Adam Szymkowicz's Blog, page 68

I Interview Playwrights Part 654: Matt Hoverman

Matt Hoverman

Hometown: West Redding, Connecticut

Current Town:  Manhattan

Q:  What are you working on now?


A:  THRILLSVILLE - a comedy about a difficult but lovable, developmentally disabled woman from an upper middle class family whose brother moves her into a Medicaid-run residence after it’s revealed the trust fund meant to pay for her lavish apartment was drained by their parents before their death. And I write for a few TV shows on PBS Kids (including ARTHUR and WONDER RANGERS.) My 4-character comedy THE GLINT (about two aging voice-over actors and the women who love them) is also headed for Broadway in 2015, produced by Nelle Nugent and directed by Michael Wilson.


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


A:  My parents fought like cats and dogs… except Monday nights at 9pm. That’s when M*A*S*H came on. I’d hide on the staircase and listen to them laughing together. I’m a big believer in the power of laughter to disarm and connect. And I love to write about savage people. And I like to write plays and TV shows that have helpful and hopeful messages for kids on staircases listening to their parents laugh at the TV.

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


A:  I studied playwriting at Brown and acting at the University of California, San Diego- two programs hot for experimental theatre. It was fun, but I hit my breaking point when - playing one of only two human beings in a 3-hour puppet rock musical about William Blake - I requested a handkerchief to wipe away the tears of my wife in a tender scene - and was handed a 3” x 5” piece of lucite. Years later, I came up with the idea for a class on solo performance that focused on the simple, human connection of autobiographical storytelling. I have since taught the 7-week class about 70 times and I've helped shape hundreds of solo shows - many of them winning awards and rave reviews, and all of them coming from a simple, human, authentic place. I don’t want to change or get rid of abstract or experimental theatre, but I am starting to train teachers in my method, and I would like the kind of direct, heart-to-heart work that I encourage in my classes to survive me.

Q:  Who are or were your theatrical heroes?


A:  Oh geez, I love the lunacy of Charles Busch and Julie Halston, the big-hearted irreverence of Randy Newman (he was working on FAUST at the La Jolla Playhouse when I was at UCSD), David Lindsay-Abaire (I saw a production of FUDDY MEERS at Oregon Shakespeare that changed my life), Spalding Gray, Horton Foote and the farceurs: Alan Ayckbourn, Feydeau, Moliere, Ben Travers, Ray Cooney, Michael Frayn etc... and my students!

Q:  What kind of theater excites you?


A:  Plays that are human and real, but which also have a level of comic proficiency. Comic size that is also attached to something real, or at least joyful, recently: ONE MAN,TWO GUV’NORS; LEND ME A TENOR, Matthew Warchus’ BOEING BOEING and THE NORMAN CONQUESTS. TRIBES.

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


A:  Live. And write about what you, and only you, know. Write it in your special way, no matter what other people seem to be liking right now. Look for the moments in your work when you feel, “That’s it! That’s my voice!” Next time, write more like that. Self-produce. Fail and learn from your failures. Be very, very encouraging of yourself. Pass through cynicism, but don’t stop there. Write for your grandbabies, as if you were comfortable with them knowing the dirty bits about you. Write for the ages, for the kids on the stairs, hungry for your hard-won wisdom. You don’t have to impress us. Just remind us of what it means to be alive.

Q:  Plugs, please:

A:  As mentioned, my play THE GLINT is scheduled to be produced on b’way by Nelle Nugent in 2015, directed by Michael Wilson. So keep your eyes peeled. For other current stuff:
MattHoverman.com
And for more about my classes: createyourownsoloshow.com




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I Interview Playwrights Part 653: Joshua H. Cohen

Joshua H. Cohen



Hometown: East Greenwich, RI

Current Town: New York, NY. Hudson Heights. I can see the GW Bridge from my bedroom.

Q:  What are you working on now? 



A:  I’m writing this from the control booth during a session for the world premiere recording of my musical Tamar of the River. So that’s exciting. I always have several projects going simultaneously. Currently, I’m doing a down-to-the-studs gut renovation of my play Sam I Am, in response to some great feedback I got following a reading in December; writing a new opening number for my musical Ordinary Island, a show I’m eager to see move forward; and a new score, my first rock musical, Burned, updating A.A. Milne’s play The Lucky One to the 2007-08 financial crisis.

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



A:  As a kid, I always found theater more interesting than real life. Which I suppose explains a lot, but doesn’t make for a decent origin myth.

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



A:  I find the pervasive credentialism frustrating. Audiences and producers alike gravitate to creators or subject matter already familiar. Nobody pays attention until an insider tells them to. Outsider status becomes self-perpetuating. An art form whose intimacy requires it to welcome all strangers can feel like a gated community.

Q:  Who are or were your theatrical heroes? 



A:  Tom Stoppard, for the way he hides fragile and broken hearts behind promiscuous and robust intellect. Arthur Miller, for the urgency with which he personalized the political. Songwriters like Michael John La Chiusa, Jeanine Tesori, Flaherty & Ahrens, expanding the kinds of stories that can be told in song and how they can be told. And of course, John Eisner: every play development program I’ve encountered seems to be following in the footsteps of what he started at the Lark.

Q:  What kind of theater excites you? 



A:  I’m fascinated by how fiction shapes fact, how the stories we tell ourselves about ourselves become truth. Performance as the quintessentially creative act – especially in the political sphere. Come at reality sideways, and I’ll follow you.


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



A:  Be nice to everybody. I sent out hundreds of submissions every year, but both full productions I had last year came out of friendships I’d cultivated for years.
Plugs, please: The Tamar of the River world premiere recording will be released this summer from Yellow Sound Label, featuring most of the original cast, including Margo Seibert (Adrian in Rocky) as Tamar. Check www.JoshuaHCohen.com and www.TamarOfTheRiver.com for details.


 

crossposted to Kanjy Blog




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I Interview Playwrights Part 652: Benjamin Brand

Benjamin Brand 



Hometown:  East Lyme, Connecticut 06333



Current Town:  Los Angeles, California 90066



Q:  Tell me about Taste.



A:  Just over a decade ago, I read a news story about two men who met online. One wanted to eat another man, and another responded that he wanted to be eaten. At the time, I was writing only feature films, and Taste just poured out of me, as a real-time, single-location screenplay.



I’d never written anything as easily or as quickly before, nor have I since. I was drinking a lot of gunpowder tea at the time, but I don’t think that explains it.



For the next five years or so, I worked with a wonderful film producer, and we kept ALMOST getting the film made. There was a lot of excitement and a lot of heartache. Last year, my manager Adam Goldworm encouraged me to adapt it to a stage play, which was a pretty modest endeavor. There were some close-ups in the screenplay that required a line of dialogue here and there, but not much else. Perhaps I had written a stage play in the first place.



Stuart Gordon — who has a background in theater and film —got involved as the director, and Sacred Fools came along. Suddenly, I’m a first-time playwright.



Q:  What else are you working on now?



A:  I’m writing a miniseries for NBC about Eliot Ness’s time in Cleveland in the 1930s. In my spare time, I'm writing a kids “chapter book” about a boy, his crazy uncle, and the hunt for a lost treasure.



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 in second grade, in public school, we studied ancient Egypt, and I was obsessed with the glory of the pyramids. At the same time, in Hebrew school, around Passover, we talked about the enslavement of the Jews in Mitzrayim. Sometime in third grade, I was shocked to discover that Egypt and Mitzrayim were actually the same place.



Q:  Who are or were your theatrical heroes?



A:  My artistic heroes — theatrical and otherwise — include Patricia Highsmith, Wallace Shawn, Mark E. Smith, Daniel Pinkwater, and Amos Vogel.



Q:  What kind of theater excites you?



A:  Anything that makes me a little uncomfortable in my seat (aside from the seat itself).






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I Interview Playwrights Part 651: Christie Perfetti Williams

Christie Perfetti Williams

Hometown: Born and raised in Oswego, NY. Moved to NYC after college graduation and lived there for 11 years.

Current Town: Brick, NJ

Q:  Tell me about An Appeal to the Woman of the House.

A:  It's about a husband and wife who get a knock on their door one night and their lives are forever changed.

Q:  What else are you working on now?

A:  A novel...it's been a long time since I worked on one of those. It's fun and naughty.

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

A:  Oh boy. Me in a nutshell?! As a kid, I used to insist that before we started a Barbie doll playing session, we had an outlined premise, conflict and conclusion. And God help the poor friend who deviated from it.

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

A:  There need to be more and better parts for women. Period.

Q:  Who are or were your theatrical heroes?

A:  If Sam Shepard knocked on my door tonight, I'd runaway with him. My husband would understand.

Q:  What kind of theater excites you?

A:  I love simple stories with great dialogue. Sets, costume, funky gels - I don't need all of that. The barebones of theater turns me on.

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

A:  Write your hearts out. And don't stop.






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I Interview Playwrights Part 650: Marja-Lewis Ryan

Photo Credit: Courtney Caron

Marja-Lewis Ryan

Hometown: Brooklyn, NY

Current Town: Los Angeles, CA

Q:  Tell me about One in the Chamber.


A:  There was a featured article in The New York Times on September, 28th 2013, which revealed that the rate of accidental death by gunfire in this country is under recorded because there are no hardline laws or rules that a coroner must follow in order to determine if a death is an accident or a homicide. More often than not, deaths as a result of shootings where two people are involved (more specifically in this article, two children) are characterized as homicides. There were all sorts of studies and facts in this article that really stayed with me and One in the Chamber is a fictionalized version of what I imagine the real life human impact of those stats might look like.

The plot: In 2008, a ten-year-old boy accidentally shot and killed his nine-year-old brother after their mother left a loaded gun in the couch cushion. Now, six year later, a court appointment social worker must determine if the now sixteen-year-old should be let off parole.

The show takes place in real time with no scene breaks or act breaks. It’s essentially a series of interrupted interviews between the social worker, and the mother, father, older sister, younger sister and the convicted killer.

Q:  What else are you working on now?


A:  I am a screenwriter so this is my only play in the works but I have a script about a transgender ten-year–old with Black Label Media, one about a suburban housewife who comes out of the closet with One Zero Films, a comedy about divorce with Reel FX, a really fun female-lead football movie with Present Pictures, and a couple of TV pilots, but my primary focus right now is finding the very best cat litter out there because my cats poop human poops. I’m open to readers’ suggestions – must be the clumping kind, the non-clumping just seems silly at this point.

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 read your blog so I knew this question was coming and I asked my mother and here are the stories she wanted me to tell you.)

As a kid, we had a baby pool in the shape of a whale that we called Fudgie. On hot summer days, my dad (who is 6’2” and a lean 230lbs) would fill Fudgie up, slip into a pink bathing suit and wade on the front lawn; waving to neighbors coming home from work.

Every Memorial Day weekend, my father, [who has many nicknames including Mr. Green Thumb, because he can’t get grass to grow; Mr. Fix-It, because he thinks Duct Tape is pure magic; and Mr. Plastic (pronounced plas-TEEK) because he wears very old track pants with holes in them everywhere and called them his plastic pants] used to make my brother a “professional” whiffle ball field in our backyard by lining it with flour. And every year without fail the dog would eat it and puke absolutely everywhere for days. But my father thought it was definitely worth cleaning vomit if it meant we got to have a real life baseball field for double headers on Memorial Day.

In the winter of ’96, he had a brilliant idea and rushed to Home Depot bought pink insolation, taped it to the sides of the basketball court he made for me in the backyard and then got the hose and tried to fill it up in hopes that he could make me an ice skating rink. (It didn’t work, obviously, but you had to admire the man for trying.)

That same winter, it snowed three feet and my mother got all the neighborhood kids together and built a luge down the back steps. She even made a tunnel out of snow that our sleds would fly through because she poured water down the luge and let it freeze so we could go faster.

One time, I called my mother to come get me from school because I had to poop so bad and was too embarrassed to go but instead of just showing up, she came with pink plastic handcuffs and made me wear them from the main office all the way home just because she thought it was funny.

Honestly, I could go on and on but I think you get it. That fine balance of magic and trauma turned me into a writer.

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


A:  I would like to stop trying to explain to people that theater is good. There are tons, (millions I’m sure), of horrible, god-awful, unforgivably bad movies out there but people aren’t like, “Ugh, movies. I hate movies.” Theater needs some new PR. Like how broccoli got a makeover this year to try and compete with kale? Yeah. Like that.

Q:  Who are or were your theatrical heroes?


A:  Wendy Wasserstein, David Mamet, Phillip Seymour Hoffman, Cherry Jones, Donald Margulies and Douglas Carter Beane.

Q:  What kind of theater excites you?


A:  I love dysfunctional families. Anything kitchen sink drama – sign me up. I like plays that work within the inherent confines of theater – one space, no set changes, no flare, nothing distracting, just great actors talking words I’ve never heard talked in that order before. That’s really exciting to me.

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


A:  Everyone is full of advice that is 99% unhelpful because we all have own paths but since you asked… Make your own work. Invest in yourself (yes I mean money, even if it’s not much, people really respond to artists who are willing to bet on themselves). Find smart, patient, passionate actors you can write for.

Q:  Plugs, please:



A:  You can watch my first movie, The Four-Faced Liar on Netflix, Hulu, Amazon, etc.: http://www.thefourfacedliarmovie.com

One in the Chamber runs Friday, Saturday, Sunday July 12-August 17 at The Lounge Theater 6201 Santa Monica Blvd., LA, CA 90038. We are still fundraising! https://www.indiegogo.com/projects/one-in-the-chamber--2/x/6912226


 



















































































































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I Interview Playwrights Part 649: Ryann Weir

Ryann Weir

Hometown: Wilmette, Illinois

Current Town: Brooklyn, New York

Q:  Tell me about DEBUTANTE.

A:  DEBUTANTE. is a play about a group of heiresses who are expected to debut into high society but turn out to be pretty bad at it. They ride bikes late at night, overdose on TAB soda and Jazzercise to the famed soap opera "Dynasty" all while studying at Ms. Peasgood’s School for Etiquette and practicing deep, lady-like curtsies. They also dig through the trash to find their retainers when necessary.

Q:  What else are you working on now?

A:  In June I’m doing two shows at Ars Nova’s ANT Fest, which is going to be super fun!

The first show is called I Heard Sex Noises, which I co-authored and perform in along side superstars: Andrew Farmer and Claire Rothrock. Direction by my theater-making-partner-in-crime and dear pal: the incomparable Annie Tippe. I Heard Sex Noises is about a coup d’etat in the Roosevelt Island gardening society. High drama. Hydrangeas.

The second show is called Sketch Tragedy, written by comedy wizard: Matt Gehring. I’ll be acting in that show which is structured like a sketch comedy show but sketches end in…you guessed it…tragedy!

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 grew up in a kind of idyllic, stuffy suburb of Illinois where the neighbor kids played kick the can on Summer nights and rode bikes in the day. The kids ran things in the Summer because in that part of the mid-west, winter lasts for 90% of the year so by June everyone was mental.

Lauren Wiscomb was my next-door neighbor and childhood best friend. We had matching bowl haircuts and listened to Ace of Base songs more often than we didn’t listen to Ace of Base songs. We made our own fun.

Particularly in a game we invented called CASE. Inspired by a heavy diet of Harriet the Spy and Nancy Drew novels, CASE was a game where Lauren and I made up crimes that happened on our block and then walked around trying to solve them. We were like two little Jerry Orbachs hovering over a crack in the sidewalk, trying to get to the bottom of it. Many cases involved a neighborhood cat called Poon who subsisted primarily on Kraft singles. But then there were more mysteries involving our poor siblings Abby and Dylan. We had a book where we recorded everything in- leads, suspects, evidence et al.

When Case had been exhausted for the day, Lauren and I would create harnesses and bungee jumping cords for our stuffed animals and throw them out the window. We always had a spotter downstairs knowing full well the detrimental consequences of bungee related stuffed animal fatalities. We thrilled at their daring and lived vicariously through pink bunnies and monkeys with button eyes who had more courage than we did.

Q:  Who are your theatrical heroes?


A:  Oh Will Eno is my favorite. And everything David Cromer does. And Cherry Jones and Amy Morton. Rachel Chavkin, Anne Kaufman, The Debate Society. Too many to count.

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


A:  One word. Plastics.

Q:  Plugs, please:

A: 



Debutanteplay.com  



Ryannweir.com




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I Interview Playwrights Part 648: Jeremy Gable

Jeremy Gable

Hometown: Post Falls, Idaho, a town without a theatre company. I had to drive out to Spokane, Washington to see my first play produced. Not that Spokane isn't nice, but I'd love to see a working playhouse in my old stomping grounds.

Current Town: Philadelphia, a town with more theatre companies than you can shake a stick at. If shaking a stick at theatre companies is your sort of thing.

Q: What are you working on now?

A: I am currently in the midst of the Core Writers Residency at InterAct Theatre Company. While there, I've been working on two plays. One is about the Amazonian Guard, the women who guarded Gaddafi during his time in Libya. The other is about an indie game developer dealing with the absurdity and misogyny of the video game industry. I also have an upcoming commission for a children's show that I can't really talk about right now because it's not officially announced.

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



A: Apparently, shortly after learning to walk, I would entertain my mother's friends by running into the living room, diving face-first into the carpet, and then taking a bow. I feel like that pretty much explains my aesthetic. Or my desperate need for approval. Or both. I'm going to say both.

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



A: I'd like to see a lot less living rooms. First off, it's making me realize how much better my living room could look. But also, I feel like most of my favorite plays are the ones that venture out into the world, that take me somewhere I haven't been. When I go to see a show, I want characters who travel, explore, sit on something other than couch.

Q:  Who are or were your theatrical heroes?



A: My early playwriting heroes were Albee and David Ives. Reading their plays in those impressionable high school years taught me everything I needed to know to get started. Nowadays, my main hero is Tracy Letts, who proved that you can be a exceedingly talented playwright and actor with only a high school diploma, which is my current journey. I also have huge playwright crushes on Annie Baker and Sam Hunter, Baker for seemingly figuring out this whole theater thing at our relatively young age, and Hunter for mining a lot of amazing stories from his northern Idaho roots. Gem State represent!

Q:  What kind of theater excites you?



A: The kind that invites me to come along and play. Which is not necessarily to say audience participation, though here in Philly, there's some really cool work that directly engages the audience. But more the kind of theater that creates an exciting playground of looks, people, ideas, and then invites me to come along for the ride. With some of my favorite writers, like Letts, Baker, Hunter, Will Eno, Sarah Kane, Tony Kushner, Suzan-Lori Parks, Johnna Adams, you feel that passion for not just presenting a story, but sharing it. That's the answer right there. I like theater that shares.

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



A: Two things. First, write what you haven't seen on stage, but always wanted to see. If it's a story you genuinely want to see, chances are other people do, too. Second, get to the end of the first draft. I'm horrible about trying to re-write before I finish the first draft, so for me, most of the battle is just getting to the end.

Q:  Plugs, please:



A:  The Private Green, my Amazonian Guard play, will have a reading through the Philadelphia New Play Initiative in June. I don't know the exact date and time yet, but they're on Facebook, so you can check that out. Everything else has yet to be announced, so just keep Googling my name. I know I will.



Crossposted to the Kanjy Blog






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Reading of my play for youth Thurs April 10th

Reading by Primary Stages of



Adventures of Super Margaret
By Adam Szymkowicz
Directed by Michelle Bossy

Thurs April 10 at 7pm
At 59 East 59 Theater (59 East 59th Street, NYC)

(It is intended to be acted for and/or by middle school students.)


Super Margaret is having a hard day. She has too much Geometry
homework, and the prom queen and king have been kidnapped. If she
doesn’t rescue them from the Nefarious Evil Genius, who will? Certainly
not her wanna be sidekick, Louis who won’t stop following her and
narrating her life. Certainly not Super Lee who is busy enough at
Central High. It’s hard to be super powered and super smart.



Come if you can.




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2 one minute plays

because what else can you do with a one minute play after it's been performed except put it on the internet.



 









WEIGHT

By Adam Szymkowicz




A BIG PERSON is getting a piggyback from a LITTLE PERSON.




LITTLE PERSON

We have to stop




BIG PERSON

One more time.




LITTLE PERSON

I will break




BIG PERSON

I am the broken one.




LITTLE PERSON

I know but




BIG PERSON

I am the broken one. You saw I was destroyed by
circumstances and life and mental illness and addiction and love and you picked
me up and dusted me off. And you lifted me up.




LITTLE PERSON

I can only do so much.




BIG PERSON

Just a little more.




LITTLE PERSON

No but.




BIG PERSON

I just need a little more.




LITTLE PERSON

Who will fix me when I break?




BIG PERSON

Someone will come along.




LITTLE PERSON

No.




BIG PERSON

Someone. 
Onward!




LITTLE PERSON

Ow.




LITTLE PERSON carries BIG PERSON off in the direction
they were going.















MEME

By Adam Szymkowicz




A

I don’t understand.




B

I’m going off the internet.




A

What do you mean?




B

I’m not doing it.




A

You mean facebook?




B

Yeah.




A

Twitter?




B

Yup.




A

Not Instagram?




B

Everything.




A

I mean, you can’t do that.




B

It’s all just me me me.




A

It’s pronounced meme.




B

It’s a waste of my time and energy.  I’m going to do things instead.




A

I don’t understand.




B

I’m not judging you or anything.




A

You’ll come back though, right?




B

I doubt it.




A

We’ll fall out of touch.




B

No we won’t.




A

I’ll forget about you. 
Maybe still think of you now and then and wonder what you’re up to but
then less and less until I stop thinking about you at all.




B

That’s crazy. 




A

Is it?  Your
shoe is untied.




B bends to tie shoe. 
A exits.  B looks up after
tying shoe but A is gone.




B

Hello?  I’m
still here.










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I Interview Playwrights Part 647: Daniel Glenn

Daniel Glenn

Hometown: Alpharetta, Georgia

Current Town: The great sixth borough that is Yonkers

Q:  What are you working on now?


A:  I am imagining what it would be like if Richard Nixon were reincarnated, and were alerted to his past life by the spirit of Indira Gandhi, now residing in a cow. Can he conquer his demons this time around? It's a think-piece.

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


A:  Once, while playing with my LEGOs, I swallowed one of them. It was just a little tiny speck of a LEGO, but I was afraid that somehow this was going to be the death of me. So I went to my parents and I told them I had swallowed a LEGO. Only I was crying so hard, from elemental terror, that I was not able to answer their questions about the nature of the LEGO. So they figured I must have swallowed some giant log that was now obstructing my breathing (although I was using a lot of oxygen in my sobbing: parents sometimes have fuzzy logic). My father then took me over his knee and whapped the crap out of my back to try and get it out. This went on for some time, maybe a Spongebob and a half. Finally he gave up. The LEGO had come out, unnoticed because it was so small. So this taught me to be very specific when I choose my words. A small LEGO. A very small LEGO that gives no cause for alarm.

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


A:  I would make it cheaper, or better. Too much of it is expensive or bad.

Q:  Who are or were your theatrical heroes?


A:  Spalding Gray. I have a huge mancrush fancrush on Spalding Gray, and feel robbed since I never got to see him live.

Q:  What kind of theater excites you?


A:  I like anything that stays one step ahead of me. If I can figure out what's coming next, I get bored, and then I get resentful, and then I get thirsty.

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


A:  Well, I'm starting out, so I'm biased, but I would say keep starting out. Start out forever. I think the more inspirational artists are the ones who keep reinventing themselves, who keep trying vastly different new genres and ideas, rather than the ones who find a niche and fill it for decades. So I'm saying more John Guare, more Caryl Churchill, less David Mamet. Now I'll probably never work with David Mamet. But it had to be said.

Q:  Plugs, please:


A:  I'm scheduled to be part of Pan Asian Rep's NuWorks in June. Or if you're heading South, I'm also performing "Portraits of People I've Never Slept With" at the Atlanta Fringe Festival. Check out danielpglenn.com, or Facebook/com/danielpglenn.






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