I was overjoyed to learn that my play, Finals, Touchdowns, and Barrel Kicks, had been selected for publication in Eric Lane and Nina Shengold's latest anthology. Plays for Two is a unique anthology of twenty-eight terrific plays for two actors, by a mix of celebrated playwrights and cutting-edge new voices. I had the pleasure to speak with Eric Lane about his career as an editor and experiences as a playwright. JACQUELINE LAWTON: Why did you decide to get into theatre? Was there someone or a particular show that inspired you? ERIC LANE: As a teenager, reading A Raisin in the Sun was an incredibly powerful experience. The play’s characters, story, range of emotion, strength and beauty all affected me very deeply. That piece still holds an incredible power today. JL: Plays for Two is your thirteenth anthology. Tell us about how you became an editor. EL: Nina was editing her second anthology, and in the middle of the project, she got hired to write a TV show. We were friends, both playwrights, and she asked me to step in and complete the book. We quickly discovered we really enjoyed working together. Plays for Two is now our 13th collaboration. JL: What is the process of editing a book? How do you determine the themes? How do you decide which of monologues, scenes and plays will be included? EL: Nina and I will come up with the theme for the book (e.g. Plays for Two, Plays for Actresses, Short Comic Plays, etc.). Many times the theme will emerge from trends we’re seeing in theater, or it may be a book we ourselves have always wanted to see. Over the years, we’ve developed an extensive network of playwrights, theaters, literary managers, agents and friends to whom we’ll reach out for new work. And the list is always growing. On average, we’ll read between 400-500 submissions for a collection. A lot of factors go into choosing the material for the book. Not only are we seeking wonderful plays that fit our subject, but the plays should work together to create a full, interesting, diverse contemporary collection with a broad range of strong roles for actors. In total, our books for Vintage and Viking-Penguin have sold over 400,000 copies. Drama Book Shop once told us, “Your books are the most shoplifted titles in our store.” That really made us laugh. JL: What do you find most rewarding about being an editor? Do you have a surprising or interesting experience to share? EL: As editors, we read submissions hoping they'll be terrific. There’s a real joy in discovering wonderful new work. When a play is great, it jumps off the page from the moment you start reading it. You can feel it from the first stage direction or line of dialogue. That’s incredibly exciting. JL: In addition to your work as an editor, you are also a playwright. Tell me a little bit about your writing process. Do you have any writing rituals? Do you write in the same place or in different places? EL: My writing process changes with each play. Just when I think I know how I write a play, it’ll be completely different the next time. I always try to honor where I am at the moment and follow where the characters and story lead me. JL: Describe for me all the sensations you had the first time you had one of your plays produced and you sat in the audience while it was performed ... what was different about the characters you created? How much input did you have in the directing of that work? EL: The first time a play of mine was performed in New York City, it was an out of body experience. I knew the actors were speaking in English, I knew I spoke English and had written the play, and yet I literally couldn’t understand a word they were saying. Over the years, I’ve gotten much better. JL: What advice do you have for up-and-coming playwrights? EL: Editing these anthologies has taught me a lot as a playwright. One of the most important lessons I’ve learned is not to take rejection that personally. You may have written a brilliant play, but it may not match what that editor or theater is looking for at that particular moment. They already may have chosen another play that is somewhat similar. Or they just may not like it. I’m not saying don’t get pissed off when your work is rejected. But it’s important to use that anger or disappointment to fuel you in finding the right place for your work. Also, be smart about what you send in. For example, an agent recently submitted a full-length drama for an anthology of short comic plays. Bad idea. And if an editor asks for two plays maximum, don’t send in three. It just makes them cranky. Try to think of it from the point of view of the person reading your submission. If they’re reading over 500 plays, your play needs to stand out in some way – its use of language, humor, depth of emotion, originality, characters, story, setting, theatricality, skill, etc. Be original. If there’s another playwright whose work you love, don’t imitate them, but use their originality to inspire you to find your own unique voice. And most of all, hang in there. JL: What next for you? Where can we follow your work? EL: It has been a very full and creative time for me. My new play commission Filming O’Keeffe premiered at the Adirondack Theatre Festival this past summer in a beautiful production. This fall, I had a workshop of Floating at Raven Theatre in Chicago. Soon I’ll be starting rewrites on a new play. And when Plays for Two comes out in March, Nina and I promised to take each other out for a really nice lunch. www.ericlanewrites.com About Plays for Two
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SIGNATURE THEATRE AND THE NEGRO ENSEMBLE COMPANY, INC. HONOR THE LATE LESLIE LEE MEMORIAL SERVICE AND CELEBRATION OF WORK MONDAY, MARCH 24 Memorial Service Celebration @ 3PM Reading of Leslie Lee’s Legends @ 7PM The Romulus Linney Courtyard Theatre at The Pershing Square Signature Center 480 W. 42nd Street between 9th & 10th Aves The celebration begins at 3pm with a memorial service honoring playwright Leslie Lee, curated by Heather Massie, founder of The Leslie Lee Legacy Foundation. Speakers taking part at the memorial include Charles Weldon, Stephen McKinley Henderson, and Douglas Turner Ward. The event will include excerpts from Mr. Lee’s writings.
NEC continues the tribute with a 7pm reading of Legends, one of Lee’s most recent plays. Direction by Charles Weldon. Cast members: Khalil Kain*, Heather Massie*, Harvey Blanks*, Chris Johnson*, Kimberlyn A. Crawford*, Ralph McCain*, and Keona Welch*. Immediately following the 7pm reading, there will be a VIP reception in tribute to Mr. Lee. The 3pm Memorial is free and open to the public. Tickets for the 7pm reading of Legends produced by The Negro Ensemble Company, Inc. ($20 general admission, $30 with post-show VIP reception) are available through Ticket Central at 212-279-4200 or by clicking HERE. Further information at www.necinc.org. Support for THE LESLIE LEE LEGACY FOUNDATION for the continued production of his works and legacy of writing can be made by tax deductible contributions through Fractured Atlas. Click HERE to make a donation. *Appearing courtesy of Actors’ Equity Association. My time in Louisville is drawing to a close. I head back to D.C. on Monday. Being here, working as a dramaturg on brownsville song (b-side for tray) for Actors Theatre of Louisville's Humana Festival of New Plays, has been at once a remarkable, challenging, inspiring and empowering experience. I am thankful to Jennifer Bielstein, Amy Wegener, Kimber Lee, and Meredith McDonough for this affirming, educational, and career-defining opportunity. What I wouldn't give to come back, and oh what a dream to be here as a playwright! Click here to learn more and purchase your tickets. Also, please enjoy these production photos by Bill Brymer and click here to learn more about the cast and crew. Yesterday, before attending our first first preview, I walked that bridge that takes you to Indiana, as I've done so many times. Only this time, I walked against, through, and into 35-45 mph gale force winds. At one point, I held on to the metal railing as cars barreled passed. I don't know the depth of the Ohio River, but I know that my ability to swim pales against the strength of the tides. Step by step, gust by gust, I made my way across and back. All the while, I thought of Dorothy, whose story I'm in process of adapting for Adventure Theatre-MTC. This poor determined farm girl, who dared to dream and asked the universe for something more, something beautiful, something different. And so, she was scooped up by the wind and dropped somewhere new, magical, wonderful, frightening, and free. I thought about her journey and all that she learned ... all that she wouldn't have learned had she stayed in one place. Then I thought about all of the change happening around me, all of the unbelievably amazing opportunities life has given me, and I felt blessed. I also felt really stupid for walking out on that bridge in the midst of a wind advisory. But honestly all of that is what I think it takes to make it through life: the audacity to dream, heaps of courage to embrace change, a lot of determination mixed with a bit of stupidity, a complete willingness to ask for help when you need it, and the humility to learn from all that you've experienced. This is also why your failures are as important, if not more so, than your successes. Today, I'm going to finish my 10 minute play, SISTERS, BY WAY OF GRACE, which I've been commissioned to write for Theatre Ariel's 10X8: FOOD, FAMILY, and PHILOSOPHY Salon Series. It's an imagined encounter between Tziporah and Miriam. More on all of that soon! When I finish, I'm not going to take on that bridge that takes you to Indiana. The wind advisory is still in effect. Instead, I'll just meander about the city and see what adventure awaits. For the past year and three months, I've taken part in Arena Stage's Playwrights’ Arena, the newest new play initiative developed by the American Voices New Play Institute. Curated by Director of Artistic Programming David Snider, I joined fellow playwrights Norman Allen, Randy Baker, Heather McDonald, Danielle Mohlman, and Shawn Northrip for twice monthly meetings. When we first convened in January of 2013, New Play Institute Dramaturg, Jocelyn Clarke, set the tone for our work together in the room (paraphrased from my notes): “We are to serve as each other’s memory for the work we originally set out to do on our respective plays. We are here to champion and challenge each other. We are here to ask questions and listen intently. We are here to dig deeply and honestly into our process and forge ahead even when it all falls apart.” Toward the end of May, we took a three month break to focus on completing our scripts and returned in September. I wrote about our process for Arena Stage's blog Stage Banter: "Our focus is on script development. But it’s more than that. We are investigating our dramaturgical practice and our writing process. We’re exploring our theatrical and creative mindset and exploding assumptions about what is and isn’t theater. We are shaping a philosophy of theater that guides our writing practice and acts as a point of entry into our story telling. We are here to experience the ecology of playwriting — we are learning who we are as playwrights in relationship to our work and process to each other and to the American Theater. Each session allows for an intense, focused and rigorous practice of inquiry, writing and study. I leave each meeting exhausted and rejuvenated all at once, which is really quite thrilling. I feel so fortunate to be able to spend a year dedicated to communing with such exceptionally talented and diverse playwrights. After only five months together, I felt that I had become a stronger and more confident writer. What’s more, I had a renewed sense of love for the theater." We returned in September for further development and workshops with actors. Hearing the play aloud and embodied by actors was essential. It's important to discuss a play, but there's only so much development that can happen in that space. Also, it helped that this cast came into the room so prepared. They asked smart questions and offered invaluable insight from their perspective. Our time together culminated in a two day open rehearsal that was presented as part of the Kogod Cradle Series. Jocelyn Clarke served as my dramaturg and led the work in the room. In the course of 48 hours, I slept for four of them and wrote nonstop. It was the most exhilarating, inspiring, encouraging, deeply satisfying, and productive experiences of professional career so far. Now, below you will find a few things about NOMS DE GUERRE, including a recent blog post, an interview with DC Metro Theatre Arts' very own Joel Markowitz, and wonderful photos from the open rehearsal by Ryan Maxwell. Please enjoy! Thoughts on Noms de GuerreNoms de Guerre is a play about war … about the cost of war, the price of freedom. I come from a family of soldiers. My grandfather was in the Army and served in the Korean War. My mother and father were also in the Army and served during the Vietnam War. My brother served sixteen years in the United States Air Force. My sister has worked at the Department of Veterans Affairs for five years. Noms de Guerre is a play about war … about honor and glory, pain and sacrifice. Originally, this was meant to be a play about the War on Women and our ever-changing role in society. I wanted to write about a conservative Black woman whose political decisions hindered women’s reproductive rights. Ultimately, I write to make sense of the world. In the wake of what’s been happening to women around the world and in America, I wanted to understand what could possibly drive a woman, a politician, to do this to other women. The play was to follow the evolution of a friendship between two women, Mira and Jude. Over the course of seventeen years, we would have seen certain events play out in their lives that addressed these larger issues. But despite many valiant attempts and wonderful conversations with my smart, talented and fearless fellow playwrights at Playwrights’ Arena, I found that I couldn’t write that play. Instead, this other story, this story of war … about how a broken soldier returns home and disrupts the lives of his wife and her best friend, needed to be the driving force. So, after speaking with Arena Stage’s brilliant, discerning and passionate dramaturg Jocelyn Clark, I set forth to tell this story. And in the most haunting, exquisite, and terrifying way, these other issues have come through, but now on more personal and deeply intimate levels. Noms de Guerre is a play about war … about its necessity and its waste, about the impact of war on returning veterans and their families. The first man I ever loved played the French horn, graduated from high school a year early, joined the Army, survived boot camp, and killed himself two days after my birthday, one week after holding me in his arms for the last time. The second man I loved left me to join the Marines, married someone else, had two children, did two tours in Iraq, and then returned to me for a year and half before parting again … this time to Afghanistan and to a woman more suited for military life. The third man I loved was born into a civil war that lasted on and off for the first thirteen years of his life. He longs to return to his home country, but cannot owing to its continued state of uncertainty. Each time Lebanon appears in the news, I write to him and ask after his family. Noms de Guerre is a play about war … about broken rules of engagement and the lengths the government will go to stay on mission. When I first spoke about the play to my father, he told me about a flashback he had experienced more than thirty years ago. It was the middle of the night. He found himself suddenly on the front porch with a gun in his hand. He asked me if I remembered this. I told him that I didn’t. I was probably four at the time and fast asleep. He then told me that the only thing that saved him was talking to his father about all that he had seen and done for his country. Noms de Guerre is a play about war … about heroic deeds, acts of horror, and the strength and courage it takes to speak truth to power. I’ve dedicated this play to my father. (Originally posted on Arena Stage's Stage Banter.) Playwrights Arena InterviewJoel Markowitz: What or who first inspired you to become a playwright? And why?
Jacqueline Lawton: Growing up, I always loved writing plays and poems and short stories. I did so mostly to entertain my little sister, but also to escape poverty and racism. Life was a little less harsh and vastly more entertaining in my imagination. I even wrote a passionate novella when I was eighteen. My sister found it a few years ago amongst some other long ago lost treasures and gave it to me. It’s a good thing she did, because my father no doubt would’ve had it published in the local newspaper by now! But I was inspired to become a playwright, as in earn an MFA and make a profession out it, by my former professors Amparo Garcia Crow, Ruth Margraff, Omi Olono Osun, and Jill Dolan. These women are brilliant scholars, extraordinary artists, and passionate advocates for gender parity, racial equity, and social justice. They believed in me and my voice as a writer, and showed me that I could do great good in this world from my work. As a playwright, I could address issues that mattered to me and also write parts for women and men of color, which were sorely lacking in the cannon of plays being taught. JM: Now, tell me about your play being featured in Arena Stage’s Playwrights’ Arena Showcase? JL: Ultimately, Noms de Guerre is a play about war and its impact on the lives of soldiers and their families. I spoke about the play at some length here on Arena Stage’s blog, but here’s the synopsis to further pique your interest: Noms de Guerre is a haunting, lyrical and passionate story of friendship, love and politics. Attorney General Mira Hamilton is a rising star in the Republican Party, whose campaign against women’s reproductive rights puts her at odds with her long-time best friend, Jude, an award-winning, truth-seeking Broadcast Journalist. At home, Mira struggles to run a campaign for Governor and help her war hero husband, Douglas—a former Marine Gunnery Sergeant and member of JSOC, who battles terror-fueled delusions and flashbacks, adjust to civilian life. When Jude discovers that Douglas is linked to a massacre of Afghan civilians, Mira is thrown into a whirlwind of political intrigue and must decide whether to hold on to her career or save her husband. JM: What do you hope audiences will walk away thinking about after experiencing your work? JL: With this play, I’m addressing three big ideas in deeply personal and intimate ways: (1.) the ever-changing role of women in society, (2.) the impact of government and military policy on human rights, and (3.) the damaging impact of PTSD on veterans and their family. I hope folks become more aware of these issues and consider how they resonate in their own lives. JM: How has being a part of Playwrights’ Arena helped you as a playwright? JL: Having the support of Arena Stage, David Snider, and Jocelyn Clarke has been wonderful. It’s been empowering to be a part of an intimate group of playwrights. Interestingly, being a part of this group reminded me of how much I love working with playwrights and why I love being a dramaturg so much. For the past few years, I’ve shifted my focus away from dramaturgy in order to focus on the growth and development of my own plays. Honestly, I miss it and was so glad to be asked to serve as dramaturg on browsville song (b-side for tray) by Kimber Lee, which will receive a world premiere production as part of Actors Theatre of Louisville’s Humana Festival of New Plays.JM: What did you learn about your writing process? JL: I became more aware that my writing rituals are rooted in discipline. They are as meditative and focus-driven as they are inspirational and process driven. Also, I became even more aware of how important solitude is for me. As lovely and inspiring as it was to meet regularly, I would not have written this play without time away from our meetings. Also, that I rely heavily on my dramaturg for process and can only take a play so far before needing to hear it read aloud with actors. What’s great is that Playwrights Arena allowed for all of this to take place. JM: What else are you working on now? JL: I’m working on an adaptation of The Wizard of Oz for Adventure Theatre MTC next season and a ten minute Biblical feminist play about Miriam and Tzipora for Theatre Ariel to be featured at the Women’s Shabbat at Germantown Jewish Center in April and again at Salon Ariel’s 10×8: Food, Family and Philosophy Festival in Mary. I’m also working rewrites of The Hampton Years ahead of a reading in Miami later this year and a new full-length play, Among These Wild Things, which revolves around an interfaith/interracial couple, Nigel and Lee. When Nigel loses his beloved grandfather and learns more about the lengths his family went through to survive the Holocaust, Lee struggles to negotiate the introduction of religion into her life. It’s still in the early dream stages, but I’m so excited to get started on it. (Originally posted on DC Metro Theatre Arts.)
About the AnthologyPlays for Two is a unique anthology of twenty-eight terrific plays for two actors, by a mix of celebrated playwrights and cutting-edge new voices. It takes two to tango—or to perform a duet, fight a duel, or play ping-pong. The two-character play is dramatic confrontation stripped to its essence. These four full-length and twenty-four short plays feature pairs of every sort—strangers, rivals, parents and children, siblings, co-workers, friends, and lovers—swooning or sparring, meeting cute or parting ways. In a dizzying range of moods and styles, these two-handers offer the kind of meaty, challenging roles actors love, while providing readers and audiences with the pleasures of watching the complex give-and-take dynamics of two keenly matched characters. About the EditorsEric Lane's award-winning plays have been published and performed in the U.S., Canada, Europe and China. Plays include RIDE (Dramatists Play Service), TIMES OF WAR (Dramatic Publishing), HEART OF THE CITY and DANCING ON CHECKERS' GRAVE (Playscripts). In addition, his plays are published by the Foreign Language Press (in English and Chinese) and Applause Books' Best American Short Plays. With Nina Shengold, Eric has edited thirteen contemporary play anthologies for Viking Penguin and Vintage Books. Honors include a Writer's Guild Award, the La MaMa Playwright Award, and the Berrilla Kerr Playwriting Award. Fellowships include Yaddo, VCCA, and St. James Cavalier in Malta. Eric wrote and produced the award-winning short films "First Breath" and "Cater-Waiter," which he also directed. He is an honors graduate of Brown University. His new play FILMING O'KEEFFE recently premiereda at the Adirondack Theatre Festival. www.ericlanewrites.com Nina Shengold writes fiction, nonfiction, theatre, and film. Her novel CLEARCUT, a Book Sense Notable selection and Seattle Post-Intelligencer Best Books pick, also won nerve.com's Henry Miller Award for Best Literary Sex Scene; the Washington Post called it a "red-hot love triangle...GRADE: A." She collaborated with photographer Jennifer May on RIVER OF WORDS: PORTRAITS OF HUDSON VALLEY WRITERS, profiling 76 writers including John Ashbery, Shalom Auslander, Laura Shaine Cunningham, Cornelius Eady, Nick Flynn, Frank McCourt, Susan Orlean, Esmeralda Santiago, John Sayles, and Pete Seeger. With Eric Lane, Nina has edited 13 theatre anthologies for Vintage Books and Viking Penguin. Her plays include HOMESTEADERS, FINGER FOODS Foods, ROMEO/JULIET, and WAR AT HOME: STUDENTS RESPOND TO 9/11, written with Nicole Quinn and 40 students. www.playscripts.com She won the Writers Guild Award for her teleplay LABOR OF LOVE, starring Marcia Gay Harden. Other TV credits include BLIND SPOT, starring Joanne Woodward & Laura Linney, and SHINE Award winner UNWED FATHER. www.ninashengold. You're invited!If you happen to be in New York on Monday, March 24, 2014, please stop by the PLAYS FOR TWO book release party! Unfortunately, I won't be there, but it should be loads of fun. Here's more information:
PLAYS FOR TWO Book Release Party!!! MONDAY, MARCH 24th 5:00 pm to 7:00 pm at the Drama Book Shop 250 W. 40th St New York, NY 10018 Excerpts from the plays will be read by: Sameera Luqmaan-Harris Tyrone Henderson Scott Kerns Lori Wilner Performances start at 5:30 pm downstairs followed by book signings and refreshments upstairs. Don't miss your chance to mix and mingle with these wonderful playwrights! Admission is FREE – No Reservations required. You're invited to join Norman Allen, Randy Baker, Jacqueline E. Lawton, Heather McDonald, Danielle Mohlman and Shawn Northrip for the inaugural Playwrights' Arena March 6-9 in the Kogod Cradle. Playwrights will share excerpts from their new plays and discuss their writing processes during the yearlong program, created right here at Arena Stage. Hear from the playwrights themselves, as they introduce and discuss their work immediately following each performance. Gain a window into the work and learn more about how a play is created from these six amazing local writers. Click here to purchase tickets ir call 202-488-3300. Save 50% by using the promo code: PLAYWRIGHT5 March 6th & 7th at 8:00PM: Norman, Randy and Heather THE HOUSE HALFWAY by Norman Allen I’m hoping that The House Halfway is hard to define. At first glance, it’s a largely comic drama about a bed & breakfast inn on a remote Caribbean Island where people go to commit suicide. But it’s not about suicide, or end-of-life issues. It takes some twists and turns early on, dips into mysticism, and explores some pretty big questions, but always from a very intimate perspective. An actor I’ve worked with a lot once told me, “Someone needs to write a book about the theology of Norman Allen,” and that was in response to an Arthurian play for children. The House Halfway is another chance for me to delve into those big questions. I also have the immense good luck of working with a stellar cast. I can’t imagine a better group of collaborators than Brilane Bowman, Peter Birkenhead, Helen Carey, Jefferson Farber, and Susan Lynskey. I’m in good hands. THE BURNING ROAD by Randy Baker Devon’s estranged father, a master of shadow puppets and a political dissident, has disappeared under mysterious circumstances in Malaysia. Devon must leave his Nebraska home and employ the help of two American expatriates to find answers deep in the wilds of South East Asia. In the shadows of the jungle, mingling with the remnants of his father’s stories, the three travelers begin to confront their own shadows. MASTERPIECES OF THE ORAL AND INTANGIBLE HERITAGE OF HUMANITY by Heather McDonald A country that has been at war for a hundred years, give or take a day. A Museum of Art & Antiquities that is being used as a prison. A room with a skylight. A pile of dead birds with strange blue beaks. A Rembrandt painting, a masterpiece. 3 women, Mitra, Nadia, Layla. A soldier, a student, an art restorer. December 21st, the darkest night of the year. The forgiveness of gently falling snow. March 8th at 8:00PM and March 9 at 7:30PM: Jacqueline, Danielle, ShawnNOMS DE GUERRE by Jacqueline E. Lawton
Noms de Guerre is a haunting, lyrical and passionate story of friendship, love and politics. Attorney General Mira Hamilton is a rising star in the Republican Party, whose campaign against women’s reproductive rights puts her at odds with her long-time best friend, Jude, an award-winning, truth-seeking Broadcast Journalist. At home, Mira struggles to run a campaign for Governor and help her war hero husband, Douglas—a former Marine Gunnery Sergeant and member of JSOC, who battles terror-fueled delusions and flashbacks, adjust to civilian life. When Jude discovers that Douglas is linked to a massacre of Afghan civilians, Mira is thrown into a whirlwind of political intrigue and must decide whether to hold on to her career or save her husband. Noms de Guerre is a socio-political drama that addresses the ever-changing role of women in society, the impact of government and military policy on human rights, and the damaging impact of PTSD on veterans and their family. NEXUS by Danielle Mohlman Communicating through half-talking and half-listening, two iPhone-armed twenty-somethings must decipher their relationship as they navigate what it means to be “complicated.” This chamber drama follows these two DC transplants from first meet to final goodbye as they drift between intimacy and disconnect. THE ARISTOCRATS by Shawn Northrip “The Aristocrats” is an old joke that goes something like this. A family of performers walks into a manager's office seeking representation. The father says, "This is my wife and our two wonderful children!" Then they perform a grotesque act on each other. At this point, the joke-teller tries to invent the most appalling version of act ever told, and as result the joke changes with each telling. But what doesn't change is the punchline. After the family is done debasing each other, the manager finally pipes up and says, This act is incredible. What to you call it?" To which the family replies, "The Aristocrats!" When I became interested in telling my own version of the joke, I wanted to go the opposite direction. Rather than competing to be the most disgusting version of the joke, a battle I thought unwinnable; I set out to find the sweetest telling of the joke. I devised a musical about the daughter, who falls in love and leaves the act. But when her new love finds out about her past, he no longer wants her. The girl is then left to discover how to repair her family and win back her love. |
My BlogI'm a playwright, dramaturg, and teaching artist. It is here where you'll find my queries and musings on life, theater and the world. My posts advocate for diversity, inclusion, and equity in the American Theatre and updates on my own work. Please enjoy!
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