i'm a white writer. in new york. original, no? i've been blogging since october 2002. this blog picks up in october 2008, when i moved from DC to NY...(and then I moved to Maine in 2012)

Thursday, June 25, 2009

Wednesday, June 24, 2009

TWEETABLES: Advance Press for MAY 39th/40th

We're getting some nice mentions for the DC Fringe production of MAY 39th/40th.

Check it Oh-You-Tee:

MAY 39th/40th, My Fabulous Sex Life, Titus X, et al. Set for Capital Fringe Festival
TheaterMania 6/22/09

MAY 39th/40th: Where Will You Be?
DC Performing Arts Examiner, 6/14/09

Rising Director Christy Denny
DC Performing Arts Examiner, 6/14/09

And here's our press release.

Now run and get your tickets!

Tuesday, June 23, 2009

TWEETABLES: Hot. Super hot.

The New York Neo-Futurists will perform TwitterPlays written by Twitter followers this weekend. The TwitterPlays are part of PRIDE Meets the Street, Saturday, June 27 from 3pm to 7pm on 4th Street between 2nd Avenue & Bowery.

I've got at least one play in the mix. I'll be in DC at a rehearsal for my play MAY 39th/40th, so unfortunately I'll miss this! But you can go. I mean, if you live in NYC and all.


Monday, June 22, 2009

TWEETABLES: DC Fringe Tix on Sale!

1,000 years from now, dating in the city will still blow chunks. And playing doctor will be way more creepy.

Tickets for MAY 39th/40th are now on sale at DC Fringe!

The show opens July 11 and runs for 3 weekends. It's a small venue with only 5 performances, and we sold out in 2006 when the first version of MAY 39th was produced, so if you know you wanna see it, go ahead and get your tix here.

It's being produced by 11:11 Productions and directed by Christy Denny, an exciting up-and-coming director who just assistant-directed "Stunning" at Lincoln Center LTC3. The play features Lindsay Haynes (she was in my play, "Jupiter Zoom," for those of you who've been with me that long) and James Finley.

I won't be at every performance, because I'm based in NYC now, but let me know if you plan on going to the show, and please tell your friends in DC about it.

About the Plays

MAY 39th takes a voyeuristic ride through the morning after a first date in the year 3009: Sam gives Louisa everything she wants, and a few things she hadn't bargained for. In MAY 40th, Roya consents to a startling procedure when she asks Jim to heal her blindness. Both plays explore the lengths people will go to in the pursuit or avoidance of pain.

Thursday, June 18, 2009

TWEETABLES: Graziella TV Webisode

Hey! The #140 Conference was super awesome. I gave a talk on how some performing arts organizations are using Twitter successfully. As a result, I was invited to chat on Graziella Barratta's web TV show. She's Ms. United States and she's super cool and passionate about the arts.

Check out the episode: Go to http://www.graziellatv.com/ and click on "Menu." Choose "Watch Movies," then choose the "Graziella TV 6/19/09" episode. The first part got cut off a little.

Monday, June 15, 2009

TWEETABLES: Out of the Office, Yo

In a few hours, the #140 Character Conference to explore how Twitter is affecting advertising, celebrity, and the media starts with a sweet happy hour for all of us "characters."

There are 140 of us (get it?), and I cannot WAIT to meet these people in 3-D.

On Wednesday at 4:50pm, I'll be giving a 10-minute talk called "ALL THE WEB'S A STAGE: The Arts As a Shared Experience on Twitter." I'm also producing two panels: "TWITTER + TV: Producing Content on Two Screens," and "White House Correspondency in the Age of Twitter."

You can watch all the presentations here.

Peace in your crease.

Thursday, June 11, 2009

THURSDAY SLICE O' PIE: Closing the Loop and Opening the Door

Was it really three weeks ago that we all were parsing apart the Primary Stages issue around their all-female season of plays?

Yes, yes it was.

I loved that, everywhere I went both in NY and in DC in the following days, people were eager to talk about this issue. I loved that so many people were coming here to read about it, and appreciated that people were commenting so thoughtfully. And I wanted to share more information about the issue. (Also, I'm looking forward to attending the seminar on Gender Disparity on June 22 sponsored by 59E59 and Primary Stages.)


In those three weeks since, I've worked my 3 jobs, finished a script, travelled to DC for a reading, helped to produce 2 panels for a conference, worked one fundraiser, attended another, seen 6 shows, gone to Atlantic City, attended two professional networking events, worked on a grant application, prepped for a speaking engagement next week, and built the graphics for the web, press release, banner ad, and postcard for one of my summer shows.

(And I started an online dating profile. You know, because I have so much free time on my hands.)

But the real reason I've held back on posting further, was that I wanted to sit with my own feelings on this matter.

Obviously, I have strong, personal feelings about this. And I am always suspicious of strong, personal feelings. Not in a bad way--I think passion clues us in to what matters most to us--but in a skeptical way. As in, What's really going on here?

And I realized that what's really going on here is that I can't even pretend to be objective, and that I can't make a logical argument for why it is important to produce women playwrights. I actually think logic works against this idea, that an argument for parity, for numbers, somehow misses addressing the essential nature of what's askew in the first place.

And so I've decided to write about this topic solely from my own personal viewpoint, acknowledging the whole time that it is completely subjective, and influenced by many specifically personal events in my own life.

But I'm not doing that in this post, and it will take me a little while to gather those thoughts on paper.

But I will share some interesting after-events from the time this issue was raised three weeks ago:

Primary Stages responded to a follow-up email I sent asking what sort of response they were seeing in terms of subscription numbers. They said that there indeed was an impact, but they did not list specific numbers:

Since this string was posted, we have received more than a few inquiries about purchasing subscriptions for worthy female playwrights, and I certainly hope those numbers continue to grow. It has been, and continues to be, fulfilling for Primary Stages (as an organization and as individual staff members) to connect young playwrights with a community of supporters.

We often use the term "Primary Stages family" because we know it takes much more than our little staff to make theater happen. Thank you to all who are joining that family. We look forward to entering this milestone year with you.

Then, on June 3, a friend who supports Round House Theatre forwarded me this e-blast that RHT sent to their mailing list:

Round House Supports Women Playwrights

Round House Theatre has produced five plays on its Bethesda
main stage this season. Four of those plays were written by accomplished female playwrights. And though it's already June, you still have a chance to support this kind of work by attending our final production of the season — Melanie Marnich's new comedy A Sleeping Country, running through June 21.

Theatre stages are, in general, still dominated by the work of male playwrights. A recent study by the Dramatists Guild noted that only 11% of the plays produced in New York City were female-authored. Here at Round House, we're trying to change that. Just look at who came out to play this year: Karen Zacarías, Mary Hall Surface, Sarah Ruhl and currently Melanie Marnich. These are amongst the most talented and creative voices working in the theatre today - male or female.

But sometimes, we just need a little reminder. Supporting their work matters. A lot.

I could be wrong to assume a causal connection to the conversation we all were engaging in two weeks prior, but I'd like to think that this is an example of a theatre realizing that overtly supporting women playwrights, and telling their audience why it's important, can get people to the theater, and can make subscribers a little less squeamish.

The very same hour, I kid you not, I got an email from another DC friend. She had just gotten her Studio Theatre season brochure in the mail and was dismayed it features only male playwrights.

The fact that this friend noticed this underscores what I suspect is one of the disconnects between the genders about awareness of this issue. I know that every time I look at a table of contents in a magazine, or a theatre's season listing, when it's all men, it really stands out. And believe me, it happens a lot. (And often, when women are included, they are dolled-up or admired for a saucy, cultivated foul-mouthedness.) Each week I get an email from the New Yorker telling me what's waiting for me in my mailbox at home, and so many times the entire list of writers is men.

I caught part of the Tonys while I was in Atlantic City, and I was struck by how purposefully women seemed to be included, whether it were a wife brought on stage by a male Tony winner, or another award winner making sure to say that God of Carnage succeeds because of Reza's script, that the director and translator did not fix or improve it (I'm paraphrasing, but you know what I mean).

So I believe that, as often as I have seen male colleagues roll their eyes or disengage from this conversation (oh the sting of not being listened to), there are many more male colleagues (many of them married or with daughters at home) who care deeply about this issue. And I believe that progress will be exponential. Well, I hope so anyway.

And for those men who might want to understand more viscerally why this is such a huge issue for women, I recommend a specific book to read. It's a classic piece of writing that had an enormous impact on the conversation about women's issues when it was published in the 1970s, and it had an enormous impact on me when I read it decades later. It specifically speaks to the creation of art, and to the creation of art by women. It explores, succinctly and powerfully, the many reasons women are often silent, or are silenced. It's aptly called Silences, and it was written by Tillie Olsen, who passed away a few years ago.

It's around 300 pages, but if you just read the first section (there are three), which is about 50 pages, you'll see why it is such an important piece of writing. (And you'll probably be so fascinated that you'll continue reading.)

When I went to the MacDowell Colony, I went around my studio looking at all the names written on the wall of who had been there before me. Tillie Olsen was one of the names. I re-read Silences while I was there, and an artistic director of a theatre, who knew of my admiration for Olsen, suggested I write something up inspired by her work. I spent a few days inquiring about rights and got nowhere. I wrote Olsen a letter. She died shortly after.

I never wrote my piece on her, and I don't think I ever will. It's a fool's endeavor to try to re-work something that is already in its perfect form.

Monday, June 8, 2009

TWEETABLES: The Casino Edition

Spent the weekend in Atlantic City.

While my friend and his boyfriend played poker to the tune of several hundred dollars (and came out ahead, because they're smart like that), I napped, drank carrot juice, stared at the ocean, got a massage, and learned that straight men travel in packs.

Also? Some people are enormous.

Jumped into Monday with both feet. Killed myself during Pilates today. I have plans to carve out some blogging time for my playwrighty thoughts, as well as write a guest post on another blog about social media. Also, making revisions to MAY 39th/40th, which goes into rehearsal on the 21st. Also have to create the banner ad and postcard art for said play, and give feedback on the press release the producer wrote.

All I wanna do is nap, but I'm jacked up on a venti green tea lemonade, light ice, two pumps of classic.