Adam Szymkowicz's Blog, page 22

I Interview Playwrights Part 998: Rae Binstock

Rae Binstock

Hometown: Cambridge, MA

Current Town: Brooklyn, NY

Q: What are you working on now?

A: My latest project is a Top Girls-inspired play about American women from a massive range of experience (including different time periods) arguing about Hillary Clinton, and then suddenly it’s about the Nazi riots in Charlottesville. On deck to write next are a play that takes a transgender angle of Twelfth Night and a play about the second coming of a Great Flood. And then I’m writing a cluster of pilots for development. (I haven’t learned how to sleep yet.)

Q: Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A: When I was about three years old, my babysitter Sarah took her boyfriend and myself to the green in front of MIT. It was a beautiful day for a picnic, and we spread our blanket in the middle of dozens of college students, professors, and other family groups enjoying the weather. After a little while, I started walking around to other people’s blankets. Sarah knew I was a very outgoing kid, so she let me explore, keeping a watchful eye for trouble. I seemed to be making friends everywhere I went, and Sarah relaxed.

Finally, one of my new friends got up and came over to our blanket. He asked if I belonged to her and she confirmed I did; with this assurance, he held out Sarah’s boyfriend’s wallet and said “Your toddler tried to give this to me. She’s been trying to give it to a bunch of people out here. I thought you should know.”

And that is the story of how, at the tender age of three, I stole a wallet and tried to hawk it on the street. Nobody knows if I was driven by sweet childhood innocence or by a darker, more cunning force. But making people guessing has kind of become my Thing.

Q: If you could change one thing about theater, what would it be?

A: I would have the theater made mandatory in every state and every country on Earth. There is much that desperately needs changing in the theater—more diversity on- and off-stage, more stories from oppressed and silenced communities, more production of new work—but those problems can be fixed, in time, by dedicated individuals from within the theater world. Theater in its most imperfect form is still invaluable, because it inspires empathy in practitioners and audience alike. Actors have to inhabit characters, audience members have to listen to those characters speak, writers and directors and designers have to create an unreal world with the heavy tools of reality. Theater forces a person to examine a perspective outside of their own, and our failure to do exactly that is killing our country. Bigotry and prejudice are so much harder to truly believe in when you have taken even a tiny step outside of your own world and seen things a different way, through another’s eyes; the effort to do so alone stretches your soul out of its factory-issue shape. The theater may not be able to cure the world’s ills, but it sure as hell can make us more inclined to do it ourselves.

Q: Who are or were your theatrical heroes?

A: David Henry Hwang and Ellen McLaughlin are my heroes for many reasons, only one of which is the brilliance of both their work. David has shown me generosity, kindness, and support beyond anything I could expect from someone with their own legendary career to manage; Ellen was my first great playwriting teacher, whose passion for writing, quiet respect for an overeager student, and warm friendship continues to serve as an inspiration to me. Ellen and David’s guidance as mentors and friends have changed my life, but their most valuable gift to me, however, is the faith they have shown in me and my work. That means more than I can ever say—and moreover, it’s taught me how essential that kind of faith and encouragement are in the theater world. Wherever I go and whatever I do, I will always be trying to honor David and Ellen, and their extraordinary capacity to give more than they have to, over and over again.

(And then of course Tony Kushner, the author of Angels in America, which beat a sixteen-year-old me over the head with the utter miracles of which playwriting is capable. I’m really into that play. I got a tattoo.)

Q: What kind of theater excites you?

A: Innovative theater. Honestly, nothing is more boring than a play made up of recycled ideas. Do whatever you want as long as it’s exploring something new. We’re at a point where literally putting people of color onstage and including their narratives is innovative, so I think that should be requisite for new and exciting work, but there’s so much more as well! The weirdest things are the most exciting, because who knows how they’re going to turn out?

Q: What advice do you have for playwrights just starting out?

A: Dig in. Because at any given moment, there are a thousand and six things trying to convince you not to be a playwright, and your only defense against them is pure force of will. Bury yourself in your work and refuse to let rejections and bad reviews and professional indifference tear you away. Be sure of yourself past the point of reason, removed from any other aspects of self-confidence, even when you feel the most invisible. Be sure that this is who you are.

And write as much as you possibly can. If you aren’t at your most alive when you’re writing, then figure out why or consider a career with more dignity and a better health plan.

Q: When not writing on a computer, what's your go-to paper and writing utensil? When on computer, what's your font?

A: I hate writing on paper because my handwriting looks like a lot of drunk letters and punctuation fighting each other. When I have to do it, my preferred method is lined notebook paper and a black pen. I feel pencil writing lacks a certain gravitas and elegance; also, it smudges.

On my computer, I write in Times New Roman. I once went maverick and used Garamond. Recovery has been difficult.

Q: Plugs, please:

A: Upcoming reading of my play Watch Me Burn with Crashbox Theater Company on November 27th! I’m also a member of The Lark’s 2017-18 Rita Goldberg Playwrights Workshop, so come see our readings in May and ask me about readings/workshops I’ll be doing at The Lark in the meantime.

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Published on September 28, 2017 08:56

Jack And Jill Plays - Part 43 - Kitty

Kitty

by Adam Szymkowicz

(JILL is calling a cat,)

JILL

Here kitty kitty kitty. Here kitty kitty. Here kitty kitty kitty. Here kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty kitty. Here kitty kitty kitty! Kitty? Come on! Oh. Wait, are you . . . (She reconsiders, then) Here possum possum possum. Come here opossum!

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Published on September 28, 2017 08:00

MY PLAYS GO UP PLACES!!

PRODUCTIONS

KODACHROME

Production #1 of Kodachrome

Portland Center Stage

Portland, OR

February 3-March 18, 2018

Adventures of Super Margaret

Production #6 of Super Margaret

AJB Toro Theater

Seguin, TX

Opens October 2, 2017.

Hearts Like Fists

Production #36 of HLF

RIT Players

Rochester, NY

Opens December 8, 2017.

Production #37 of HLF

Tascosa High School

Amarillo, TX.

Opens March 2, 2018.

Production #38 of HLF

DePaul University

Chicago, IL

Opens May 1, 2018.

7 Ways To Say I Love You

a night of short plays

Production #17 of 7 Ways

Principia College

Elsah, IL

Opens October 11, 2017.

Production #18 of 7 Ways

Park Players Of Greenfield Park

Greenfield Park, QC, Canada

Opens November 16, 2017.

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Published on September 27, 2017 13:15

Jack And Jill Plays - Part 42 - Without You (Jill)

new short play. The usual rules apply. I own this play and you need to contact me before producing or reproducing.

Without You

by Adam Szymkowicz

(JACKin hospital bed, asleep. JILL sits beside him. The beeping of the heart monitor.)

JILL

I always thought it would be me first, you know? I didn't think. No, I shouldn't say that. You'll be fine. You'll be fine. You'll beat this. I don't care what the doctor says.

Cheryl came by. Oh. I guess you don't really like her. Well, anyway, she came to see you. Which was nice of her.

Look you can't do this. You can't leave me alone. I can't just . . . not without you. How can I . . . do anything . . . ever again?

Morgan's waiting for you. Everyone is waiting for you. Your job is there if you just pull through. Won't you?

I need you. I can't remember anything. Everything that happened to us, who will remember if you're not here? No one. Like they never happened.

Remember that time we went fishing and you -- Just wake up. Wake up! WAKE UP! WAKE UP!!!

Sorry. I'm going to get some water. Just. Please. Just. Come on. You have to. I'm all alone.

I can't be me without you.

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Published on September 27, 2017 10:32

Jack And Jill Plays - Part 41 - Without You (Jack)

new short play. The usual rules apply. I own this play and you need to contact me before producing or reproducing.

Without You

by Adam Szymkowicz

(JILL in hospital bed, asleep. JACK sits beside her. The beeping of the heart monitor.)

JACK

I always thought it would be me first, you know? I didn't think. No, I shouldn't say that. You'll be fine. You'll be fine. You'll beat this. I don't care what the doctor says.

Cheryl came by. Oh. I guess you don't really like her. Well, anyway, she came to see you. Which was nice of her.

Look you can't do this. You can't leave me alone. I can't just . . . not without you. How can I . . . do anything . . . ever again?

Morgan's waiting for you. Everyone is waiting for you. Your job is there if you just pull through. Won't you?

I need you. I can't remember anything. Everything that happened to us, who will remember if you're not here? No one. Like they never happened.

Remember that time we went fishing and you -- Just wake up. Wake up! WAKE UP! WAKE UP!!!

Sorry. I'm going to get some water. Just. Please. Just. Come on. You have to. I'm all alone.

I can't be me without you.

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Published on September 26, 2017 10:07

Jack And Jill Plays - Part 40 - Just Us

new short play. The usual rules apply. I own this play and you need to contact me before producing or reproducing.

Just Us

by Adam Szymkowicz

(JACK and JILL sitting on a log or stumps or rocks or camp chairs. There is a tent nearby. It is raining. Thunder and lightning.)

JACK

I think we picked the wrong time to go camping.

JILL

Maybe.

JACK

You like rain.

JILL

I like rain.

JACK

You like being cold and wet.

JILL

Well no.

JACK

We could go in the tent.

JILL

Yeah.

JACK

You want to go in the tent?

JILL

Not yet.

JACK

At least there aren't bears.

JILL

We don't know that.

JACK

Not this far north.

JILL

Probably.

JACK

I'm gonna go in the tent. You coming?

JILL

In a minute.

(Neither of them move.)

JILL

Jack?

JACK

What?

JILL

Never mind. Never mind.

JACK

I don't want to have a kid. I want it to be just us. Can't we do that? Can't it be just us? I like us.

(JILL goes into the tent.)

JACK

Jill? (No response.) Jill? Just us?

JILL

No.

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Published on September 25, 2017 09:38

I Interview Playwrights Part 997: John DeVore

John DeVore

Hometown: McLean, Virginia. That's where I grew up. It's a suburb of Washington D.C. My dad worked in politics for a Texas politician. So Texas was the Promised Land. Suburban D.C. is a transient place for people who work for elected officials and it was for my family. I like to think of myself as an ethnic Texan. I have a fear that I will die in Texas because that's what Texas wants. Anyway, I haven't been back to McLean in over 20 years. I hear it's full of very rich people now.

Current Town: Brooklyn, the Paris of Long Island. But Queens is the place I most identify as home inasmuch as it is the one place I have lived the longest in my adult life.

Q: What are you working on now?

A: I'm noodling with an essay about how my parents met in 1960's El Paso. It's a fable that includes Zorro and giant scorpions. Other than that, I'm just writing essays. I call them "essays" but they're actually "monologues" but shhhhh don't tell anyone.

Q: Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A: You know, I had problems in school. I was often separated from my peers because there was a perception that I had learning disabilities. I was not "gifted and talented." You can't have "gifted and talented" students unless some of them are "not gifted nor talented." Then, in 5th grade, I met Mrs. Crawford who gave me as many opportunities to prove myself as I could and join the class. Here's how I became a writer: upon returning from a Christmas vacation trip to the Grand Canyon I wrote a "What I Did Over Winter Break" essay that flagrantly plagiarized the narration from a movie about the Grand Canyon that played at one of the tourist centers there. I distinctly remember writing "The Grand Canyon looks as if it were carved by the Hand of God." Mrs. Crawford had to have known I couldn't write such purple prose but praised me anyway and called me "a writer." And there you go. I announced this to my father, who had once been a freelance journalist, and he said something like "Oh really?" Then proceeded to edit my book reports with red pen so I had to rewrite 50 whole words over again.

Q: If you could change one thing about theater, what would it be?

A: In the pink of my youth I use to love drunken conversations with friends about how to change the theater. I was lucky to fall into a crowd of talented and idiosyncratic experimental theater makers - many of them from somewhere called "Bard" which I think is an art cult upstate? I don't know. Lucky because I've always been a terrible hack. I want to make people laugh or cry and I like to think my decade plus laboring in downtown/Brooklyn theater really changed me for the best. Anyway, change. Theater doesn't need to change, it's built to mutate anyway. People need to change. Theater is the original social network. There are so many people out there who just need one experience - one sweaty, intense, entertaining, religious experience - and then they'd get why theater is so special and vital. It is not a 2 hour nap. It is intense human connection.

Q: Who are or were your theatrical heroes?

A: Get ready for something I call "stream of blabber." I had a very traditional theater education at VCU in Richmond. Lots of Greeks. Shakes. Lope de Vega. Jacobean gorefests. Ibsen. Strindberg. Brecht. The absurdists. Williams and Miller. Beckett, who I learned to love above all others. Albee. Charles Busch. Vogel and Fornes. Short funny story: I auditioned for the BFA program with one of Roy Cohn's monologues from Angels in America. Chubby 17 year old me. Ugh that play. Life changing. As a teenage boy I gravitated towards Mamet but I feel that's okay. I didn't know you could write "fuck" in a play. I think this is forgivable. I was a boy then and Mamet always will be. Sam Shepard! In NYC I learned to love, of course, Foreman. The Living Theater. Spalding Grey and Wooster. Later, Richard Maxwell, Young Jean Lee. Oh yeah Caryl Churchill! I will regret this list once I send it in because A) it jumps around and B) I could probably write a whole other different list.

Q: What kind of theater excites you?

A: The weirder the better. Unless it's a wrenching tragedy or absurdist comedy. OR A MUSICAL.

Q: What advice do you have for playwrights just starting out?

A: I had a writing teacher in High School who told me he didn't believe in good or bad writing. He said there is, simply, writing that should be read/shared and writing that should be kept to oneself and knowing the difference is everything. I'd add that there is writing for money and writing for love/craft and to know the difference. I have seen too many peers write for love for years and, eventually, fashion catches up to them. But I have never turned my nose up at any writing for money, even if I'm writing an article about date night at Red Lobster (sponsored by.... RED LOBSTER)

Q: When not writing on a computer, what's your go-to paper and writing utensil? When on computer, what's your font?

A: I like to write outlines and first drafts on pen and paper. I don't like pencils. I think early drafts should preserve as much of what you wrote - even if it's scratched out - as you can. We erase and delete too easily and lose so much as a result.

Sans Serif. I like a font that I don't see as a font.

Q: Plugs, please:

A: I have nothing to plug. You can follow my preening narcissism on Twitter though @johndevore. Thanks for letting me write this - I've always been a fan of the series. Longtime listener, first time caller, etc.

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Published on September 24, 2017 09:00

Jack and Jill Plays - Part 39 - Box

About Jack and Jill Plays:

This is a new thing I'm doing. Posting a short play every day as long as I can.

The normal things about plays apply-- don't produce or reproduce this play without my permission. I wrote it so I own it. Etc.

BOX

by Adam Szymkowicz

(JACK is pretending to be trapped in a box like he is a mime. It is exaggerated and silent. JILL enters.)

JILL

Okay, but how did you get in the box?

(JACK tries to mime a long explanation.)

JILL

What?

(JACK mimes some more.)

JILL

What?

JACK

It's an elevator.

JILL

Oh. Small elevator.

JACK

Yeah and I'm uncomfortable with small space.

JILL

Okay.

JACK

Also I'm thirsty. Did you get I was thirsty.

JILL

No. Do it again.

(JACK does it again, thirstier.)

JILL

Yeah. I see. Why are we doing this?

JACK

Got to do something.

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Published on September 24, 2017 08:00

I Interview Playwrights Part 996: Lee Mueller

Lee Mueller

Hometown: Affton, Missouri.

Current Town: Troy, Missouri

Q: What are you working on now?

A: A few things; a one-act tentatively called "With Special Mirrors" - which comes from the Bertolt Brecht quote, "If art reflects life, it does so with special mirrors." I wondered how far an audience member (or members) could go to disrupt or even invade a production. I've always played around with the "meta" concept of theatre, even in my comedy murder mystery scripts. I want not only to break the fourth wall, I want to burn it down in this play. I've been intrigued by the new stories where Broadway shows have come to a halt because a cell phone rang or the case where an audience member climbed on stage, looking around the set for an outlet to charge his phone. I think sometimes the "alienation or estrangement effect" can be created in the theatre without even trying to achieve it.

And for juxtaposition, I am also working on a comedy murder mystery about a dead body being found in a supermarket aisle display for paper towels.

Q: Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A: I was an only child so my imagination took the place of siblings, so to speak. I have several vivid memories of creating stories about inanimate objects or how certain household objects became broken for the pure entertainment of whoever would listen. I don't believe my mother or anyone ever told to stop making things up. So, I never stopped. I started writing things down instead.

Q: If you could change one thing about theater, what would it be?

A: The cloud of self-importance that frequently arises in and around theatre groups and gives birth to cliques. There's nothing more off-putting than artists taking themselves way too seriously. Beside metal detectors, I believe "pretentious" alarms should be installed.

Q: Who are or were your theatrical heroes?

A: I always had an enormous amount of respect for Sam Shepard and his body of work. I got to play Lee in a production of "True West" and learned a lot about style and substance. Also, I have to the actor Earle Hyman special props. I sat in (snuck in) to one of his classes at HB Studio back in the 80's and I learned more about the craft of acting in one hour that I did in all years of college theatre classes. He would interrupt his student's scenes and say "Please! Stop Acting! (few beats) OK Continue." I knew exactly what Mr. Hyman was trying to convey. I think at times I

use his advice as I am writing. I will think, Stop Writing. You know, stop trying to sound like Oscar Wilde, Mamet or Miller. Just sound real.

Q: What kind of theater excites you?

A: Theatre that becomes so real and natural it transcends the threshold of disbelief. It could be the dialogue or it could be a performance. Example - I saw "Fifth Of July" on Broadway back in 1981 or 82 (the Richard Thompson version) There's a confrontational scene in Act Two powered by Lanford Wilson's words and the performance of Jonathon Hogan and made me very uncomfortable. I felt as if I were visiting someone's home and an intense argument erupted by the hosts. You know, that awkward feeling you get where you want to get up and quietly leave. I had that exact feeling there in my seat. I never realized theatre could do that and that excited me.

Q: What advice do you have for playwrights just starting out?

A: Listen to how people really talk to each other. Watch how the people around you get what they want. Real life motivations. Cause and effect. Sure, you may learn valuable things from academics and dramaturgy but look out the window once in a while.

Q: When not writing on a computer, what's your go-to paper and writing utensil? When on computer, what's your font?

A: I always grab whatever spiral notebook I can find. It could have old notes in it from my freshman astronomy class. I don't care. I prefer black ballpoint pens. Blue will do in a pinch. My go-to font used to be Courier - because I read somewhere that was the proper playwright font. But lately, I've been using Garamond because it reminds of the font in the old books and plays I used to read. Minus the musty smell.

Q: Plugs, please:

A: Well, my comedy murder mystery plays pop up at High Schools all over the country. On the international scene, I recently was contacted by a group over in India called Cineplay. They are interested in turning my "An Audition For A Murder" into a film. I should add, translating it into Hindi and then turning into a film. So, I have that going for me. Namaste.

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Published on September 23, 2017 09:00

Jack And Jill Plays - Part 38 - Everyone

About Jack and Jill Plays:

This is a new thing I'm doing. Posting a short play every day as long as I can.

The normal things about plays apply-- don't produce or reproduce this play without my permission. I wrote it so I own it. Etc.

Everyone

by Adam Szymkowicz

(JILL alone writing in a notebook.)

VOICE

Jill knows they are watching her.

(JILL looks around.)

VOICE

Jill knows they think she can't be trusted.

JILL

But I can. But I can.

VOICE

Jill is up for review.

JILL

When?

VOICE

Soon.

JILL

I'm doing all the things. Sometimes I stumble but I get up again. Please. Take in account all the work I've put in.

VOICE

Jill knows no one is watching. Deep down she knows but still she behaves.

JILL

Mostly.

VOICE

Most of the time.

JILL

They don't know I exist.

VOICE

No one is paying attention to her at all. But also.

JILL

Everyone is watching all the time. Can you see me? Do you see me? See me. See me!

VOICE

Everyone turns away.

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Published on September 23, 2017 08:00