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.'