her role. What longevity with one company, and how fun to reprise a role years later! 

The show was stolen by Zlatomir Moldovanski, who hammed it up in a fairy dancing girl outfit, a Mammy (Gone With the Wind) outfit, and a sleazy 1970s producer. I would have loved to see more of him in an improv capacity this weekend.

As our theatre weekend vacation comes to a close, we are so grateful we came. Creede Repertory Theatre has a rich history and a bright future; I am sure their 50th season will be a great celebration next year. 

Www.creederep.org

Www.spinningtreetheatre.com

On the Road to Creede Repertory Theatre

Www.creederep.org

My husband and I are in the middle of a trip to see 4 shows at Creede Repertory Theatre in Creede, Colorado. Kate Berry, an actor friend from college, is in three of the four shows. This is a true repertory style theatre performance schedule. (Yes, KC Rep, I'm looking at you.) It is fascinating how similar Creede is to Mt. Carroll, Illinois and how both small towns can hold these absolute jewels of professional Theatres. 

How absolutely lucky and wonderful, especially for the youth of these communities to grow up with live theatre in their backyard (a block from the school.) Now that I've written that, I realize that everything in Creede is about a block from everything else, but it still paints the picture. 

Tonight was closing night of Annie get your Gun and then Boomtown (improv). In reviewing Kate Berry, I'm extremely biased, cause we drove here to see her - but her comedy delivery really was exceptional. She was over the top, but her physical movements weren't so big and flailing that it distracted from what she was communicating. She was perfect. 

It's amazing having a young actor in your head from college and then seeing a professional years later. I kept telling my husband that I had to keep myself from crying even though Kate was playing an extremely funny part. I was just very proud of her and everything she's worked on. I can't wait to see her again tomorrow.

I know more about the technical side- but first impressions are that CRT is run like a well oiled machine. It may be that we are here at the end of the season, but man, the trains run on time. The house is run efficiently, even though we watched staff an actors run from one theatre to the next, from one show to the next. The artistic directors take great pride in their spaces, and they are decorated accordingly and tell the story of who they are and what they stand for as a theatre company.

Annie was a lively and fun production with a lot of moving parts - set pieces, costumes, singing, and dancing. They kept the set simple with the actors moving the pieces themselves and breaking the fourth wall by calling the changes. It looked effortless, and fun, but the backbone was hours of hard work. Well done. 

Emily Van Fleet and Sean Thompson were impeccable as Annie Oakley and Frank Butler. The roles, in the physicality and the singing gymnastics, require the very best and they were up to the task. They had to to tread a fine line of being expressive and funny without being caricatures, which is always the challenge in musical theatre. 

Ann Pittman was another actor, Winnie Tate and others, that caught my attention as a younger actor that was able to sparkle in a supporting role. I will be interested to see the range she can provide in other characters as she grows in her craft. 

After a delightful showing of Annie, many of the cast went to perform an improv show, Boomtown, at the Ruth. Caitlin Wise, is a bundle of energy that bounced from part to part. She came across as a little scary when she played the part of the internet at one point. Jessica Jackson was absolutely insane - black garbage bags over casts, really? John Diantonio was on this kick about murdering birds, which was frightenly hilarious. 

At times, the actors just looked exhausted watching one another in the sketches (one may have dozed off, I won't tell) but they put on a great improv after most of them were in two shows of Annie Get Your Gun earlier. It may be the mom in me, but that may be a bit much! Or, actors are a little bit more insane than the rest of us? Or both. 

Can't wait for tomorrow!

Creating our own theatre company

We are moving forward with two Saturdays of play reading and workshopping, and then we will move into more formal rehearsals. We are going to investigate creating a non profit association for our theatre company, but we need to meet some lawyers to get advice on how to create that. I don't think we will buy our own space; but renting should work for the time being. 

Starlight, Spinning Tree, Master's Degree

My writing has somewhat stalled.

On a great note, since I'm a student, I was able to purchase "Final Draft" playwriting software at a significant discount. The playwrights on "Cry Havoc Podcast" mention using that program, instead of Word, and I can tell it will be much better. You can track characters and arcs and replace character names more easily. I am not looking forward to transferring my current works to that program, but I will tackle that task another time.

I was in my kitchen the other day and I decided, above all things, I would rather be a terrible playwright rather than be a really good anything else. I've got to create balance - with a young child, work that does have to pay the bills, family obligations - but in that space I spend a lot of time daydreaming of rewrites and ideas I've had for years.

My Master's degree is done the middle of December. In the meantime, I'm submitting the play I've completed, as far as I can, to workshops and theatres that accept new works. I am attending theatre as often as possible. On September 4th I am going with two girlfriends to see "Ghost Writer" - at the Spinning Tree Theatre - a Theatre I have not attended nor reviewed before. This should be a good time. I've attended Starlight this summer with one of my best girlfriends, and that has been a good contrast to the smaller, local theatre shows I've been attending.

 I will continue to write in my spare time, but my pursuit of producing my own work and finding spaces to rent and create will most likely need to wait until December, especially since I have just taken a new job that is taking more time than I expected. It's my goal, my objective, to be a playwright, even if I am the worst one you've ever heard, but my goal is still there. I am plugging away towards my goal, even though I am slowed a little bit by the rest of my life, it is a goal that I simply cannot give up. I tried to leave the theatre for years and it made me ill. I cannot be a square peg banging myself into a round hole; it will crack me again and that cannot happen. I just need to keep the balance to keep myself well and healthy.

With my health, the strange thing about being bipolar is that when I forget my medication I feel as if I can conquer the world, and I get very excited about what I write, and what I'm doing, and I am completely singular in my obsession. I annoy myself. However, listening to other artists, I hear the same excitement and singular drive and obsession in their voices. I have talked to my therapist about this - that I am not sure if in these moments I am really manic, or am I just happy because I have been unhappy for so long? Does happiness feel like mania because I've been stuffing my feelings for years and telling myself I shouldn't act the way I want to because I need to be an adult and not be creative?

This is a question she and I continue to ponder: is it mania, or am I just happy, and shocked because I've been so unhappy for years? She and I agree that I need to keep balance so I maintain my family throughout this process, and I do not become so obsessed with theatre that I lose sight of everything else, but she and I have both considered that the mania is simply true joy and happiness. It's such a foreign concept that I am assuming it's a manifestation of my mental illness. That is sad, and strange, but yet; I am comforted to listen to other artists who sound and feel the same as me, who are just as obsessed with this strange art that is on the fringes but yet has survived for hundreds, if not thousands, of years. This is comforting, and good therapy.




References & Links:
http://www.cryhavoccompany.org/podcasts/
http://spinningtreetheatre.com/ 
https://www.kcstarlight.com/

Master of the Universe - The Living Room -

http://www.thelivingroomkc.com/

Kyle Hatley has brought a highly imaginative work to life that jumps through time and circumstances surrounding Victor (Rusty Sneary). Victor is haunted by his own mental state, his mother's murder, and his current disgraced service in the United States Army, all tied together with the grief over losing his soul mate, Marie (Grey Williamson) to The War Hero (Jeff Smith). A cast of 16 flows in and out of various characters and representations, and set pieces and actors move in and around the full space of the 3rd floor of The Living Room Theatre. It is a loud, bright, dark, disturbing work that travels down a squiggly line. 

Linnaia McKenzie (Nina Simone) and the band provide an exceptional live musical performance helps carry the production. With the ensemble changing and moving, they provided an anchor, and an indicator, of the play progression. This is an ambitious, heavy work that is exhausting for both the actor and the audience member. It is important to have key figures, such as Linnaia McKenzie's music, helping to pull along the show. 

As a world premiere, it is still going through growing pains. It is an intense, 3 hour show. A rather large group of patrons (6-8) left at intermission because they said they 'already know what's going to happen.' The goal of drama is to keep the audience on their seats, to have them asking 'What next?' This feeling of 'What next?' and excitement was pulling in the second act, especially with The Captain (Charles Fugate) and the recruits. In the first act, at the beginning, we are told everything as an audience and then there is an artistic circle back. Perhaps to drive the drama, look at what is working in Act II and move that style to Act I. 

Also, what scenes can be cut, while still keeping the story?  Keep it moving quickly, but still punctuate it with those sweet scenes with the Astromer (Charles Fugate) and Young Victor (Andrew Stout), and the scenes with Young Victor and Marie as a Girl (Leah Simmons). The more the regular action is quick paced - just like the great scene with all the jump and rolls with the recruits and The Captain - the sweeter the other scenes will be. 

The scene with the water glass and nickel. Why is that in there? If it's important, the audience doesn't understand why, so it needs to be explained. What about cutting down the dress scene and the parade scene? If they are important, let's find out why. Why the scene with every one in the black nightgowns? It was funny, but it shocked us out of the action. 

Also, the audience was confused by the Fortune Teller  (Vanessa Severo). Since it's such a jumpy, insane play, would it be best to just have one muse, Ani? (Vanessa Severo). Again, if they're both important, communicate why. 

This is an important work, and there is so much to see and think about. Since it's a work in progress, there are some items the director and writer can work on to move it to be an even more solid production. It's definitely got a stellar cast, haunting staging, and a gorgeous soundtrack. Now comes the work of paring it down what is essential for the drama to progress. 

The ending, with the kids, was amazing. Don't change that. 

My Living Room Theatre ritual

I've found myself in a ritual when I go to the Living Room Theatre. 

Go early. Go to The Brick and eat a meatloaf sandwich. Work on play arcs and edits. 

Writing and Re-writing and making it up as I go

Now I am in that awful stage in one play of writing, rewriting, analyzing. This is boring, and my only friends are the Cry Havoc Podcast: http://www.cryhavoccompany.org/podcasts/ .

I need to get some live actors to read it and stage small parts of it. My goal is to pay a theatre and some actors for their time, so I can feel good about donating to local theatre even if it's really, really bad.  I am hoping to get this part completed in August, then start submissions in last August, early September.*

The scheduling of the readings will be easy, and mapping out what to work on when; I've done that for years with stage management and company management. However, everything I've learned about playwriting I've learned from watching plays, listening to podcasts, and listening to plays on YouTube. It feels like I am just making this up as I go along. My friends have seemed to enjoy my play, at least somewhat, but I'm hoping at least somebody out there will at least think it's pretty good. I enjoy what I'm doing, so I'm committed to doing it even though I'm terrible, but it would be a nice surprise if I turn out to be okay.


I like this quote from Benedict Cumberbatch (it's on IMDB, so I'm assuming it's really him, it could be totally made up):

Hollywood-style stardom was never my goal, yet it seems to be happening due to particular projects. I don't seek. I don't avoid. I just follow my path, doing my best.


I'm not seeking Hollywood stardom, but I think there is a good lesson to keep going and do my best. I have friends that have kept this path since college, and it's amazing the work they do. I'm in awe.

My to do list for 2014 (that will bleed into 2015) is to see all my theatre friends perform or visit the theatre(s) they work in. If I am writing plays, I am least more appreciative of the work they do. If I am paying actors to read my scripts, or renting a smaller playhouse, actors have rent money and theatres got a donation. So, at least if I'm terrible, I'm doing my best to do good along the way. I won't seek, I won't avoid, I will follow this path, and do my best.

*My friend who is a manager at the Oregon Shakespeare Festival called me a producer for doing this. Well, that's a start, right?

Run away to the Circus

My head was a bag of cats.....

Ok, no one else may be excited, but I finally figured out why I was having such a hard time writing this play. I was focusing on different stories from three different Theatres. I've split them into a trilogy. I'm working on finishing 'Fly Loft' first. 'Fly Loft' I imagine as Harbach at Knox College in Galesburg, Ill.

'Dust': Timber Lake Playhouse, Mt. Carroll, Illinois

'Wolf': Lawrence Community Theatre, Lawrence, KS (the one in the Church)

I've got the back story and the dramaturgy notes started. If I start to stray with 'Fly Loft,' I can dump that back story or ideas into the bucket of the other two drafts to work on another time. 

Less like a bag of cats. 

'We don't want to hear you talk - we just want to see the horses'

https://itunes.apple.com/us/podcast/writing-university-podcast/id402005016?mt=2&i=119198619

Kate Aspergren, in this podcast, discusses playwriting and the beauty of our suspension of disbelief. She completely 'geeks out' over The Lion King and War Horse puppetry, and how, like children, we quickly forget that what we are looking at are men handling puppets. 

It takes a few moments, but our eyes and minds adjust, but quickly, we are fully invested. Somehow, we do not see the puppeteers any longer. We only see Joey, prancing or running or rearing back. Kate couldn't explain it, from a playwriting perspective, she just said, sometimes things are so beautifully done you just want everyone to 'shut up so you can look at the horses.'  Not only is she a playwright, but she is a true fan of live theatre, and respectful of it from cradle to grave - actor, technician, costumer. She is humble, and urges the playwright to rewrite if an actor keeps changing your lines, because they're 'probably making it better.'

We have been looking at the horses for a long time on stage, seeing them, suspending our disbelief:

Think when we talk of horses that you see them

Printing their proud hoofs i' the receiving earth;

For 'tis your thoughts that now must deck our kings

Henry V

Opening Chorus 

To see the horses in War Horse: 

http://youtu.be/YYNxIgyC7k8 

Oh September

 My friend TJL had sent me great information on play submission, and in further searching it appears the submission time for playhouses or organizations is Sept 1 - May 1 .  So, I'm commiting to this insane summer of rewrites, readings, and talking to myself and submitting closer to end of summer. I'm still working through getting some local folks to read and walk through for me. Here are some additional submission places:

http://www.womenarts.org/funding-resources/theatre-ongoing-calls/ 

The rewriting process is different for everyone, but I feel as if I'm in this cycle of rewriting, taking out, putting in. I'm giving typing a break, but trying to think of these people and how they would talk.  I ran through this insane monologue of Montgomery's in the car on my way home. I must have looked as if I'd lost my mind. I've got a good idea, I've got some good pieces, there are some bones and sinews missing, but it's pulling together. I blow it apart, put it back together, hide it under my bed, but I can't stop working on it. 

My podcast of the week: on rewriting -

https://itunes.apple.com/us/podcast/the-cry-havoc-podcast/id300453476?mt=2&i=82007368

T J L and a Playwriting Festival Workshop

I'm not putting his name here in case he doesn't want me to, but he gave me an idea. He told me to possibly produce my stuff myself. 

What if I started a women's playwriting festival/workshop for the Kansas City area? Or, maybe I'm being too narrow limiting it to women, is there a playwriting festival/workshop, even? I could rent a cheap place, everyone could submit their work, we could read it, maybe organize guest speakers? Talk about writing? Be nerdy and terrible together? Hell, watch "Waiting for Guffman". 

Can't sleep. Damn friends. 

Where would be the target audience?

How could I advertise for submissions?

How could I get young people involved?

What could I charge to defray cost of rental space?

What is best time of year?

What is best day of week?

Workshop format. 

Invite people from local Theatres?

Have advertising from local Theatres?

Move it from venue to venue from year to year?

Knox College- Fly Loft - Latest Draft - and Katherine - Do not be Afraid

I just emailed out 'Fly Loft' to my college friends, and my Knox College professor, who offered to critique it for me. This is my 8th-20th-40th-something draft, 2 virtual read throughs later. I have a binder of drafts, back story, 30 pages of a short story on these characters, 30 pages of handwritten notes and diagrams. I feel as if I'm near the end of what I can pull. I feel like Anderson and all his maps when he was tracking Sherlock in 'The Empty Hearse.'

I met a woman named Katherine, who sat next to me at the Sneak Peek at the Unicorn last week. I wanted to wait to write about her, because she was encouraging, especially during this part of the process. She had asked me what I liked about theatre, and I told her "everything", but I was working on writing a play. I told her that I'd been sending it to my friends for feedback, and we'd been doing Google hangouts to read it together and get their opinions on it for re-writes. I told her I wanted to submit it for review for a contest, but I was nervous, and felt ill every time I thought about sending it in. Here is what she told me, and I held on to every word. I even typed it short hand into my phone. I felt what she said was something I needed to listen to:

"You shouldn't be afraid to submit your play to a contest. You've already opened yourself up to criticism. That is the hardest part, if you can't take criticism, you can't move forward. You shouldn't be fearing anything else. You're already over the hard part"

The heavens opened up, angels sang, a choir was clapping behind me.

We continued to sit there and chat, and I listened to every third word, but I kept rolling that around in my head. "You've already opened yourself up to criticism. That is the hardest part."

I think it helps that my first critics were my very lovely friends from my college, and it was like a big family reunion to read this crazy play together. I also think every bit of feedback, whether it stung or not, was good to hear. I listened and tried my best to not justify anything, because there is only the text. I still want people to think my work is good, at least good enough to finish, so I am I am doing my best to be better, and I am enjoying having something creative to do.

I am listening to podcasts about playwriting, reading books on playwriting, and talking about playwriting to anyone who will listen every second I am not doing something else. It's exciting to have my brain on something I really enjoy again. I may be writing crap, I may be delusional about how bad I am, but at least I am having a good time. But, I still want to be good, and have someone I respect tell me they want to run my play. I want that more than anything right now, but I keep telling myself that the odds of being chosen to have my first play be put up by a local theatre are slim to none. 

But I am still terrified. Cause I want to do it. But I know I will probably get a rejection letter. But I know I will tack it on my wall like Stephen King, and start over, and maybe come back later, and keep going. Because it's too much fun to stop.

Apparently, according to this lovely woman Katherine, who I just happened to sit next to the last time I was at a theatre production, I am over the hardest part. I shouldn't be afraid. I should submit my play to the contest.

I love going to the theatre.

But I still feel ill every time I think about sending that damn email.

Meet Vera Stark - sneak peek - the Unicorn

Disclaimer: I am not a professional. I just love and want to support local theatre. 

https://www.unicorntheatre.org/?page=about-cynthia-levin

I attended a lovely sneak peek of By the Way, Meet Vera Stark at the Unicorn tonight. This show is going to be hilarious- I am scheduled to see the full production with a friend on June 10th. 

With this show the Unicorn is ending their 40th season, just bought their building so they can tear off the roof and rebuild it, and next season they will be putting on their 59th and 60th world premieres. (One of the world premieres will feature Vanessa Severo, who wrote and starred in Frida from The Living Room that I wrote about).

The Unicorn is one of the founding members of the National New Play Network. They accept new plays to encourage new works. In listening to Cynthia Levin talk, you cannot help but become extremely excited about the upcoming season. She is a tiny firecracker who pulls facts and snippets from each play or musical for the season, and she was delighted and thrilled the main stage will be named for her next season, as voted on by the board. The trick according to her will be getting the pronunciation right - leh-v-inn. 

As my return to theatre support has just begun, I've realized it is a small and supportive community. Walking out of the main stage - soon to be named Levin theatre - there was a photo of Vanessa Severo and Rusty Sneary in a production (I don't rember the name). I overheard audience members discussing different Living Room productions, especially Frida, wishing it were longer. It was fun but over too soon. Not a nasty critic too be found on any production anyone in the audience had seen; just questions on choices and wondering what was going on next. Cynthia is extremely respectful and kind to her patrons, and she knew many by name, and she honored her season ticket holders. She knows how to make everybody feel involved, and welcome, and I've been there twice. I'm surprised they didn't name the whole theatre for her years ago. 

For this particular night, for this sneak peek, I was fascinated by the actors and director. In watching Missy Koonce direct (for some reason on her directing table she has small drums, bells, drumsticks that she would tap out of habit) - she was respectful and joked 'I'm glad this introductory audience is here to show you (actors) I'm right (about my choices).' The assistant producer and stage manager were quick and responsive even though I was laughing like an idiot behind them. (They may not invite me back. I kept snorting.) It was fun to feel welcomed and involved, even though I didn't do much work. It was just lovely to feel involved, and I am happy they invite their patrons to join them in this way. 

Playwriting - Swinging door writing process

 As I have begun earnestly playwriting again, it is amazing how much I can write on my own, and how much I need readers to not only give the dialogue a voice, but provide feedback on what is being said and what is missing.

I've been using google+ to connect with college theatre friends to read my script aloud. This has been a wonderful reunion and a great way to have folks give feedback without having to set up a formal script reading session, especially in the early stages. We can hang out in our pajamas, after our kids go to bed, and read the script together.

Last time, I justified all the criticism, explained why I did what I did, and talked them through it. Tonight, I decided the first 20 minutes after they read it, I would let them talk about it and I would keep my mouth shut. I had gotten that idea from one of the podcasts I listened to (see my prior post.) When you cannot defend your choices, you cannot explain the text, and you leave the text naked and bare - just as it would arrive to the director or to the actor. They discussed it, what they enjoyed about the first draft compared to the second draft, what was missing and what was new that helped this version.

In writing, you need to know when to shut and when to open the door, a tool I am just beginning to learn. Stephen King, in his book 'On Writing', states that you 'write with the door closed, rewrite with the door open.' I believe that is true, but in playwriting, it is even more cyclical. The beautiful art of theatre is that it is a group art. Actors interact with one another, interact with the director, the set, the lighting, the costumes. No one can create a play alone, and even writing a play cannot be done alone.

I may circle in alone for the first draft, but soon it must see the light of day for feedback and a voice. Scripts are meant to be read aloud to be understood - they are not meant to be occupied in head space like a novel. Scripts must be clear, concise, and paint a word picture while giving the actor room to breathe and make their own conclusions.

But the script must stand on its own, as I will not be there to explain it. I liken it to running a leg of a race where you must pass the baton to the next set of runners; you give them enough to run with, and a direction to go, but exactly where and what they do with it is their choice. The only way to make sure your words are clear is to be in the cycle of writing, having it read aloud, and re-writing. It is exhausting, but rewarding work. It is both alone, formed in self discipline, but also a communal activity, a sharing of knowledge and love of theatre and the ideas. The door must shut and open, and circle round again, but the feedback, and the voices, are necessary.

Free Listening Resources for Theatre Artists

My disclaimer: I am not a professional. I just like local theatre, writing plays, and reading and writing about theatre. Here are some things I have found helpful to listen to while I am at my 'real job' to keep me thinking about how to improve the script(s) I have rolling around in my head at the moment: 

I have come across a wonderful podcast from Cry Havoc Company that goes through play writing, play creation, acting, direction, etc. that I have found highly enjoyable.

I haven't listened to a podcast that I haven't enjoyed from this group.


Additionally, there are many free audio editions of Pulitzer prize winning plays available on YouTube - many produced by NPR. (Here is a plug to support your local NPR station - http://kcur.org/ )

For example: "All my Sons" is on YouTube in two parts to listen to. This will give you the ability to listen to the dialogue alone and how the dialogue drives the action.

 Another great video series on YouTube is The American Theatre Wing's The Characters Start Talking:  all of this series is good, but of course I love the one with Annie Baker, Rinne Groff and Karen Hartman discussing play writing.

Frida - at The LivingRoom Theatre - Kansas City http://www.thelivingroomkc.com/

Written and Performed by Vanessa Severo

Directed by Katie Kalahurka

I am not a professional critic, nor a professional theatre person.  I just like to watch theatre, write about theatre, and write plays with my friends. Quotations from the show may not be exact.


My friend Leasha and I had the privilege to watch 'Frida' at The Living Room Theatre in KC last night.

I also had the privilege to hug the actress and author afterwards and tell her that I had posted to social media that I would be able to say 'I saw this when...' and she should be proud of herself that it was a sold out run. I feel very, very sorry for those of you who didn't get tickets. Do your best to get there to get some standing room only or grab seats for no shows. Or read this review and cry that you were silly enough to not get tickets weeks ago. Or hope that the Unicorn or KC Rep or another larger theatre is smart enough to pick this up.

This show is a ride that takes a little while to understand, but once you catch on, it is dazzling. Frida spent so much of her time in bed, Vanessa begins the show in an upright bed sleeping. As the audience is walking in. As an audience member, it shocks you, as first you really think it's just a picture, or a painting - but it's really her, 'laying' in an upright bed. Right as the play begins, as the audience has been watching Frida sleep and stretch in her bed, she begins smoking in bed and completely looking past us.

Now, in retrospect, I am 110% more impressed with Vanessa's performance after I met her than before. She is the sweetest little thing that hugged me about five times after I told her she did a great job. However, in that bed, smoking that cigarette, her eyes were dark, and she completely looked past the audience, with a gritty voice of someone 20 years her senior. "Come in- Come in" She beckons at the start " Are the rumors true? Yes." - and she, from the moment we entered the space, grabs us and takes us on a ride, just with being upright, flat on her back, smoking a cigarette, as she says, "Whores aren't the only ones that make money lying on their backs."

Confusion for me was only when the painter, Heidi Van, came on stage. I was indignant "Why is an audience member going on the stage - OH! That's what they're doing." (Which was my entire internal monologue I had to keep shutting off  'Wow, that is how they're doing that? That's so simple. That's amazing.')- and she began to paint us through the different ages of Frida - 6 years, 19 years, 22 years - to clue the audience on the ride we were taking. I was lost at the beginning when the painter and Frida danced together in jubilation, but it was later revealed in the text that it was Frida's  imaginary friend while she was in bed as a young child with polio. Vanessa moved between Frida's ages with amazing force it took a few beats to understand the format between the Artist and Frida (especially since the Artist was in modern dress), but once the show was rolling we followed along.

Vanessa could charge you $5000 for the scene when she is painting herself - and you as the audience - against the mirror, and for the way she plays with the costumes hung on the line. I cannot remember half of the dialogue, I just remember her gorgeous and gutsy delivery from pain to laughter and scary force. She filled that large space - the top of the Living Room KC theatre space - with that monologue alone. And all I can say is I am so sorry if you weren't there. I was so proud of a local female artist who could take something so complex as Frida and bring it up in simple gestures, costumes, and in the middle sock the audience in the gut with a gorgeous and fantastic explanation of artist as creator, and when the creator leaves what that does to the created. Again, I don't remember any quotes. I felt like the entire 47 minutes someone put me on a roller coaster and I just had to hang on, and I haven't been able to stop thinking about it since.

And when I met the actress and writer afterwards, who was so happy after I told her that she did a good job, and she hugged me at least five times and thanked me, I thought 'Sweet Jesus, don't thank me. I am the lucky one.'