The Death Of Theatre

This week we lost two people important to theatre: Edward Albee and Charmain Carr. Albee was 88, Carr was 73.

Edward Albee was arguably America’s greatest living playwright, entering the world of theatre after the death of Eugene O’Neill and after Arthur Miller and Tennessee Williams had released their most important work and continuing their legacy. His first play, The Zoo Story, opened in 1959 in Berlin. A year later, his work transferred to New York and was the progenitor to what we know as “off-Broadway”. His most influential work, Who’s Afraid Of Virginia Woolf, came in 1962. Albee was a master of heightened naturalism that influenced generations of writers, actors, and directors. In a world of commercial, jukebox musicals, Albee’s works showed that high drama could still draw an audience, and influence them.

Albee won three Pulitzer Prizes in his career for A Delicate Balance (1967), Seascape (1975) and Three Tall Women (1994). His play Who’s Afraid of Virginia Woolf was selected for the 1963 Pulitzer Prize by the award’s drama jury, but was overruled by the advisory committee due to the play’s “vulgarity”. They elected not to give a drama award at all that year. The jury subsequently resigned in protest. Woolf ended up winning the Tony Award in 1963. Albee won his second Tony almost 40 years later for The Goat, or Who is Sylvia? in 2002. He was nominated for Tony Awards in 1964 (The Ballad of the Sad Cafe), ’65 (Tiny Alice), 67 (A Delicate Balance), ’75 (Seascape).

In addition to his original plays, Albee was also an adaptor to the stage of other’s works,  writing the stage versions of Truman Capote’s Breakfast At Tiffany’s and Vladamir Nabokov’s Lolita. As a writer who mixes in adaptations in addition to original work, it warms me to see that this amazing playwright did the same thing (Albee did two other adaptations; The Ballad of the Sad Cafe  and Malcolm).

This week we also lost Charmian Carr, best known for playing Liesel in The Sound of Music. Carr was primarily a film actor, but her portrayal as the eldest von Trapp daughter has influenced every ingenue to take up the role since. The daughter of vaudevillian actor Rita Oehmen and musician Brian Farnon, Carr had never taken a singing lesson or tried to act before taking the role of Liesl in Robert Wise’s 1965 film. The audition had been arranged by her mother, who did it without asking Carr if she wanted to do it. Carr agreed to do the audition, thinking her mother would consider getting a part in a motion picture more important than getting a college diploma. Carr got the role, beating out actors such as Sharon Tate, Mia Farrow, Lesley Ann Warren, and Patty Duke.

Director Wise thought the surname “Farnon” would be too long when paired with Charmian and so presented the young actor with a list of single syllable surnames, from which she chose the name “Carr”.

Carr did one other musical, the Stephen Sondheim piece Evening Primrose, which aired on ABC Stage 67 in 1966, before eventually leaving show business to start an interior design firm. One of her clients was Michael Jackson, who was a fan of her performance. But while she left acting behind, she never left Liesl behind, writing two books; Forever Liesl and Letters to Liesl. She also appeared on The Oprah Winfrey show in 2010 with many of her Sound of Music co-stars to celebrate the film’s 45th anniversary and recorded Edelweiss with the great-grandchildren of the real von Trapp family.

These two “theatrical” careers, one stretching out for decades, one very short, serve as a reminder, to me at least, that theatre, music, musicals, and performance, continue to influence and shape our culture and our society. The world of drama wouldn’t be the same without Albee and his body of work and the world of musicals wouldn’t be the same without Carr’s iconic performance.

Welcome Back

So, I’ve been gone for awhile. Not for lack of wanting to be, but just a lack of time. I’ve been devoting myself to my writing and to my life outside of writing and have put my website and blogging on the back burner.

So what has been happening? Well besides me listening to Hamilton obsessively?

Well first, we have a new, updated domain name. We are now a [dot]Com

3 Million.

Last October, I premiered a new play via Sherri’s Playhouse, a feature of the podcast Chatting With Sherri, called #JohnDoe. The last count of downloads I received was around 3 million downloads. #JohnDoe is a long one-act comedy about life, love and reality TV. A wealthy family, known more for their antics on television and reality TV, find themselves in a will dispute when their entrepreneur patriarch suddenly dies of cancer. What follows is a hunt for a mysterious friend of the deceased who is also a beneficiary of the estate so that they can all receive their share of the inheritance.  #JohnDoe starred Tonia Lee, Summer Patrick, Cathy Kutz, James McCollough, Everett Robert, Raymond Brent, David Koshiol, Jen Gray, Savy Gray, and Debbie Herriman.

Hays, KS

#JohnDoe was then staged on the stage with Hays Community Theater at the end of April. This production also starred me and some of the original cast members (Jen Grey, Savy Gray, Raymond Brent) but also Wendy Richtmaier, Tammy Watford, Tammy Freeman, Jerret Leiker, Brian Kingsolver.

Lawrence, KS

My short monologue, Warning Shots, was performed by EMU Theater in Lawrence, KS in November of 2015. My little play shared the stage with Will Averill, Robert Baker, Dan Born, Evan Guilford-Blake, Nick Stock, and (another Hays, KS resident) Catherine Trieschmann. Warning Shots recounts the two different attacks on Lawrence, KS during the Civil War from the perspective of a young girl who witnessed it.

Kalamazoo, MI

My new play, Thoughts and Prayers, went up this past August in Kalamazoo, MI from Fancy Pants Theater as part of their political play series. Thoughts and Prayers details several shootings across the United States over the past couple of years and how the phrase “you’re in my thoughts and prayers” isn’t wholly the answer.

What’s Coming up?

I’ve written two more short plays for Sherri’s Playhouse, one an original western and the other and adaptation of Robert Louis Stevenson’s The Suicide Club.  So be looking for more information on those as they come up.

Thanks again for sticking with me and embarking on this new adventure, once again

lowellarts

#PlaywrightRespect and #LowellArts

While on the Official Playwrights of Facebook group, I came across a call for submissions from the LowellArts, a group in Lowell, MI. This particular call for submissions is one of the worst I’ve seen (a $20 fee for a 10-minute play!) so I wrote them. What follows is a copy of my email.

To Whom It May Concern,

I recently came across your call for submissions and even though the deadline has passed, I am writing to you today to voice my concern that your contest is taking advantage of playwrights. To ask for $20 in the hope that my ten-minute play may or may not be produced is one of the highest, if not the highest submission that I’ve seen, particularly for a ten-minute play. Ten-minute plays, in the life of a playwright, are not money makers, are often given away for free as a way to help get a playwright’s name out there or to help benefit community theaters, schools, etc. who may not be able to afford royalty rights. As the playwright, we have already spent time, energy, effort that could be spent making money, into crafting this piece of art, for our own self-fulfillment and again for the promise of no money.

Asking the playwright to pay also raises the question, do you ask your actors to pay for the chance to audition, whether or not they get a part? What about potential directors? If you have 10 directors interested in directing one of the 8 plays you have selected, do you ask all ten to pay $20, use eight of them and keep the additional $40? You may say, and I’ve heard this as an actor myself, that the actor does pay for their part in ways other then in cash. Through bringing their own costumes, props, time, etc. The same with the director. I recently directed a musical for my local community theater and invested a lot of my own personal money into the show, by my choice. However, that argument is flawed when you consider the time the playwright puts into creating their play. A 10-minute play is not written in 10 minutes. Personally, I have spent days or weeks writing the perfect 10 minute play. If you do understand this, and still ask the playwright to spend $20 of their hard earned money, on a play that is not guaranteed a production, then you have great disregard for the art of playwrighting.

If you are targeting this call to playwrights who are not more experienced and are looking for a start, then this call is even more egregious because you are taking advantage of a group of writers who do not know better. In writing circles there is an adage, “money goes to the writer, not the other way around.” And that is the way it should be. in this case, money is going to ONE writer, while others who submit are not even promised a production, only the lucky eight.
I understand you are offering a substantial prize, but I’m not convinced that asking for playwrights to pony up the cash for the prize money and fund your theater is the way to go. There are close to, if not more, 9,000 working playwrights in the United States. If even just a fraction, say 100, send in a play to you, that is $2000 to fund your festival. Subtract the $500 purse, and you still have $1,500. Now I know from experience that putting on a play isn’t cheap, but where does that $1,500 go? Are tickets to the show being sold? What is the size of your house? And why are playwrights being asked to fund your festival? These may seem like hard questions, but as a veteran of the stage for over 20 years, I know some of these questions (cost of tickets and expected house size) are often asked by licensing agencies when rights are sold.  Most licensing agencies will charge you whether or not you are charging for tickets are not and still want to know an average cost and house size. you may not want to disclose this information to a playwright, but you should. Why should the average playwright, who is licensing his or her own material, not be privy to this information? If I put in $20 to your show, I’m essentially an investor in your company and should know how my money is being spent.
You may not see these points the same as I do, but it is the truth of the situation. You are taking advantage of playwrights, we are serving as investors and licencors, and we should know these things before deciding how to spend our money. We are NOT your patrons, we are your artists.
Thank you,
Everett Robert

#PlaywrightRespect, #WeAreSeniorsToo and @WordsPlayers

It is amazing what a week can do. As I write this, at 2am, I’m in Kansas City on a mini vacation. A vacation before I start a new “real world job” a vacation from the struggle that was directing a musical (even with a talented co-director, music director and pit conductor), and a vacation from the stress of being a playwright in the modern age.

A playwright in the modern age means Tweeting, writing blogs, being active on Facebook, submitting to opportunities (at least a 100/year according to some), the work of a producer (if you are self-producing, which I’ve done and am doing), trying to find that new marketing hook, oh yes an writing.

It was also a vacation from the craziness that was #PlaywrightRespect, craziness that I jumped in on.

Why did I jump in and be, as one commentator said on the Words Players Facebook Page, “one of the more critical, but also one of the more fair, balanced and polite voices I read here.”?

Because I’ve been here before.

If you remember in February of 2014, I called to task a school that I felt was disrespecting their student musicians. Accusations got thrown back and forth, students were threatened, cyber bulling occurred on my site (and was immediately taken care of), but for a week I lived the life of a blogging whose post has gone (somewhat) viral.  My own family was divided on the issue, I heard from parents, from schools, from teachers, from former students and from current students. I’ve often viewed myself as a citizen journalist reporting on the arts and particularly student artists.

I don’t do enough reporting on that, and I should.

There were other lessons I learned, and often didn’t use when the #playwrightrespect hashtag exploded, thrusting a small, amatuar theater in Minnesota into the national spotlight.

I should have remembered that the internet can be a productive place. Bringing attention to what many of us did was important for the Playwright community. Experienced voices (and me) trying to help correct something that went wrong. When private, quiet letters didn’t work, louder voices on social media did. This captured the attention of the Dramatists Guild, Playbill, and Broadway World. Change was made, apologies issues, a discussion was held. I didn’t think change would happen, but it did.

But I should have remembered that the internet can be an ugly place. People are angry and just as I saw insults hurled at me during #WeAreSeniorsToo and at those who stood with me, people were angry at this theater and showed it. I don’t think they were angry at Words Players and North Words in particular. To them, they weren’t “people” but rather symbolic of every theater that every changed their words without permission, or didn’t respond to their query, or accept their submission. I know I was angry at a local theater when this happened, they chose to ask a local writing group to write the script to their Halloween guided ghost tour instead of me, the playwright who lives in their town and is active in this community. But instead of channeling that anger and disappointment into something productive, I saw an opening to defend my fellow playwrights.

Basically put, there are white hats and there are black hats in every community. Those who abuse and those who save. The problem is, often times, we switch those hats back and forth quickly and what we see as a “white hat” is often times seen as a “black hat” to others.

Is there a solution? I don’t know. With Words Players, I think this NEEDED to happen as it did, warts, threats, and all, because in the past, the few that wrote letters seemingly got no where (although Daved Driscoll-the Artistic Director at Words Players acknowledged that he should have changed the guidelines last year and meant to but forgot. Hey it happens to all of us.) This issue, with a small youth theater in the eye, hit at the “perfect time”. It was an issue that had been building for quite some time. And when Words Players seemingly (to us at least) shut down and quit responding, locking down accounts and deleting comments, it spurred us on.

I think the solution is two-fold. Fold one, theaters that are called out like this should respond with something more then “if you don’t like it, don’t submit” and with something like “We are looking into this matter” and asking for a dialog on how to improve submissions so that they are respecting playwrights. And playwrights, we need to voice our voices of concern, quickly and immediately. We need to not worry about reprisals and call out theaters that are abusive or potentially abusive. But we also need to be willing to reach out and help. To guide and explain why the Dramatist’s Bill of Rights is so important to us. And we need to breath and listen and communicate.

Theater is a two-way street, but we are all creative and artistic and crazy. We need to reach out and be collaborative while also respective. Your words are YOURS but they are just words, not your first born or your pet. Be open and listen and theaters should be open and listening too to understand our point of view.

Finally to Words Players, it has taken me several days to write this, because I needed to step back and relax. I also have an upcoming staged reading of Allie In Wonderland to focus on. Oh yes and the productive, real life job starting up Monday. But I needed to write this, and I needed to write this as an apology. I don’t know if I said anything destructive, I certainly tried to be constructive, but I also know I viewed things through a very cynical lens and I’m someone whose words have been respected (for the most part–I don’t always hear about EVERY production) and have been consulted when changes have needed to be made. But to those at Words Players, I apologize if, in my zeal for #playwrightrespect, I didn’t show why we deserve it.

@WordsPlayers #PlaywrightRespect and an open Letter

The following was posted in the comment section of the Words Players Facebook page, re: the recent controversory over their call for submissions.

There are some here who believe that the playwrights who have voiced our concerns have somehow “bullied” Words Players, Mr Driscoll, or their young actors and directors. I have been closely following the hashtag on Twitter and the @WordsPlayers twitter account and have seen snark but not bulling. We have not in any way threatened violence or made fun of you personally. We did not dox anyone or threaten to. We have not once, that I can find, attacked any of the young actors or directors. Many of us have stated, on Facebook, on Twitter, on Blogs, that our biggest concern is the education of these students. That we want everyone to treat playwrights with respect. In the original call, as it stood, many of us felt that we were not being respected, both by tone, word choice, and by the implication that our words would be changed with or without our permission. Mr Driscoll has graciously acknowledged that it could be read this way. But we still have questions and we still have concerns. I think just about anyone who has ever spent time in the theater has seen actors “go up” or have paraphrased because they either couldn’t be bothered to memorize or just couldn’t memorize. I have been involved in theater for a quarter of century. The majority of my life has been spent acting, writing, directing, producing, live theater. And most of that has been on the high school or collegiate level. I have worked in churches and in bars. And I’ve seen it happen. But just because it does happen does not make it right. As someone who has just finished directing a production of Legally Blonde, I strove every day to make sure that my young actors (most were between the ages of 16-22) got every word, word perfect. At one point there was some confusion, the book said one girl sang a part of a song, the score another. I contacted MTI and said, “hey we have a question here…” and they answered it within 24 hours and apologized for not answering it sooner. Does that mean we had a word perfect show? No. Because it happens. Bt my actors knew that was what I was striving for. In my training, I was taught “you aren’t the writer of this play, you cannot change the words no matter how much you want to.” And that has never limited my artistic ability to create something new and fresh and original. In my adaptation of Alice In Wonderland, I wrote “Hatter enters, sits down and the chair breaks. He tries to fix the chair” (that isn’t word perfect to the script btw I just don’t have it handy in front of me to copy and paste), when it was performed in Atlanta, I saw 2 minutes of some of the funniest physical comedy I’ve ever seen. That is not modification of the script, it is an interpretation.

There are those who have asked, why we have held this amateur theater to a professional standard. My first response is, don’t you want everyone to be treated like they are a profession, regardless if they are or not? Wouldn’t you want your children to learn how to act and react in a professional environment and learn the proper “professional” way of handling things in the theater? My second response is this, Mr Driscoll is a college professor and is a mentor to the young students of Words Players. As such, he should be aware of the current standards and practices in the theater world (which for decades have included not changing writers words without their permission, provided the writer’s works are not in the public domain.) As an educator, he SHOULD be held to a higher standard. Just because this is “art” doesn’t mean that there isn’t a professional behavior to be taught, and our main concern was that the next generation of theater creators (actors, writers, directors) were not being taught that. Surely you would want your business teacher to teach your children the proper way to do accounting, or build a computer or cook or whatever. Before you can bend the rules, before you can “break” the rules, you must learn the rules, I was always taught (and that there are some rules that shouldn’t be broken) and again, our concern, based upon this call, was that an unprofessional behavior would be taught.

I sincerely believe Mr Driscoll, North Words and Words Players have the very best intentions at heart. I do believe that they respect writers, but that respect isn’t reflected in the call for scripts that we saw (on your public website, and yes as I mentioned in my follow up comment above, it is a public website that anyone can access and does access. If you did not mean for this call to be spread, a simple “this submission opportunity is by invitation only” and would not be posted on your website OR you could have put, much like the Barnyard Players in Kansas City have done, “this submission is limited to people within 300 miles of Rochester, MN” or anything similar.) Writers have had the words abused, as I said, and almost every writer can attest to seeing it happen, or actor, or whatever. And in light of last years incidents with the transgender casting of Olenna without David Mamet’s permission and the incident with DGA president Doug Wright’s play, Hands On A Hard Body, and the rearranging of words, songs, scenes, etc without permisison and the arrogance displayed there (the director reportedly said “But you have to admit I made it better” to the writer) and in follow-up investigation on TUTS in Houston, I hope all of you can see why many writers are defensive and take up this cause as being quite personal. Words Players is not the first to have had this happen nor will it be the last. It was just a perfect combination of events, bloggers, and writers taking up a cause that was quite important to us. The continued silence on the issue, the deleting of posts criticizing the call for submissions (and I saw some of those that were deleted and they were not in any way “bulling” or “vulgar” or anything else.) fueled us on, encouraged us to make our voice heard louder and louder until the Dramatist’s Guild, Doug Wright, Playbill and Broadway World had no choice but to hear us. And at that point you did what you had to do.

I understand why Mr. Driscoll granted an exclusive with Playbill, but I would have loved to have seen him reach out to those that first started this call, particularly Donna Hoke and Howard Sherman.

I know this was long, and I appreciate anyone taking the time to read it and hopefully the critics of #playwrightrespect understand where we come from.

Reading their letter to the Dramatist Guild, I can sympathize. They describe a collective environment where writers, directors and actors helped each other. I love that style of theater. I love workshops, and I love that kids spearheded this.  My first couple of plays were done in the same guerrilla style “hey my dad has a barn, lets put on a play” style. Hell, directing Legally Blonde, I had no budget; props, costumes, set decoration came from actors closest, homes, or out of mine or my co-director’s pocket (and I wasn’t working much so that made it difficult). I understand where they are coming from, but that doesn’t make it any less right or wrong, how it was suggested it would be handled. There is growing up as a theater and growing out and then there is remaining stagnant. I hope this was simply a sign of growing pains.