Meet Finalist Sharon Goldner

Don’t miss Sharon’s play, Little Swimmers, in our Planting the Seed Festival in Prescott, Jan 2nd and 3rd!
Tickets available HERE.
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I’ve never met Sharon Goldner, but man – she seems like a hoot and a half!  Two of Sharon’s plays made it into our Semi-Finalist round, and I stewed and stewed on which one I was going to have to omit from our final line-up.

It all Starts with Celeste and the Hard Boiled Egg was one of the biggest surprises for me, as a producer.  It scored quite well in the Peer Review, and when I read it I got a few chuckles from the play’s two female characters who engage in an unexpectedly easy-to-derail lunch-time conversation.  I found the play entertaining, but didn’t realize just HOW entertaining it would be once actors got a hold of it.  I produced the reading of this play in Waco partially because I wanted to see if the script jumped off the page or landed somewhere in talky-talky land – it positively leapt off the page and had us all guffawing as two of Waco’s talented performers – Barbara Bridgewater and Susan Anderson – adopted the roles.

The piece would have been a fantastic addition to our Planting the Seed line-up, but Sharon also wrote this fantastic little play about a couple of eager sperm just waiting to catch up with Ova, and, well… who could resist producing that?

So, it is with great pleasure we are including Sharon’s play, Little Swimmers, in this year’s festival.  Let’s meet this fantastically funny writer!

2012-09-29_19-25-54_773LBDI:   Why did you decide to submit your work to the ONSTAGE Project?

Sharon:  I decided to submit my work to the ONSTAGE Project because it seemed like one of those rare opportunities that is too good to be true, & as it turns out: it is rare, & it is an opportunity, & it is good & it is true.

LBDI: Describe your writing space… 

Sharon:  Ah, my writing space is … on my sofa that nobody else sits on but me!. I write (*gAsP*) the old-fashioned way, from brain to pen to paper, transcribing to computer later on. It makes me feel closer to the alphabet this way. And the alphabet is every writer’s friend!

LBDI:  If you could be any cartoon character for just 24 hours, who would you be? 

Sharon:  I imagine if I could be any cartoon character for 24 hours I would have to go with Mickey Mouse. Most cartoon characters subscribe to a nudist philosophy , while Mickey sports some really nice fashion sense. Also, heis the ambassador of smiles, to young & old alike, though I suspect with all of that happiness he generates,he is probably in therapy himself.

LBDI: What was your first play titled/about? 

Sharon:  The first play I ever wrote was called Bob & Marlene’s First Date. It is about Bob and Marlene who are out on a date that is not going very well to begin with, and Marlene’s mother keeps calling her daughter with various bits of dating advice that no daughter should ever hear her mother talk about. When Ida, the mother, tells Marlene she should tongue kiss Bob, the audience laughs, but secretly they are going poor Marlene … poor
poor Marlene.

LBDI: Which playwrights do you admire and what about them inspires you? 

Sharon:  I’d be very remiss not to say that Shakespeare inspires me because when I read Julius Caesar back in the 10th grade I was like Whoa. Somebody can actually write like this?! That was a very big moment for me.  Of the modern playwrights out there today, I have to say I love the work of Rajiv Joseph. He has an amazingly weird sensibility that I relate to.

LBDI: Why do you write for theatre?  (as opposed to other written media…)

Sharon:  I write for the theater because things have a way of coming full circle. When I was a kid I would re-write fairy tales as plays on looseleaf paper and distribute the scripts to the neighborhood kids to act out. When those teenage years hit I forgot about everything that had ever given me pleasure. Then I went to college where I went on a short story binge that lasted for many, many years. I re-discovered playwriting a few years ago and after many tearful episodes of apologies for abandoning the art form that I was truly meant to create, playwriting forgave me, and we have been partners ever since, stronger than ever. There is something about manipulating the alphabet on paper to create characters and dialogue, AND then seeing it all step into real life on the stage… there is no other wow like this medium.

LBDI: What is your spirit animal? 

Sharon:  I would like to think that my spirit animal is a dolphin because I have been enamored by them since reading Meet the Dolphin in the second grade. But truthfully, my spirit animal is probably a little lap dog that likes getting belly rubs and fed treats.

LBDI: Paper or Plastic?

Sharon:  Definitely paper. I am obsessed with recycling. Can recycling be a hobby?

Sharon Goldner‘s award-winning plays have been produced (2010- present) multiple times in NYC; Brooklyn, NY; Baltimore; FL; and singularly in WI; PA; VA; OH; & MN.  Her work appears in Smith & Kraus’ Best Female Stage Monologues 2013. Currently, she has a play being workshopped in Newfoundland, Canada.   Sharon is a member of the Dramatists Guild. Additionally, over 30 of Sharon’s short stories have been published in literary journals across the U.S, and England, and she is a 3-time Pushcart Prize nominee for her short fiction.

The Planting the Seed Festival runs this week for 3 performances only
at the First Congregational Church Theater in Prescott.
Showtimes – Jan 2nd @ 7:30, and  Jan 3rd @ 2:30 & 7:30.
Tickets just $14 online or at the door!

Planting the Seed Fest Poster

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Ithaca and Sedona – Thank you!

Our producers in Ithaca and Sedona had a whirlwind of a day last May 4th, and we just wanted to send out a little love to everyone working with them to bring our festival to their communities!   Huge thanks to the actors, directors, and playwrights for a lovely evening of theatre on both sides of the country!

Scroll down for a few pics and e-programs…

– ITHACA, NY –

Playwright Marella Martin (second from right) with Director Cynthia Henderson (far right) and the cast of NIGHT BLIND - Acting Out NY, Ithaca - NY

Playwright Marella Martin (second from right) with directors Danica Kelley (to her right) and Cynthia Henderson (to her left) with the cast of NIGHT BLIND – Acting Out NY, Ithaca – NY

Planting the Seed Program Ithaca– SEDONA, AZ – 

1-2-3-4 Jump by  Kate Hawkes, Directed by Dev Ross
with actors Shondra Jepperson, Jeff Masters

Replica by Katelyn Tustin, Directed by Sarah Ann Lesslie
with actors Kayt Pearl, Mitch McDermont

You Touch Me by Gail Mangham, Directed by Nichole Garrison
with actor Kate Hawkes

After Dark  by Lavinia Roberts, Directed by Nichole Garrison
with actors Terra Shelman, Ashlee Threlkeld

Rebecca on the Bus by Jennie Webb, Directed by Kate Hawkes
with actors Linda Damita, Bonnie Green, Nichole Garrison

Who She Would Have Been  by Allie Costa, Directed by Shondra Jepperson
with actors Michelle Lambeau, Thomas G. Davis

Altitude Adjustment by Melanie Ewbank, Directed by Michelle Lambeau
with actors Shondra Jepperson, Jeff Masters

Technical Assistance:  Bill Lyons (Speaker) and Kevin MacDermott : Operator/Set up

 Thank you Joseph Schibley and Debbie Winslow of the Sedona Arts Center for your support and help.  And Al Comello for great PR photos!

Sedona Read 2

Photo courtesy of Al Comello and Red Earth Theatre

Sedona Read 1

Cast Photo – courtesy of Al Comello and Red Earth Theatre

 

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Meet Finalist Jessica Abrams

Don’t miss Jessica’s play, Happy Returns, in our Planting the Seed Festival in Prescott, Jan 2nd and 3rd!
Tickets available HERE.
Bookmark our Blog or follow us on Facebook!

With Planting the Seed as our theme, it was a no-brainer we were going to receive a number of plays about pregnancy.  And boy, did we!  They were poignant, funny, wistful, sad, and some were awesomely strange – and had we wanted to produce a whole evening of plays about this story-rich subject matter, we would have had no shortage of material to choose from.  In the interest of creating a more diverse line-up, however, we worked towards selecting just one.

Jessica’s play, Happy Returns, really struck a chord with the rest of the ONSTAGE Playwrights.  It consistently scored high during our Peer Review process, and when I read the play, I completely understood why.  The women in Jessica’s play are best friends in their 40’s, negotiating one’s unexpected pregnancy and what that means for their unspoken “Single Friends Forever” pact.   I think the “I’m happy for you, but I’m also totally freaked out about what this means for little ‘ol, single ‘ol me!” sentiment is one that many of us have experienced at some point.  And Jessica’s dialogue and characters just feel so interesting and real that you want to see this play!

Now, don’t you want to learn more about this awesome playwright?

IMG_7071LBDI:   Why did you decide to submit your work to the ONSTAGE Project? 

Jessica:  I loved the idea of the peer review process, and I love that it’s very women-centric…

LBDI: Describe your writing space… 

Jessica: I write on my couch, with one leg up and the other on the floor.  Sometimes I go to the lounge at the Writers Guild because I love to soak up all that writer-energy, but I have to be really motivated to leave my cocoon.

LBDI:  If you could be any cartoon character for just 24 hours, who would you be? 

Jessica: Road Runner, of course.

LBDI: What was your first play titled/about? 

Jessica: It didn’t have a title.  It was about the signing of the Declaration of Independence and I wrote it when I was in 4th grade.  The teacher read it in front of the class and I was so embarrassed I kept my head down on my desk the whole time.

LBDI: Which playwrights do you admire and what about them inspires you? 

Jessica: As I get older, I find myself loving the passion and commitment of a playwright as much as their actual work.  I know how hard it is to stay focused and believe in yourself and the stories you’re trying to tell.  For that, I love Theresa Rebeck and how prolific she is.  I love John Patrick Shanley.  Wendy Wasserstein.  Tennessee Williams never gets old.

LBDI: Why do you write for theatre?  (as opposed to other written media…) 

Jessica: I write for the theatre because I find that the stories I want to tell just seem to find their way there.  I also write for film and TV but most of the stories that beg to be told are stories that beg for that live, shared experience.  I can’t describe it any better than that; I wish I knew myself.

LBDI: What is your spirit animal? 

Jessica:  Dolphin or dog.

LBDI: Paper or Plastic?  

Jessica:  Paper, of course.

Jessica Abrams is a playwright, television writer, storyteller and actress. Her plays have had productions and readings all over Los Angeles, with “The Laughing Cow” receiving Pick of The Week by LA Weekly. It is now published by Off The Wall Plays. In addition to performing storytelling events, she writes dance reviews and blogs for the Los Angeles Female Playwrights Initiative. Her most recent project is KNOCKING ON DOORS, a web series she wrote, directed and starred in. Watch it HERE.

The Planting the Seed Festival runs this week for 3 performances only
at the First Congregational Church Theater in Prescott.
Showtimes – Jan 2nd @ 7:30, and  Jan 3rd @ 2:30 & 7:30.
Tickets just $14 online or at the door!

Planting the Seed Fest Poster

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Meet Finalist Marla Dean

Don’t miss Marla’s play, The Environmentalists, in our Planting the Seed Festival in Prescott, Jan 2nd and 3rd!
Tickets available HERE.
Bookmark our Blog or follow us on Facebook!

I want you to imagine two little old ladies impatiently trying to unlock an apartment door.  They wear strange wigs, matching unitards, stylish jackets and boots, and a lot of dirt.

Aren’t you just dying to know what in the seven blazes they’ve been up to?

Well, meet Marla Dean – playwright mastermind behind this curious set-up!  Marla is also a professor, novelist, and director, and we are just so excited about sharing her play, The Environmentalists, in our Planting the Seed fest!

LBDI: Why did you decide to submit your work to the ONSTAGE Project?

Screen shot 2014-04-07 at 12.53.30 PMMarla: I haven’t submitted my plays to competitions for many years and never a 10 minute play. I decided to create this on a whim from a full length and began sending out my writing again this year. Little Black Dress Ink came up in my search. Sometimes the universe works in wonderful ways.

LBDI:  Describe your writing space…

Marla:  My desk is my womb. It contains my computer, small flat screen monitor, an ancient printer and a large screen TV. (I always have it on when I write). The surface of my writing table is piled with papers to be graded, books I am involved with at the moment, and random half-filled coffee cups. My favorite pieces of art surround me and the soft yellow walls of my bedroom comfort me. The desk is modern and large without wood or beauty, but it serves me well.

LBDI:  If you could be any cartoon character for just 24 hours, who would you be?

Marla:  Who else but, Betty Boop

LBDI:  What was your first play titled/about?

Marla:  1975, I had moved to NYC that year to become a Broadway star. I began writing. It couldn’t Happen to a nicer Bunch of Guys, a one act, produced at Tyson Studios in Manhattan along with another playwright’s work. A reunion of three old friends at a sales convention goes bad when they accidently kill a hooker in their motel room. The play turns macabre as the three hysterical normal guys try to get out of their crime. Dark comedy. The play was written a good ten years before a random movie came out with the same plot line, however the statement of the play remains as strong then as now.

LBDI:  Which playwrights do you admire and what about them inspires you?

Marla:  There are so many playwrights who have inspired me during my years: Tennessee Williams for his beautiful words and human pain, Jean Genet for his dark cruelty and fears, Lillian Hellman for her wit and plot, and David Henry Wang for his passionate expansive anxiety.

LBDI:  Why do you write for theatre?  (as opposed to other written media…)

Marla: I think in dialogue and write for the art form I love and have always loved. When I write, I see the stage and the movie in my head plays across wooden boards under the colored and changing lights of the theatre.

LBDI:  What is your spirit animal?

Marla:  The Wolf

LBDI:  Paper or Plastic?

Marla:  Don’t get me started on the horrors of plastic in our society. Paper, please.

Marla Dean, an adjunct Humanities professor at the University of Kaplan, teaches creative writing at the University of Phoenix, and Acting as well as Introduction to Theatre at Austin Community College.  She has spent most of her adult life developing new work for the stage and recently completed her first novel , “SIMPLE MACHINES” with her co-writer Manuel Carreon.    She is a director of some fifty plays and musicals and a playwright of both comedy and drama.  This is her first ten minute play.

The Planting the Seed Festival runs this week for 3 performances only
at the First Congregational Church Theater in Prescott.
Showtimes – Jan 2nd @ 7:30, and  Jan 3rd @ 2:30 & 7:30.
Tickets just $14 online or at the door!

Planting the Seed Fest Poster

 

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Meet Finalist Kay Poiro

Don’t miss our Planting the Seed Festival in Prescott, Jan 2nd and 3rd!
Tickets available HERE.

I’ve never “officially” met Kay, but I’ve known her cyberly-speaking since 2012, when we were both writing for HowlRound’s Here and Now Project.  She was living in Hawaii at the time, something us main-landers dream about, and wrote a really cool collection of plays that made me think “I need to stay in touch with this writer!” and so I did.

And when we were gearing up for Planting the Seed, she sent us a fun little writer’s comedy about some willful characters titled, Seeds of Rebellion.  I really enjoyed this play, and so did the other playwrights who read and evaluated the script (of course, what writer hasn’t wondered what her characters might be thinking…) I’m really looking forward to sharing Kay’s play with our audiences, and I think it’s a great piece to open with since it pokes some good natured fun at the 10-minute-play format I’ve asked our writers to apply towards the ONSTAGE Project.

IMG_2195So, with that, let’s learn a little more about playwright Kay Poiro!

LBDI: Why did you decide to submit your work to the ONSTAGE Project?

Kay:
I loved the idea of a theatre festival united in theme happening in different parts of the country around the same time

LBDI: Describe your writing space…

Kay: cluttered kidney shaped Ikea desk, with a Mac desktop and a printer. Corkboard with calendars to my left, “to do” pile on my right

LBDI: If you could be any cartoon character for just 24 hours, who would you be?

Kay: Speed Racer

LBDI: What was your first play titled/about?

Kay:
My first play was called “4F” and it was supposed to be a rock opera based on a Depeche Mode record. In my defense, I was 14 and didn’t know licensing from liverwurst!

LBDI: Which playwrights do you admire and what about them inspires you?

Kay: Mark Harvey Levine. I admire how hard he works to get his work seen in every corner of the world and by anyone willing to listen.

LBDI: Why do you write for theatre?  (as opposed to other written media…)

Kay: I love writing for theatre because the playwright is respected in the process.  And when my work is presented, unlike screenwriting, it is MY work that is seen- not some bastardized, play-to-the-demographic monster stitched together from studio notes. Seeing and hearing my words onstage is so vital as a writer because then I hear what works and what doesn’t. How can I grow as a writer if I never get a chance to hear my voice?

LBDI: What is your spirit animal?

Kay: Spider/ Amy Winehouse

LBDI: Paper or Plastic?

Kay:  Paper

Kay Poiro is an award-winning screenwriter and internationally produced playwright. In 2012, her feature script “Ridgeway Mystery Club” won Best Screenplay at the 8th Annual L.A. Femme Film Festival. Her stage plays have been performed across the United States and around the world, including London, Sydney, India and Korea. In 2010, her play “Bless Their Hearts” won the Audience Ovation Award at the Fire Rose Productions’ Ten Minute Play Festival in Los Angeles. Kay is a member of the Dramatists Guild of America and lives in Maryland.

Don’t miss the Planting the Seed Festival, Jan 2nd and 3rd at the
First Congregational Church Theater in Prescott.
Showtimes – Jan 2nd @ 7:30, and  Jan 3rd @ 2:30 & 7:30.
Tickets just $14 online or at the door!

Planting the Seed Fest Poster

 

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Meet Our Los Angeles Directors!

It’s time to shine some love on our Los Angeles Directing team!

I met Mary Jo DuPrey when we were both graduate students at UCLA.  Mary Jo directed my thesis production of In the Company of Jane Doe – and she knocked my socks off with her grasp of the visual, the psychological, and the absurdity in my weird little world.  We’ve been fast friends ever since.  I’ve watched in awe as Mary Jo has impressed Los Angeles audiences with her visceral and insightful style of direction, and I am SO excited to have her co-producing and directing this reading of our Planting the Seed Finalists!

securedownloadMary Jo DuPrey is a faculty member at the UCLA School of Theater, Film, and Television where she directed “MGM: My Visits with My Grandmother Marta,” “In the Company of Jane Doe,”  Charles Mee’s “Big Love,” “Who is Selma Teller?,”  “The 25th Annual Putnam County Spelling Bee,” and an original musical, all female version of “Lysistrata.” Other Productions: World Premiere of “Arroz Con Pollo” at The Complex,  “Jane Doe” for The Blank Theater’s Living Room Series, and the World Premiere for the Los Angeles Theater Ensemble.  Last Spring,  “What May Fall” for Theater of Note, LA Weekly Pick of the Week. Most recently, an acclaimed production of Jeffrey Archer’s “Dr. Jekyll and Mr. Hyde,”  included in Bitter Lemon’s Best Productions of the Year and part of the Actor’s Co-Op’s LADCC’s Polly Warfied Best Season in Los Angeles Award.  Readings for the Marianne Murphy series include “Anna in the Closet,”  “Dolley,” and “Lost Cause.”  Associate Producer: the Indie Festival Award winning film “Nothing Special,” with Karen Black. Mary Jo is a graduate of Vassar College.  She earned her MFA in Directing from UCLA, is a recipient of the NYU Professional Certification in Filmmaking, and an Associate Member of the Stage Directors and Choreographers Society.

I met Sara as a fresh-out-of-grad-school playwright, hungry for professional feedback an production opportunities. Strangely enough, it my thesis play (In the Company of Jane Doe) that again connected me to a fabulous director and artist – Sara had selected the play for a staged reading through a theatre she was working with.  She invited me to coffee and I immediately added her to my list of awesome female artist pals!  Producer, director, playwright, screenwriter… Sara has worn many hats!  And we are so happy to have her on board as a director for Planting the Seed!

Sara Israel, Headshot

Sara Israel’s introduction to the world of theater came when she was cast in the title role of a kindergarten play, The Magic Letter E (cap to cape, fad to fade). She has been engaged by words-in-space ever since. As an award-winning playwright and theater director, Sara’s work has been seen around the country—productions that have allowed her to collaborate with an amazing range of talented artists, ages 11 to 85, including Spirit Award winners, television icons, and the finest classically trained actors. In the camera world, The Happiest Person In America, which she wrote and directed, stars Liza Lapira, Shiri Appleby, Steve West, with Dale Dickey and Michael Paul Chan, and made its world premiere at the Oscar-qualifying Los Angeles International Shorts Festival. It continues on the festival circuit while also being screened at national academic conferences and private corporate events (www.TheHappiestPersonInAmerica.com). Sara is a graduate of Dartmouth College, an alumnus of Directors Lab West, and a proud member of the Writers Guild of America and the Dramatists Guild of America. For more, please visit www.SaraIsrael.com.

Planting the Seed LATC poster_web

 

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Announcing the 2014 Finalists!

So many words.

I’ve just spent the past week re-reading the 28 short plays by female playwrights making up our list of semi-finalists for this year’s ONSTAGE Project, and I’m overcome with the power of all of these words.

How to narrow this list down to just 9 or 10 scripts?

I’ll tell you, it wasn’t easy.  This year saw some truly moving and hilarious pieces shared, and I definitely engaged in some heavy negotiating with myself, trying to find ways to include more pieces.  But there are only so many minutes.

I’m incredibly proud to announce this year’s finalists.  The plays below were selected based on a combination of the scores they received from peer-reviews, recommendations from Little Black Dress INK’s partner producers, and with consideration towards creating a diverse line-up.  The result is a wonderful blend of 11 engaging short plays and monologues – all scripts I can’t wait to see featured at our May 18th Planting the Seed reading at the Los Angeles Theatre Center, and then produced in Prescott, AZ this Fall.

So, without further ado, it is my pleasure to share this year’s ONSTAGE Finalists:

THE BEGINNER’S GUIDE TO GARDENING, by Denise St. Pierre
FLY GIRL FLY, by Brigitte Viellieu-Davis
OFEM, by Anne Hamilton
THE OLD SALT, by Katherine James
HAPPY RETURNS, by Jessica Abrams
LITTLE SWIMMERS, by Sharon Goldner
REBECCA ON THE BUS, by Jennie Webb
THE ENVIRONMENTALISTS, by Marla Dean
FANCY TOMATOES, by Tiffany Antone
SEEDS OF REBELLION, by Kay Poiro
FLOWERS, by Jen Huszcza

We will be featuring each of our eleven playwrights on the blog over the next two weeks, so please come back and visit again soon!  And don’t forget to mark your calendars for our Los Angeles reading on May 18th at 12, noon, PST.

Not going to be in LA?  Not a problem!  You can watch our LA reading on HowlRound.com‘s livestream channel:  http://www.livestream.com/newplay/

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THE 3 BEST THINGS ABOUT BEING A (FEMALE) PLAYWRIGHT

BViellieu-DavisBy playwright, Brigitte Viellieu-Davis

I recently wrote to Tiffany, our fearless LBDI leader, and asked if there were any topics she would love to see covered in a blog. She responded,  “I’m really interested in…what it means to you to be a female playwright.”

I don’t really have anything to compare it to…I’ve always been female. And I’m pretty sure I’ve always been a playwright, even before I was writing plays. There is a legend that when a journalist asked Arthur Miller if he was working on a new play he responded, “probably.” I’m not comparing myself to Miller, but I think all storytellers harvest details from their lives and subconscious 24 hours a day for their work. My creative career up to this point has mostly been focused on acting, on performing, so I am going to tell you about what it’s like for me to be (not just a female but) simply…a playwright.

So far it’s been grand and here are my top 3 shout outs to my life as a writer:

1. The Freedom to Be

…anything! Doesn’t matter if I’m a (female) playwright or writer, I can be genderless when I write. I can be male, female, transgender, old, young, not born yet, gay, straight, any race, religion, and from anywhere, even another Galaxy, if I choose.  Or, rather, my characters can be. As long as I’m paying attention and being as truthful as I know how to be, I can use any way to tell my stories.

Do I have a unique perspective as a woman? Sure! But you can also say I have a distinctive world view because I’m American, a native Midwesterner, the youngest of a large family, a NYC actor, married for 22 years, child free, middle aged, or short. Everything I am, all the things I read and watch, everyone I have met or meet, all the experiences that make up my daily life make their way into my writing. I love that my senses are this conduit, a channel through which the world gets interpreted, and I feel responsible to be open and receptive and then to tell the truth as best as I can in my work.

2. The Power of Being

…the source. Coming to playwriting from acting there is a palpable difference in the power dynamic. Over the last 22 years I have had countless conversations over coffee or cocktails (that’s a lot of alliteration) with fellow performers who bemoan working or investing their time (most often for no money) in a new play or musical with a writer and director for days, weeks, months, even years (in staged readings, workshops, or bare bones or regional productions) only to be replaced (with a “name” talent) when a producer gets involved. This has happened to to many of us. Directors get replaced too. I have witnessed playwrights have little say on casting or a creative team. I have seen them, and have been myself, bullied into making cuts or changes in the play, or have to fight for certain production values. But you can’t replace the playwright. A producer or theatre can decide not to do your play, they can try to steal it (but informed playwrights know how to avoid this), but they can’t do it without you, without your permission. There’s power in that.

3. The Satisfaction of Being

…realized. There is no greater feeling than seeing my work interpreted by a director, designers and actors. As an actor I’ve been part of sold out shows, had standing ovations, rave reviews and roses handed to me at curtain call. And yet nothing quite compares to seeing the words I’ve written, the characters I’ve built detail by detail, and the stories that have joyfully haunted my days come to life on stage. My husband and I don’t have children, but I have this progeny in the stories I have birthed. I am the mother of a body of work.

So there you have it…mother…only a female playwright would see it that way so readily. And I love this motherhood, this community of sisters raising up our voices and telling our stories, and of being — powerful, free and realized. What’s does it mean to me to be a (female) playwright? Like any mother would say, it means the world.

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Guest Blogger: Playwright, Nayna Agrawal

photoPurple Eggs in the Car(ton) came to me one night, as many of my ideas for writing do.  And, of course, it just so happened to be at a time when I had no paper on me (I know, bad amateur writer move).  But, in my defense, I am rarely dressed up for a cocktail party and my cocktail purse allows only for my keys, shiny chapstick and mace (for the walk home). 

So, I grabbed all the business cards I’d collected over the course of the evening (I’m better at being chatted up than being prepared) and wrote it out in the bathroom of the Orrington Hotel in downtown Evanston where I currently reside (not the hotel – in Evanston).  It was 1 a.m., I had had 4-inch heels on (oh, how I miss the cushier feet of my 20s!) for five hours and I really needed to make the walk home sooner than later to avoid having to sidestep the drunken frat boy puke splattered across the sidewalks. 

Purple Eggs to me embodies one of those coming-of-age questions we women find ourselves asking in our late 30s: “How badly do I want to have a baby?” and all its manifestations.  Some of us are married when we ask this, some of us are in committed relationships, some of us are in the early stages of a relationship and some of us are single.  Regardless, I have had this conversation with so many of my friends, with all the aforementioned statuses represented, and it’s never easy and always emotional. 

I started to imagine what two friends who share a bond of kinship but hold very discrete stances on having a baby would look and sound like.  How would they support one another?  Would it get touchy?  Would it be symbiotic or destructive to their relationship?  I also wanted it to feel ubiquitous so I placed this very private moment in a very public (and accessible) setting: the Chicago El train.

As a budding writer, I hope that my words will raise questions, foster empathy and bridge divides we experience with our closest friends when the moment or subject matter gets heated.  Lastly, I must effusively praise and thank Tiffany Antone, my fellow writers, my peer reviewers, our directors and  LittleBlackDressINK.org for granting me this exceptional opportunity and stroking my ego (read: inferiority complex).   Thank you for reading and supporting me!

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Meet our Semi-Finalists: Sedona Edition!

Who hasn’t daydreamed about visiting the beautiful red rocks of Sedona, AZ?  I grew up just an hour away from the famous desert landscape, and spent many a day-trip wandering through this beautiful artist retreat – so I was absolutely ecstatic when Kate Hawkes with Red Earth Theatre signed on to produce a reading of our ONSTAGE Project plays at the Sedona Arts Center.

Kate has been an avid supporter of Little Black Dress INK, directing for both of our previous festivals and sharing her work in our From the Mouths of Babes festival in 2012.  We’re super excited to have her at the helm in Sedona!  The reading will take place at 5:00 on May 4th – mark your calendars!

Red Rocks rehearsal

In Sedona:  Dev Ross (director), Jess Masters carrying Shondra Jepperson and Kate Hawkes (playwright)

And now, let’s meet our Sedona semi-finalists:

WHO SHE COULD HAVE BEEN, by Allie Costa

allie_costa_pink8Allie Costa is a writer, actress, and director based in Los Angeles. Who She Could Have Been was inspired by a photograph. Allie’s original plays and screenplays include Prodigal Daughter, Testimony,Resurrecting Big Bird, and Can You Keep a Secret? Her play Little Swan, a Pas de Deux, inspired by the life of Anna Pavlova, recently had a reading at the Zephyr Theatre. Allie is currently playing Sam in Wake at the SeaGlass Theatre. Additional theatre credits include Spring Awakening (Martha/Ilse), Hamlet (Guildenstern), Gypsy (Baby Louise), Pope Joan (Young Joan), Before a Fall (Darla), and What the Moon Saw (Matchgirl). Film/TV credits include 90210, Unusual Suspects, You Me & Her, and Unintentionally Awesome. She’s a proud member of the Los Angeles Female Playwrights Initiative and PlayGround-LA. She always has energy to burn and a song to sing. Occasionally, she sleeps. http://www.alliecosta.com

YOU TOUCH ME, by Gail Mangham

Gail Image frontGail Mangham is the Founder and Artistic Director of The Artist’s Path, an arts organization that explores the premise that art and artists have the capacity to shape individuals and societies.  She holds an MFA in Drama with an emphasis in acting.  While she considers herself an actress first, most of her time is spent producing and directing.  At this writing she is completing an 18 month project, The Changing Landscape of Journalism and Ethics through Theatre, Film, and Photography.  Gail is particularly pleased to be creating the role of fellow Houstonian Molly Ivins in the play, RED HOT PATRIOT-THE KICK-ASS WIT OF MOLLY IVINS by Margaret Engel and Allison Engel.  April 3-12, Details at www.TheArtistsPath.org.  “Thanks to Little Black Dress Inc. for the opportunity to test my wings as a playwright.”

REBECCA ON THE BUS, by Jennie Webb

JennieWebb-LA FPIJennie Webb is an independent Los Angeles playwright, currently in residence at Rogue Machine (where her dark retail comedy Yard Sale Signs premiered) and Theatricum Botanicum (where she runs workshops and “Botanicum Seedlings: A Development Series for Playwrights”). Her plays, including Remodeling Plans, Unclaimed Assets, GreenHouse, On Tuesday, It’s Not About Race  and Buying a House, have been produced in LA (most recently at Theatre of NOTE and Santa Monica Rep.), on stages across the country and at the Edinburgh Fringe Festival. She’s been part of The Playwright Center’s PlayLabs, past Female Playwrights ONSTAGE Festivals and the Virginia Avenue Project, and is published by Heinemann Press and ICWP. Her play Crazy Bitch will be developed at the 2014 Great Plains Theatre Conference. She is a member of The Playwrights Union, EST/LA’s Playwrights Unit, Fell Swoop Playwrights and co-founder of the LA Female Playwrights Initiative (LA FPI). jenniewebbsite.com + @jenniewebbsite

AFTER DARK, by Lavinia Roberts

Lavinia Roberts Photo (956x1280)Lavinia Roberts is an activist, performance artist, and playwright. She is published with Heuer Publishing, Meriwether Publishing, Brooklyn Publishers, One Act Play Depot, and others.  Her work has been produced with the Subversive Theatre Collective in Buffalo, NY, Stone Soup Theatre in Seattle, Washington, the Los Angeles Women’s Theatre Project, and the Bloomington Playwrights Project, in Bloomington, Indiana, and others. Her full length play, Counting Skunks, won the 2011 Mario Fratti-Fred Newman Political Playwriting Award at the Castillo Theatre in New York City.  She is a member of the 2012 Women’s Work Lab at the New Perspective Theatre and Sanctuary Playwrights. Her work has been featured in NYC at the Secret Theatre, the Metropolitan Playhouse,  Dixon Place, with the Sparrow Tree Theatre Company, the Manhatten Repertory Theatre, in the John Chatterley Short Play Lab, and in the Thespis Fringe Festival.  This Spring she will be doing applied theatre work in the Philippines, Cambodia, and Thailand, and an artist residency at Vyt Art’s Students League.

THE REPLICA, by Katelyn Tustin

Headshot 2Katelyn Tustin is originally from Boston, MA and just recently relocated to Santa Barbara, CA. She has been very active in the theatre community since high school as an actress, director, producer, playwright, stage manager and more. Katelyn received her BA in Business from Saint Anselm College of Manchester, NH in 2009. While there she spent countless hours onstage and backstage for 20 productions with the Anselmian Abbey Players and three years on their board of directors. After graduating she has worked with The Boston Opera Collaborative, Be True Theatre Co, The Hovey Players of Waltham and most recently with The Elements Theatre Collective in Santa Barbara. While not in the theatre or at her day job, Katelyn enjoys spending most of her time with her amazing boyfriend Derek. She would also like to thank her incredible family and friends for their support and love.

 ALTITUDE ADJUSTMENT, by Melanie Ewbank

Ewbank HeadshotMelanie Ewbank is an award winning actress and playwright with numerous Los Angeles and regional theater credits as well as film and television credits. A staged reading of her full-length play I Found Baby Jesus in the Cat Box was produced by Pasadena Playhouse, and her one-act play Platitudes of Perfect-ness took first place in Knoxville Writer’s Guild’s 2012 writing contest. She has worked as a voiceover artist in Los Angeles, and is the audiobook co-narrator for Suzanne Brockmann’s Troubleshooters series.

 

1-2-3 JUMP, by Kate Hawkes

bigkate(1)Originally from Australia, Kate Hawkes holds degrees in Education and Counseling, and an MFA in Directing from the University of Portland. She is a freelance theatre professional, arts in healthcare consultant and long time educator. She created Performing Wellness ™ an arts in healthcare writing/performance process and has worked professionally in all aspects of theatre, from acting, directing, producing, writing and management for over 25 years. Kate is a co-founder and Producing Artistic Director of the new Northern Arizona theatre company, Red Earth Theatre. (to contact Kate go to: www.wellnesswithkate.com)

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