Gasp! by Laura Axelrod

Overcoming

I listened to a fabulous webinar this afternoon by author Sonia Ricotti. Her book, "Unsinkable" is about overcoming obstacles. I haven't read it, but the webinar was exactly what I needed today.

The principles she discussed centered around changing your conscious and subconscious thoughts. The past does not have to be the present. So many times, people get caught up in thinking that nothing will ever change - myself included. For years, I told myself that no matter what I wrote, I would never succeed. And guess what? Nothing did. I programmed myself for failure. 

I don't know why I did that. In hindsight, perhaps I was stalling for time. I needed Alabama to teach me who I was and who I wasn't. People allow themselves to be successful. It doesn't happen by accident. Before, I didn't feel safe enough to let success into my life. But now I feel more empowered and centered to be the person I really am. Genuine success stems from authenticity. It goes against everything our culture tells us, but I have observed it time and again.

Being present and honest about yourself is so important; yet we're constantly told to be someone else. I think the pressure has gotten worse over the years, starting in the late '90s. When pop music jumped from Alanis Morisette to Britney Spears, it was a sign of the times ahead.

It's time to stop wondering what I lost since I'm not sure I ever had it anyway. 

Tuesday Thoughts: Theater

Let's take out the rag and dust off this blog. One of my goals this year was to start writing in this blog more often. One of the reasons I haven't succeeded is because I haven't cared much for my thoughts. Ever have that problem? Yeah? So you can sympathize.

I've grown concerned recently more theater blogs are dedicating themselves to telling people what to write. They are putting it in the guise of social justice, but it seems to be more about authoritarianism. Look, I live in Alabama. I have to deal with social justice matters on a daily basis because of where I live. I don't think these blogs are helping the cause. Instead, they are telling people how to produce propaganda. Art will touch people, but your audience will see straight through propaganda. (And no, I'm not going to call people. Just poke around. You'll see them.)

If I had a magic wand, I would make American theater focus on the cultural divide that plagues the country. I think it would require people to actually develop a tolerance toward others who didn't think the same way they do. In this environment, it isn't going to happen. Guess what? Intolerance isn't a measurement of how strongly you believe in your perspective. Intolerance only measures how much of a jackass you are. (And no, this doesn't mean you have to tolerate racism, sexism, homophobia and whatnot. But rather than beating someone over the head, I've found that it actually helps to engage them in a discussion. Judgment only makes people dig their heels in deeper. After all, is your intention social change or proving your awesomeness?)

People make a whole lot of assumptions about others. That's human nature, I suppose. But it is always a curious thing in theater. I guess I assume theater people are somehow different. More ethical, aware... I don't know. I need to quit putting people on pedestals. It seriously bums me out. I've often felt like I couldn't be myself in theater. Now, you are going to assume that's due to politics, right? It isn't. I'm actually a liberal so I fit right in. I guess the thing that bothers me is that I've never felt like I could bring myself fully into that community. Invalidation, both subtle and overt, float in most discussions. Plus, I do get tired of people "patiently explaining" obvious things as if I am a 5-year old. Can I disagree with you without being treated like a child? Or is that your way of being intellectually superior and awesome? Yeah, I thought so.

One of the things I love about the publishing world is that I can claim my experience and perspective. I've also found people to be supportive, inspiring and positive. They aren't constantly complaining about the world or their role in it. Speaking of roles, one of the other things I also like is that anyone can publish. People from all walks of life can connect directly with other people through their art. The indie publishing world is diverse. Men and women can write whatever they want, however they want. No one is checking resumes, weeding out the "undesirables." I love that. I wonder what theater would look like if it was more like indie publishing. 

I have a great interview on The Clyde Fitch Report tomorrow. But while you are waiting, poke around the site. Others have posted some fantastic stuff. 

Going Forward

As I’ve mentioned before, I’ve spent much of this year reviewing what I might do with this blog. The first incarnation of Gasp! began in 2002, at a different URL and server. I thought I could become more comfortable writing prose if I started a blog. I remember being somewhat shocked when I saw people visiting my site. It sounds silly, in hindsight.

Through that incarnation, I met many cool people throughout the country. They were from all walks of life: soldiers, teachers, law students, and teens. My visitors were conservative and liberal, evangelicals and atheists. Oftentimes back then, I found New York City to be stifling. I only knew people who thought like I did. Blogging widened my horizons. For me, it was creatively stimulating.

I miss that.

Over the weekend, I caught bits of an online conversation. People were talking about when to quit a blog and start a new one. I’d rather not quit this site right now. I definitely thought about doing it, especially since it’s going to undergo a complete overhaul. The topics will change. But I think theater has informed my writing. So there’s no point in starting again with a completely clean slate.

A few notes about going forward:

• As I’ve said earlier, I’m blogging about theater at the Clyde Fitch Report. It’s a bimonthly column.
• I will be including more book notes. These little memos will feature new books that have caught my interest. Book notes will not be full reviews.
• I’m also going to talk more about my own writing process. That’s something I’ve kept off the net. I’m a more private person than I used to be. So it sort of pains me a bit to write about my work on the blog. I’m forcing myself as a personal growth exercise. Plus, it will be good for people to know that I’m actually writing. For real.

Theater Blogging - Old School

I thought it would be fun to try my hand again at old-school theater blogging. A few days ago, George Hunka at Superfluities Redux wrote about the end of the theatrosphere. Blogging about theater was once a popular pastime among theatermakers. Back in 2003 or so, a handful of us got together and thought it would be fun to carry on conversations about theater over the internet. Hilarity ensued.

As blogging became popular, the theatrosphere expanded to include a number of people from around the world. I think one of its strongest points is that we were independent from institutions. While it was true journalists were members of the group, I never had the sense anyone served as an institutional mouthpiece. We blogged about a variety of topics, including sexism, new play development, MFAs, submission fees, Rachel Corrie and the role of the director. It was all fresh territory back then. There were no assumptions, no “been there done that.” There was a feeling in the group that we were breaking ground, comparing notes and talking about things in a new way.

 I learned a lot. I met new people and expanded my knowledge about theater, writing and life. I believe strongly that the group changed things for the better.

 

I also acknowledge that things were occasionally dicey. Some of the flame wars were not illuminating. A few were downright ugly.

There were several reasons I left the theatrosphere in 2007. I discovered someone was using my content for a theater project. I felt violated. It was around that time my Hollywood friends informed me that producers were combing through blogs and actually basing projects on blog content. Apparently, they assumed you could swipe a significant amount of someone’s life legally. So I’m guessing a number of people (in or out of the theatrosphere) might’ve quietly stopped blogging for that reason.

Also, I was country before country was cool. I moved twice from 2004 to 2006  - New York to Austin to Alabama. I attempted to do theater here in my community and ran into major problems. Lack of resources was only a small part of that. Plus, the theatrosphere was urban-oriented. I didn’t think my contributions were valuable.

 As well, I often felt there was an all-or-nothing attitude about theater blogging. Either you did it 100% of the time or forget it. As much as I loved theater, that didn’t work for me. Theater is just a part of my identity, only a piece of who I am as an artist/writer. I do other forms of writing. I have a book project, for instance. Some people know me as an energy healer and meditation teacher. My practice in that area focused on artists, including theater folks. But I never felt like I could write about those topics if I was a theater blogger.

 

Therein lies the crux of problem, I think. Because when I remember all the people in the community at that time, we each had something powerful to offer. For example, George had his incredible intellect. Issac had widespread interests and was extremely articulate. Joshua had wisdom and fantastic suggestions. Scott was steadily becoming an advocate for people in my position. Mac was a funny, cool dude who could lighten things up.  Obviously I’m leaving a lot of people out, but you get the idea. Everybody had a place. But after the group grew, I often felt like it was a struggle to be heard. I wasn’t in the position to meet everyone after a show. I was also one of the few women (and only woman at the beginning). When we all came together back in 2003/4, my gender wasn’t an issue. But when the community grew, I started to feel marginalized.  It’s not anyone’s fault really. It was just the dynamics of that situation. 

For me, George’s post about theatrosphere is timely. I’ve recently gone back to reading theater blogs, particularly Superfluities Redux and Parabasis. I also adore Don Hall’s blog. I started reading it again at 5:30 a.m., when I have to call people in Seoul, Korea to tutor them in English.  I found Don’s blog to be a nice, energetic wake-up in the morning.

When I blog about theater, I do it at the Clyde Fitch Report. They don’t tell me what to write and I have no idea who is actually reading my articles. Those two elements are a good thing. I can focus on what I see or need to say.

Also, writing for a website that is not my personal blog gives me more leeway. Look at it this way. What would you rather say?

“Hi! I’m Laura Axelrod with the Clyde Fitch Report. It is a NYC-based blog. And I’d like to talk to you about nudity in theater.”

Or

“Hi! I’m Laura Axelrod and I have a blog. I’m calling from my basement. And I’d like to talk to you about nudity in theater.”

 I’m kidding, of course, but you get the idea.

 

One of the biggest challenges over the past year has been figuring out what to do with Gasp. I’ve also been working on having a “right relationship” with theater. Doors are opening for me in publishing and I’ve been encouraged by professionals in that world to write about other interests on this blog.

 

As far as the current state of things, it is hard to have a meaningful conversation on Twitter. I respect other blogs, 2amt especially, since they know and have been infinitely supportive of my situation. But I understand what others are saying in the comments section at George’s blog.

 From my vantage point, I’ve grown weary of the “what we need to do to improve theater” discussions in this country. These conversations sometimes seem desperate and creepy. Has anyone yet suggested kidnapping people, holding them hostage to create an audience and then mugging them for funding? Because that’s the vibe I get sometimes from the balcony seats, where I sit. If I were a potential audience member, I’d run far away from theater after reading some of these conversations.

During my time in the theatersphere, I’ve tumbled with a few people. I know Scott and I have gone at it several times and I apologize for the intense flaming. I know I’ve told the rest of you off in my head at least once in those years, so I apologize if my secret thoughts gave off nasty vibes.

Wow, is this a personal post? Do we still do that these days?

I'm going to open up my comments, but despite my fears of a spam avalanche. If anyone chooses to link to this post, I kindly request the following: Please don’t say that this is a painful post. So much of my stuff back in the day got spun with that adjective. “Laura Axelrod writes this painful post about (name the situation)” And I’d sit there looking at my monitor, completely confused. Were my observations hurting people? Or did they think I was in pain?

Either way, you should know I’ve written this post with a big-ass smile on my face. 

(Picture of dog used to illustrate my emotional state while writing this post.)

Morning Pages and The Artists Way

Although I don’t feel creatively blocked, I started working on Julia Cameron’s “The Artist’s Way” a few days ago. The program is for people who want to unleash creativity. I completed the exercises back in 1997, in conjunction with going to a meditation school.

I had significant creative blocks in the ’90s, primarily due to violent relationship. It wasn’t a normal creative block, where you don’t feel like writing. I wanted to write, but didn’t feel safe enough. Anything that reminded me of that relationship produced flashbacks and other problems. So I disconnected from aspects of my creativity, including theater and playwriting.

It was a long journey to be able to write plays again. Part of that journey was completing The Artist’s Way. It wasn’t my only tool, but it sure helped.

A few years ago, I bought Cameron’s entire collection, including “The Artist’s Way,” “Walking in the World,” and “Finding Water.” I had just moved to Alabama and felt as thought I left myself back in Texas and New York City. I never had the time to do the exercises. Maybe it wasn’t appropriate in 2008.

Now, I feel compelled to widen my creative flow. I’m starting with the Morning Pages and Artist’s Date. After the New Year, I’ll begin to work my way through the weekly exercises.

This time, I’d like to regain my sense of freedom. I’ve spent a decade dealing with the business side of writing, which kills creativity. Too many people through the years have told me what to write, how to write and criticized what I’ve written. It’s unavoidable if you want to pursue writing professionally. Gradually, I’ve made myself smaller and smaller, caring more about what’s acceptable for other rather than what is true for myself. 

Writing in Other Places and New Ideas on the Way

I feel honored to be among the contributors for The Clyde Fitch Report. My column, Triple Axelrod (get it?), will cover theater, arts and politics from an outside perspective. Theater looks very different when you aren’t so close to the stage. My goal is to provoke thought rather than manufacture controversy. I think we can all agree that insulting readers to generate page views is so 2007. So, think informative rather than exploitative.

My first post dealt with the Republican Theater Festival. I have to hand it to Cara Blouin. She’s got a lot of guts. During our interview, she noted that theater was insular. I agree with her. I’ve noticed there is a wide range of people from the left and right who don’t feel like they belong in the theater community. It’s curious to me. After all, theater always appears so conscious of diversity; yet many theaters around the country consistently choose white, male playwrights for their annual seasons. Some in the theater community acknowledge prejudice but complain how women write small plays. Or they don’t write good plays. Unfortunately, I’ve heard both. Often.

 

So feel free to check out the Clyde Fitch Report. There’s also a whole host of other columnists, including Webb Hubbell, John Clancy, Elizabeth Burke, Jai Sen, Stefanie Schappert, Beck Feibelman and Roger Armbrust. Very cool people with diverse opinions.  

I also have a slew of other projects that I will announce shortly. I'll also be updating this site more often, with casual thoughts and other ideas.

Creating: The Peinhardt Living History Farm in Cullman, Alabama

For our second episode of "Creating," we visit the Peinhardt Living History Farm. It was a fun, exhausting day of shooting. As a confirmed city girl, I learned a lot about the country. Plus, I heard one man reminisce about making moonshine. Very cool. Check it out. 

Owen Tew and Laura Too Podcast

The latest episode of our podcast, "Owen Tew and Laura Too," has been posted. In this episode, we talk about our demonically depressed house. Our podcast has a visual element if you watch it on You Tube. Hope you enjoy it. 

Book Review: Camp Nine by Vivienne Schiffer

My book review of "Camp Nine" by Vivienne Schiffer was published at Blog Critics. It subsquently showed up at the Seattle Post Intelligencer. 

"Set in World War II, this novel offers a compelling look at racial harmony, sexism, and privilege."

Maybe it's the World War II vibe, which has hit me hard lately, but I adored this book. With its gorgeous prose and vibrant characters, I found it hard to put down. Read the rest of the review. 

Book Review of 'The Double Game' by Dan Fesperman

My review of "The Double Game" by Dan Fesperman appeared in The Decatur Daily, (Alabama). 

"Insiders and casual readers alike will appreciate this smart, suspenseful story." If you are a fan of suspense fiction or thrillers, you will enjoy the book.

Read more here. 

A New Chapter

I met with Publishing Coach Robin Hoffman on my Dad’s birthday. Although he passed away in 2008, he was a big supporter of my writing career. Having an hour-long session with Robin that day was a way of honoring my connection to him.

I met with Robin once before. She impressed me with her knowledge and positive energy. Her suggestions were specific to my situation. After speaking with her, I wrote 17,000 words of a new novel.

But then, something inside told me to stop. Some hard choices were approaching, and I needed feedback on my book concept. Was I headed in the right direction?

The Discussion

Theater doesn’t have the equivalent of a publishing coach, so I was very nervous about the meeting. Could I articulate my book concept accurately? Would she laugh at me or think it was stupid? 

As it turns out, she listened with an open mind and heart. Immediately, we began bantering back and forth about the strengths and weaknesses of the concept. She was able to pinpoint right away where the idea needed more work. There was nothing in my story that was wrong, but there were parts that weren’t fully conceived. She gave me tips to discover where I could take the story, since the concept had so much potential.

Aside from the story itself, Robin did something for me that no one has ever done before. She reflected my voice back to me. Instead of being a generalist, she told me I sounded like a suspense author. It stunned me since I never thought of it that way. Running several other ideas by her confirmed it. I write thrillers.

It made sense. My most successful work in theater used elements of suspense. I love conspiracies and pulp fiction. Everything came together, but I had never seen it that way before.

The Results

My hour-long conversation with Robin changed the direction of my writing career. It also altered how I see myself. She gave me a plan that was simple and complete. Now it is my responsibility to write a new chapter.

Three Poets of Modern Korea: Yi Sang, Hahm Dong-seon and Choi Young-m

Three Poets of Modern Korea: Yi Sang, Hahm Dong-seon and Choi Young-mi
Translated by Yu Jung-yul and James Kimbrell
Sarabande Books, 2002

 This book gives readers a taste of three Korean poets, each from a different generation. Enthusiasts will appreciate the diversity of style, gender, age and content. My favorites include Yi Sang's Poem No. II and Poem No. XV. Hahm Dong-seon's work was also fascinating, especially when considering his life. "Records of a Journey" and "The Last Face" moved me deeply. A great book if you want to understand how war, exile and the fight for democracy play out in literature. It will undoubtedly lead me to study more work by these Korean poets.

Remembering The Birmingham News

Many Birmingham News staffers depart as paper ceases daily publication, moves to 3 days a week. About 400 employees received layoff notices in June.

Although I worked in the media before, The Birmingham News was different. When they hired me as an Editorial Assistant in January 2007, the newsroom was a tight-knit family. Some reporters and editors had been with The News for decades. They were old school, distrustful of the Internet. They knew I was a blogger. Few thought my web experience was an asset. Some even told me bloggers were ruining journalism. 

As an editorial assistant, my primary duty was to answer the newsroom phones. Some days, it seemed like I answered over a hundred calls. Everything from news tips, top politicians, misdirected subscribers and crazy people came through that general newsroom line. 

Occasionally someone in the newsroom would ask me about the Internet. The questions were usually easy. But an editor warned me once I had no chance for a promotion. After all, I was a blogger and an “outside the box” type of thinker. That was not a good thing in 2007. He told me that as long as I worked at The News, I would always answer the newsroom phones. 

That editor left during the first round of buyouts. At some point between the second and third buyouts, I began writing stories for al.com. I also began packaging and editing AP stories for the web. Those tasks weren’t a part of my job description, but the job descriptions were woefully outdated. Someone needed to do those tasks. I wanted to help in any way I could. And of course, I answered the newsroom phones.

In late 2010, I left The News. It was a tough decision. I loved writing for al.com and packaging stories for them. I was thrilled when people read the stories I packaged, whether or not those posts had my byline. And I loved working with the people at The News, many of whom are leaving tonight for the last time. I was grateful for the opportunities I received there.

In the end, that editor was right. I answered those phones until the very last day. As much as I loved every other aspect of my job, the phones fried me.

I had an unshakeable belief that nothing would ever change unless I changed it. But sometimes the world changes and you stay the same.

Creating with William Thornton

The first episode of our new series, "Creating," is now up. In this video, you will see author William Thornton talk about his innovative Twitter feed, @Christendom144. 

As many of you know, I love meeting people who think outside the box. Speaking of which, I will be relaunching my own Blog Docu-Novel, "Project 1968." Stay tuned for news about that.

We will be doing more interviews with folks who are create in all forms. I produced this first video. I will also be serving as host for future interviews as well. My co-host is Greg Richter.

Check out Bill's website and Twitter feed. Oh, and watch the video below.

 

Alabama Coyotes

Does Alabama have coyotes?

Yes.

When I moved here, I had no idea I'd be battling coyotes on a regular basis. They usually appear in the backyard. My Father-in-Law, a farmer, used to plant crops near the house. Coyotes frequently munched on his watermelons. I would run out of the house to chase them off. They wouldn't move. My husband thought their fearlessness might've been due to rabies. I was more inclined to think they knew a northerner when they saw one. They weren't about to let me run them off their land.

Two weeks ago, a pack tried to lure our beagle, Molly, out to the field. I heard the coyotes making a commotion outside and brought her in. They continued with their yipping and howling. It was creepy.

Yesterday, we heard yipping outside our front door. When my husband and I ran outside, we discovered that Molly cornered a baby coyote next to the house. We tried trapping it to bring to the vet. The baby coyote escaped. While he is cute, it also means there is a litter nearby, probably in our backyard woods. 

Books & Plays: Meeting a Publishing Coach

Is it worthwhile to meet with a publishing coach?

 

Short answer: Yes.

 

For years people have been telling me I have great ideas and I need to get the hell out of theater. I’ve always viewed this advice as a backhanded compliment. After all, I’ve spent most of my adult life writing for the stage. I know the way theater works. It may be imperfect, but I still love it.

 

Recently, I took stock of my career situation. I’ve reached a milestone in my development as a writer. Now, I’d like to connect my stories with an audience. But there are so few opportunities for playwrights in Alabama, and no resources to help me polish my work. Without the resources and opportunities, my plays will never reach an audience. I decided it was time to give publishing a closer look.

 

Almost on cue, I received a tweet from Robin Hoffman, a publishing coach. She offered me a free 15-minute coaching session. At first, I wasn’t sure I should take the gift. What would we have to talk about? But then I realized that it wasn’t up to me to do the talking. The only thing I had to do was listen and take notes. My inner introvert relaxed and I accepted the offer.

 

At the start of the session, I explained my situation regarding theater and publishing. I told her how people loved my latest play, but I didn’t feel like it stood a chance in theater. To complicate matters, the play is part of a planned series. I can easily write these stories as books, but would it be worth it? And furthermore, am I doomed?

 

Robin assured me I wasn’t doomed. Instead, she gave me advice and suggestions that fit my specific set of circumstances and experience. I’m not going to elaborate on what she said since everyone’s situation is different. Her advice was definitely not a one-size-fits-all scenario. Together, we created a plan of action that is doable.

 

Most importantly, her warmth and positivity helped me feel like I could write books. Despite everyone’s encouragement, there was a part of me that just wasn’t sure I could do it. Robin helped dispel my fears about failure. I felt more confident after our session. She also reminded me that I could write both plays and books.

 

I want to add that Robin also did me a big favor. Years ago, I received career advice from an agent at an NYU Tisch career seminar. I’ve always thought the advice was inaccurate and damaging. But since it came from an agent, I wondered if it was true. It held me back from tackling these stories. Robin confirmed that the advice was wrong. As a writer, I had more power than the agent led me to believe.

 

Robin didn’t give me the 15-minutes in exchange for this blog entry. I also feel no obligation to tell you how much she helped me, and I receive nothing if you check out her services. But I know there are people out there who likely feel the same way I do about publishing. Check out Robin’s twitter feed at AuthorAlchemy or her website.

New Year’s Resolutions for Theater

If you are anything like me, you’ve probably given thought to developing New Year’s Resolutions for theater. Looking back, I think we can all agree that 2011 was a tumultuous year. Economically, politically and weather-wise, our world is changing. How we respond to those changes will determine what our experiences will be in 2012. 

Creating realistic New Years Resolutions confounds most people. I admit, I’m no expert. I tend to create goals on the fly. It enables me to stay in the moment throughout the year. But I’m sorely tempted take part in the “clean break” that is part of the New Year ritual.

SMART Goals

Experts will tell you that resolutions, or goals, should be specific, measurable, attainable, realistic and timely. These qualities spell out the word SMART. By setting SMART goals, you are more likely to achieve success.

For example, rather than resolving to become a better actor, set a goal of taking 4 acting classes in 2012.  This resolution has fulfills all of the SMART qualifications. It is specific enough for you to know what you are planning to do. You can measure your success throughout the year. It is attainable, provided you have access to acting classes in our community. You might have to juggle your schedule and priorities for it to be realistic. It also has a timeframe or deadline.

Creating a resolution of getting a specific producer or company to produce your play is not a SMART Goal. Your success should rest on your actions, not the reactions of others. Instead, make a goal that you will send your work out to 20 companies or producers a month. This resolution puts power in your hands.

Personal and Community Benefits

This year, I’m considering how my resolutions or goals will also benefit my family, community or society. Many times, people create resolutions for their personal benefit. For example, you may want to lose weight so you can look fabulous. Have you considered that becoming healthier will positively impact your family and friends?

How does your work in theater affect your family, community or society? Theater folks often get slammed for being narcissists and elitists. How often has your work solely been about self-expression?  Here’s the challenge: Link your work to your audience. Focus on what you are giving, rather than what you are receiving. Why send your work out to 20 theaters if the result will only benefit you?

When I quit theater in 2007, I went to work for a newspaper. We focused constantly on our mission: informing the community. My co-workers pursued that goal with a fervor you only see in nonprofits. Coming back to theater, I wanted to bring the spirit of that selflessness. Whenever I write a play or story, I know now why I’m doing it. I can tell you what I hope to achieve. In the past, I would tell you that I’d like the play to win awards or get produced at prestigious institutions. But those results are now byproducts of my goals and intentions. I don’t focus on results that are not within my control.

This concept goes against everything I ever learned in theater. It also goes against the career advice people have given me throughout the years. But theater is now a more fulfilling experience. Whether I get important productions or not, I know the theater I make will have meaning.

A 2012 Perspective

I’ve deliberately withheld my own New Year’s Resolutions because I think 2012 will demand us all to look beyond ourselves. It is no longer enough to elbow each other out of the way in the name of self-promotion. Becoming a superlative in theater or elsewhere is a hollow achievement if it was only about you.

As I set my New Year’s Resolutions for theater, I am looking to strike a balance between improving myself and benefiting others. The two do not have to be mutually exclusive. I’m sure there are going to be opportunities to do both in 2012. 

Gift Ideas for Playwrights (An Open Letter to My Husband)

Dear Husband:

I couldn’t help but notice you have not bought my Christmas present yet. When I last checked your usual hiding place a few minutes ago, it had expanding foam, a shotgun and extra bullets. That is not a good sign. 

Gifts for playwrights are not difficult to find. With the exception of a few loudmouths, we are a meek lot. Many of us, however, are afraid to ask for what we need or want. So here’s a list of what I would like. I’m sure you’ll have no problem getting anything on the list. I have prioritized it for easy reference. I’m also posting it on the web, so that families and friends of playwrights will have an idea of what to buy their favorite theater person.

A Director in a Box

Pictured: Director in a Box. Smokers and Santa are acceptable,
but not strongly encouraged.(Photo by Califrayray)

You always tell me you have the gift of discernment, so I would like a Director in a Box. The Director can be male or female, of any age. The important thing is to include air holes so the Director doesn’t suffocate. You can find Directors at many stores throughout the country, at different price ranges. Location is not an issue. The Director should like gritty dramas with a few funny lines and not a lot of whimsy. But we could tell humorous stories, and maybe collaborate on films, web series, etc. It should be a long-term thing, so don’t go to those director mills. A good Director is a special breed, prone to evaporating. In choosing a Director for me, keep in mind we should bring out the best in each other. And have fun. So it is going to be a personal relationship. Since you know which sweaters look best on me, I trust your judgment.

Writer’s Market Subscription
A Writer’s Market Subscription is a fantastic gift for a playwright, and here’s why: We can turn our plays into novels, short stories and articles. There is no reason why a good play should lie dormant because it hasn’t found a home in theater. You and I have talked about this already. If a story is worthy, it will always find a home.  So I would like a subscription to Writer’s Market, because I’m sure some of my work will travel along that path.

Membership to The Playwrights’ Center
It’s true I’ve recently joined up with The Playwrights’ Center in Minneapolis. I was a member once, a very long time ago. Back then, I had no idea how to use this resource. As it turns out, their member section is clear, detailed and helpful. I’m surprised at the user-friendly interface. I don’t know if they have multi-year memberships, but it would make a wonderful Christmas present. 

Membership to Scriptworks
Remember when I lived in Austin back in 2006? You and I heard my 1968 play read at Scriptworks. They were a patient group, considering the very rough draft I gave them. Eleven characters, that draft. It still amazes me that they did it. Anyway, they were good people. I wouldn’t mind becoming a member there again. We don’t have to live in Austin to qualify. It certainly would give us a great excuse to visit. We could stay at that Extended Stay Hotel, just like I did when I first moved there. It was romantic in a cold, impersonal way.

Membership to the Dramatists Guild
At this point, you’re probably saying to yourself: My goodness, is there anything my wife doesn’t want to join? I realize that anyone else reading this will likely give me grief about the priority of this gift idea. I have been a Dramatists Guild member in the past. In coming back to theater, I’ve struggled about rejoining. I fully support its mission. What stops me right now is that the price is (gulp) $130, since I qualify for full membership. That is quite a donation, unless I can make the membership useful. As you will come to find out, Dear Husband, that is about seven times what I spent on your present. 

We have talked about making cost-effective theater choices in the past. There is no need to rehash it here. I suspect I’ll be able to justify becoming a member soon. Those are the cold, harsh realities of living in this economy. Meanwhile, you can look at it like Scriptworks and make a donation to my eventual Dramatist Guild membership.

Insight for Playwrights
My friend, Pat Gabridge, turned me onto Insight for Playwrights a very long time ago. I recently subscribed again, and it has been a wonderful resource. I tend to view Insight as a pipeline to small, off-the-beaten-path theaters around the country.  The only reason this is last on the list is because I signed up a few months ago. So you could put money aside for the subscription, since it doesn’t need to be renewed for a while. 

Okay. Those are my ideas. There are a ton more I could give you, but I don’t want to waste your time. Besides, if you are reading this, you have clearly procrastinated. There is no time to spare. 

And keep away from the closet in my office upstairs. Enough said. 

 

Circle Repertory Company: History and Plays

Parabasis published my essay, “Interning at Circle Repertory Company.” It’s a lengthy article, describing Circle Repertory Company’s history and plays from a personal perspective. I was a Circle Rep intern in 1991. During my tenure, I worked in the literary office, a mainstage show, and the lab. I learned how to write rejection letters for plays and a slew of other theater skills. They also taught me how to stage manage a play.

The original essay was over 4,000 words. I cut about 1,400 words for publication. The missing chunks described the downtown theater scene in the early 90s, the role of women in theater (then versus now), and diversity. I look forward to posting those thoughts shortly. 

Meanwhile, if you would like to read more about Circle Rep, I would recommend the following sites:

• Isaac Butler's Parabasis published a series of articles on Lanford Wilson, including an analysis of his plays. Be sure to read Jannie Wolf's contribution about her time with the company.


• Frank Rizzo from The Hartford Courant interviewed Lanford Wilson and Marshall W. Mason in 1999. The Courant republished the interview earlier this year.


• The New York Times published an article in 1994, "Circle Repertory Enters Upon Adulthood." It provides a fantastic overview of the company. Reporter Bruce Weber also details the staggering debt Circle Rep accumulated over the years. 


• In 1996, The New York Times published Sylviane Gold's report on Circle Rep's closing. "A Long Circle Unbroken" describes its history in vivid terms, including the amount of unsolicited manuscripts they handled in 1982. Hint: It numbered in the thousands.


• If you would like to read about the company, I'd recommend "Plays from Circle Rep," published by the theater in 1986. It is no longer in print, but you might be able to scout out a used copy. I found my copy while living in San Francisco in the '90s. Short essays by Literary Manager Rod Marriott and Artistic Director Marshall Mason will give you insight into their philosophy about developing new plays. The book also contains plays by Lanford Wilson, John Bishop, Joe Pintauro, Jules Feiffer and Julie Bovasso. 

Writing Plays in a Small Town: Other Thoughts and Considerations

Pictured: Two sidewalks in front of our house.

Throughout this essay, I’ve sprinkled accounts of my own background and experience. I did so because I believe playwrights tend to be vulnerable to other people’s agendas. I wanted transparency so you could make the best decision for yourself and your work. You may shrug this essay off because, after all, I live in Alabama. But I suspect that the differences between my experiences in the Deep South and other small town experiences elsewhere may only be a question of degrees.

 The Illusion
In many ways, the Small Town versus City debate in theater is an illusion. Of course, it is wonderful when small towns can develop home-grown artists and art events. That goes without saying. But if you are a working artist yourself, you will have to contend with both the small town and the city.

For example, you may write a play that clashes with the culture of your small town.

In that case, you will have to seek production opportunities elsewhere. The same solution will usually apply to prolific playwrights. There is no need for you to stifle your own development and voice because you live in a small town.

Certainty
It is easy to write plays when you’re in college or when your career is going well. You have the resources and external validation to support your creativity and voice. I’ve often wondered how many playwrights would last if they didn’t have that support.

I won’t lie. You will need an enormous amount of mental and emotional strength to go through this experience. If you are writing plays when you have no resources, no validation, no community, and perhaps even no hope of seeing your work onstage, then guess what? You really are a playwright. No lack of success or experience can take that away from you. If anyone accuses you of writing plays because you want to be famous, it will feel like that person has just called you the Easter Bunny.

Freedom
One of the overlooked benefits to writing plays in a small town is the intense amount of creative freedom. You are no longer bound to the topics or perspectives that you had in a city. You are not beholden to anyone. With that freedom, your real voice emerges. When you hear or see it, you’ll know.

Gratitude

Pictured: Hay people who always show up for the town's
annual Oktoberfest. One of the pleasant aspects of this experience has been the emergence of gratitude. I focus now on why I liked theater, what drew me to it, and my own work. I also have no expectations. Being far away from the theater community means that a lot of problems simply don’t apply to me. I also have freedom to dictate how I will be involved with theater and on whose terms.

Having a lot of resources stripped away, I can see how I took so much for granted when I lived in the city. For instance, it was nothing for me to get a group of actors together to read a draft of my work. I do not have that resource at my fingertips here. It means I have to become more creative in how I work. It also means that if I ever have the luxury of resources again, you can bet that I won’t take them for granted.

Conclusion
At this point, you may still be wondering if you should write plays in a small town. I don’t know. No one else can tell you either. It will depend on your priorities and what you believe you need to sustain yourself as an artist.

I have two degrees in Dramatic Writing, and I can tell you that I’m writing more now than I did in college – or any other time for that matter. I am incorporating my experiences and the town itself into my work. Yet I also know that there is very little chance of seeing my work staged here.

I’m fine with that. Living in a small town has helped me deemphasize the production aspect of playwriting. While the opportunity would be fantastic, I would rather wait to work with the right people than have another bad experience. I also see a point where I will have to reconsider my life here. I have writing milestones to reach before that happens.

I want to close by saying this: If you do move to a small town and you’ve reached the point where your work and spirit would be better served elsewhere, you can always move back to the city. The problems are no better or worse there, just different.