Monday, January 30, 2017

Theater Family Values with Playwright Lawrence Dial

"Theater is one of the odd professions where you can find an above average percentage of middle-age couples without kids, and it often seeps into what we eventually see on the stage."

What is your play DANNYKRISDONNAVERONICA about?

I wrote DKDV in response to two great plays I’d seen earlier that year: DETROIT by Lisa D’Amour, and THE REALISTIC JONESES by Will Eno.  Both plays featured two heterosexual couples coming together, becoming friends, and collectively dealing with life issues.  I loved each play, but upon introspection there was an obvious omission:  neither play even remotely mentioned children.  I thought ‘In what world could four married heterosexual couples throughout two different plays, each character in their mid to late thirties, not at some point when discussing various life issues, mention children?’  I know a lot of mid-thirties couples who do not have kids, but all of them mention it quite often, but lament that because of their choice to pursue theater, doubt they’ll never be financially stable enough to raise a family.  In truth, theater is one of the odd professions where you can find an above average percentage of middle-age couples without kids, and it often seeps into what we eventually see on the stage.

I have two children, and the premise for DKDV at first seemed very simple:  write a play with two married couples (a later draft nixed the heterosexual part) dealing with life issues while ALSO being parents.  I looked to DINNER WITH FRIENDS for inspiration, but didn’t relate to the class-level of that play (they’ve got a goddam summer house—who’s got a summer house?), and also, GOD OF CARNAGE, but felt uncomfortable with that play’s missing kindness I’d experienced from almost every parenting couple I’ve ever met.

So the formula for me was PARENTS + CHILDREN + LOWER/MIDDLE CLASS + KINDNESS = DANNYKRISDONNAVERONICA.  I added the setting of a Brooklyn Park, and then waited to see what happened.  If you’ve ever tried to write a play with kindness in mind, real quick you realize kindness and drama do not go together.  So I struggled for two years with it.  It was harder to write than I prefer.

How did you decide on the title?

Oh man, this is a long story I’ll try keep short, and not talk too much smack.  I had gone up to YALE to interview for their playwriting program, and the first interview with Jeanie O-hare went amazing; she seemed to like the play, and enjoyed that I was writing about parents and the difficulty of parenthood etc.  It was very encouraging.  I wasn’t entirely sure how I was going to move my family up to New Haven, have my wife quit her job, re-enroll my kids into another school etc… but she didn’t seem super fazed by this, and the interview ended positively.

Next, I met with Sarah Ruhl, and the entire experience was like slowly letting air out of a balloon.

She asked me important, but from my perspective, inappropriate questions:
What does your wife do for a living?
And I told her, and then somehow answering her own question she hadn’t yet asked, she responded with “Yeah, I married a doctor…”  The subtext was That’s how I survived.

I got the hint fast, and became a little gloomy, because Sarah’s got her own kids, and I had expected us to bond on this, for her to have loved my play about the difficulties of parenthood, but what she was showing me was she felt threatened somehow.  Or was just unable to disguise how doomed she believed I was.  Which I get, honestly.  Being a parent and a playwright and living in NY—it’s doom.  And most grad schools don’t want doom in their programs; they want diversity of voice, and ease.  They want the safest bets they can place, and a stay-at-home parent is not one of them.

But at some point Sarah says:  “Talk to me about your title.  What’s up with it?”  I tell her it’s called THROUGH THE TREES, which is part of the saying 'You can’t see the forest through the trees.' the idea being you’re too close to a thing to see what it actually is.  Which I thought was a wonderful metaphor for the conflicting emotions parenthood can inspire (there’s also a fallen tree in the play; wind through the trees etc.).

She shook her head slightly, nope.  “It’s doesn’t have the heart of your play in it.   It doesn’t capture what your play is about.”    Uh…  I mean, what do you say to that?  This is Sarah Ruhl telling a perspective grad student, a playwright who is so excited just to be sitting in New Haven even being considered for this program, that his title doesn’t work.

I’d like to say that I didn’t change the title from THROUGH THE TREES to DANNYKRISDONNAVERONICA entirely because of Sarah Ruhl (nevermind if it’s even a better or worse title or more fully captures the heart of the play), but she’s probably part of it.  I left the interview and bought a six-pack and rode the train home; I was not surprised when a three-sentence form-letter rejection showed up in my inbox a week later.  I think Sarah’s a great playwright, and I imagine an even better mother, but I can say with confidence she’s a reckless interviewer, and I can’t speak on her abilities as a teacher.

What was its development?

The first person to really believe in DKDV was Tessa LaNeve at Primary Stages.  I had been workshopping the play through ESPA with Julian Sheppard (who also liked it; a great teacher and playwright), and I later submitted it to ESPA’s drills program (twice actually; they rejected the first draft), and Tessa and Sarah and Miranda all liked it.  We took it up to Teresa Rebeck’s summer home (Teresa Rebeck has a summer home, that’s who) and workshopped it for a week.  Later, we did a very successful reading of it at the Duke, and a lot of people came to me afterwards and gushed about it, but no one wanted to produced it.   It’s a play about parents and kids, and Theater (with a  capital T), unfortunately, doesn’t really relate to that.  That is until Jeff Wise came around…

How did you hook up with Wheelhouse Theater Company?

Only three months ago I had another play up called IN THE ROOM, and we had cast Matt Harrington in the lead male role.  Matt’s a great actor, and a founding member of Wheelhouse Theater Company, who were looking for another producing credit, and we were glad to have them onboard.  Near the end of the run on the show, Jeff Wise (one of Wheelhouse’s Artistic Directors) came to me and asked if I had any other plays he could consider for production.  At the time I didn’t realize that Jeff was a stay-at-home father to three kids, and skeptically I forwarded him DKDV, not really thinking he’d be very interested in it; it’s very different than IN THE ROOM.  But he read it and love it, and I encouraged him to direct the production based on his presence during IN THE ROOM, and the insight he could bring to these characters I’d written.  I’m not sure anyone else could have seen what I was going for with this play, other than Jeff.

What is your writing schedule?

When I’m working on a project I’m writing six days a week, and I’m usually working on something. Only when I’ve got a play in production do I slow down.  Or between projects sometimes.  But generally, more than anything, I enjoy writing and love getting lost in it.

How do you organize yourself?

Kids do it for you.  It becomes very easy to see what little time you have available after you have children.  You can look at your day and see the exact time you have to write, and that’s useful because you know if you don’t do it right then, it won’t happen until the next day.  With DKDV (roughly four years ago) both my kids were home with me all day, and I was writing only about 45 minutes or maybe an hour and half each day.  So it took a while, around two years.  I remember lamenting this to Stephen Guirgis, and he told me he had a buddy who wrote a whole novel at only one hour per day. And sometimes, that’s really useful.  When you can’t move too fast, it forces you to slow down and think about each interaction with great detail.  But you can also get bogged-down this way, and stop seeing the bigger picture of what you’re writing.   So you have to find the right balance.

Who inspires you?

I think I value perseverance over talent or success.  I enjoy my friends' work the most.  I’m inspired by the off-off Broadway plays that mostly go unnoticed by the big names out there.  Struggle inspires me, I think.

What's next?

I HAVE TO WRITE A TELEVISION PILOT.  There’s no way I can sustain playwriting and a family without another income, and my waiter job is killing me.  So this year I’m focusing on TV.  And maybe a play about a climbing gym.  Or a driverless car.

Anything you'd like to add?

I didn’t get to mention Padraic Lillis; he helped me a lot with the first draft of this play.  I can sit in the audience tonight and hear some lines and remember some things Pad had suggested during one of his writing classes.  Pad’s a great teacher, if you see a writing class of his out there, sign up.  Also, check out my website.  Most of my plays are on there:

Production Photo Credits: Steve Fallon

Thursday, January 12, 2017

Baby Mama: Mariah MacCarthy's Bold Journey Into the Heart

 “You’re gonna cry, you're gonna have a good time, and you’re also gonna feel things and maybe call your mom."
-Mariah MacCarthy
playwright, performer & producer

The Award-winning Baby Mama: One Woman’s Quest to Give Her Child to Gay People tracks Mariah MacCarthy's true-to-life adoption journey, from accidental conception to the placement of her child with the gay couple of her dreams. All the while MacCarthy manages to live her life, date, and even attend the occasional orgy. 

What made you decide to write and perform this show?

Diana Oh. I saw her first solo show, Diana Oh Is Going Rogue, at IRT (where Baby Mama is happening!) in 2013 - about six months after I'd had my son. (She also makes a number of appearances in Baby Mama, as "Didi.") For most of my life, pretty much anytime I'd seen a solo show, I'd always thought, "This would be better as a traditional play with characters played by different actors who talk to each other." The only exceptions were Mike Daisey's work and I Am My Own Wife. But with Diana's show, I saw, "Oh. The medium IS the message, and she is her own medium." I saw how simple a solo show could be: just tell your story and be honest and open.

I also talk a great deal in the show about feeling profoundly alone with this experience, because no one around me knew what I was going through and despite the incredible love and support I was shown, it was still really isolating. I feel like this show is the closest that I can come to making people really know what it was like for me. And a huge part of that is that they're looking at the person who went through it - that it's a true story.

Many people may know you as a playwright primarily. Do you have performance/acting in your background?

Not to brag, but I won "Best Actress" my senior year of high school for playing Frenchy in Grease, so you're looking at a pro here. Actually, that was the last time I performed something longer than ten minutes; I did The Vagina Monologues and some scene study in college, and occasionally I'll get onstage and rap about vegetarian girls or do some burlesque, but I didn't really get back into acting until Baby Mama. And now that I'm here, I've got even more respect for actors than I already did. This shit is exhausting.

What has been the biggest challenge/obstacle in creating this piece?
- also, in performing it?

Talking for that long. Seriously. Try it sometime. Your tongue dries out. Honestly, writing it was the easiest part, because I have very little filter as it is, and I don't mind writing down the words "and then I went to an orgy" or "then I cried for a month" or whatever. Performing it is infinitely harder. I've got to, like, stop eating pizza for a month and not drink alcohol and be very very conscious about every single thing I do to my body. I can't believe that actors have the willpower to live this way all the time.

What has been the unexpected rewards in both?

Hearing a whole audience sniffle in unison. God, it's the beeeessssstttt. Or the stories I get afterwards. "You made me want to find my birth mother." "I would've had a kid by now if I'd had the money; thank you for talking about the financial aspect of this." "I lost custody of my daughter in the divorce and I felt just like that." People respond to heart-opening with heart-opening and it's really really moving.

You recently launched your Patreon profile. Tell us a little about that.

Patreon is amazing! Patreon is the future! For those who don't know what Patreon is, it basically takes the crowdfunding model of Kickstarter or Indiegogo and makes it ongoing and sustainable. So people sign up to support you on a monthly basis (or sometimes per thing that you make, per song or per video or whatever). Right now I've got 55 patrons and I'm getting $167/month from them, or $2000/year. In exchange, they're getting Cool Insider Shit. Behind-the-scenes photos and videos, exclusive pictures of my cat, postcards in the mail, deleted scenes or works-in-progress, and if you pledge $10/month or more you get a video of me singing a song of your choosing. They're supporting me because they believe in me and they want me to keep Making All the Things. It's also a way to circumvent the antiquated, gatekeeper-guarded, not-remotely-artist-centered venues and structures for Making Things. Go straight to the people who want to see you succeed, rather than keep competing with a million people fighting for the same, like, ten opportunities. It's way more efficient and way more connected.

This was something I wanted to start for years before I did, and part of why it took me so long to start was because I couldn't see how the platform could work for playwrights. How do you create an online, virtual support system (and reward patrons appropriately) with an art form that is so stubbornly and relentlessly live? Only once I started really spending a lot of time on forms of writing other than theater - namely, fiction and nonfiction - did I feel like, OK, it makes sense to ask for pledges for this. Here are some forms of writing I can share with my patrons that aren't, like, paling in comparison to the way it's actually supposed to be consumed. I do think that Patreon would be a fantastic platform for theater companies who make work on a more consistent basis than mine does. Like, I think Flux Theatre Ensemble is a prime candidate for Patreon. Talk to me, Flux!

(And if you wanna support me on Patreon and be part of the revolution, you can do so here!)

Who are your inspirations?

Taylor Mac. Amanda Palmer. Monica Byrne. Diana Oh. Leta Tremblay. Jody Christopherson. Leah Nanako Winkler. Kevin R. Free. Naomi Elizabeth. Jen Dziura, Daniella LaPorte. Stoya. My son. His parents. Social workers and nurses. The Obamas.

Where do you see yourself in 5 years?

I'll be 35, my cat will be nearly 6, and my son will be NINE OH MY GOD. I hope the answer is
"financially stable, traveling a lot, and doing only the things I want to do," but I have no idea. Anything between "famous show runner" and "still temping" is possible. I just did a "Plan Your 2017" worksheet thingie, and it looks like last year I did approximately half the things I wanted to do, so if I keep up that rate of success I'm probably in really great shape!

How do you organize your days since you run a theater company, are writing a YA book, performing and the myriad of other things you're doing?

It's SOOOOO HAAARRRRRD. Champagne problems, for sure. I no longer have a "day job"; I quit a year ago and now I'm freelance full-time, working from home, 100% my own boss. It's AMAZING. It's exactly what I want. But it's SO HARD. It's hard to prioritize, it's hard to keep all the balls in the air, it's hard not to get bogged down with busywork. I have a project management app (Asana) which I just use as a to-do list. And I use the "snooze" function in Google Inbox a lot, so emails come back when I need them instead of just sitting in my inbox staring at me and taking up valuable space. But, I don't really "organize" my days, I just wake up and start flailing around. I have an amazing daily planner and I'm just not using it at all. I really do want to get organized. I did a time-tracker spreadsheet yesterday, tracking how I was spending my time every fifteen minutes. It definitely helped me see where I was wasting time. There was too much Facebook on that spreadsheet.

What's next?

Right after we finish the NYC run, Baby Mama is heading to Cincinnati for a couple performances. Then my YA novel, Squad (about a cheerleader whose relationship with her best friend falls apart), is due to the publishers on March 15th, so I'll be spending February in a mad dash to get that done. I'm also taking Baby Mama to the Edinburgh Fringe Festival in August. No idea what's happening in between. It depends on a lot of things that are out of my control. Which is actually fine with me because then I don't have to do anything until I know. I'm all about having fewer things to do right now.

Anything you'd like to add?

I love my son. I love my community. I love you.

Baby Mama: One Woman’s Quest to Give Her Child to Gay People is produced by Caps Lock Theatre and Jack Sharkey and directed by Sara Lyons. It runs through January 29th at IRT Theater located at 154 Christopher Street, 3rd Floor Theater. For more information and tickets, go here.

Thursday, December 8, 2016

Does Violence Trump Love? Alligator by Hilary Bettis

"...the only survival tools these people have are instincts and violence..."
-Hilary Bettis

What was the inspiration behind Alligator?

Poverty, living with an alcoholic, caring for a close friend who was dying, feeling hopeless and lost and needing to find something in that chaos.

You have said that you start with place when writing a play, how did this place and setting inform the rest of the play?

Place is always the first (and largest) character in anything I write. Environment determines everything. What kinds of resources do or don't exist, what obstacles come with place, etc., and everything else stems organically from that. Alligator is a play about survival, and the Everglades is a harsh environment to live in -humidity and heat, invasive pythons and anacondas, blood-sucking insects, and it's the only place in the world where alligators and crocodiles exist together. People who call the Everglades home inherently understand that it takes real grit and unapologetic instincts just to survive. The Everglades becomes a huge metaphor for what these people are struggling with emotionally, and the tragedy of the play stems from that, too. Because the only survival tools these people have are instincts and violence, they don't know how to communicate the love and vulnerability they're all desperate to express.

Bobby Moreno and Lindsay Rico
I remember from when you participated in Write Out Front you said that you like to write in the wee hours. Is that still the case? How do you juggle new writing projects with being a staff writer on The Americans?

Ha! Nope, not anymore. That was a luxury of getting to write on my terms. Writing for TV means I'm at my desk in the AM m-f, 40 plus hours a week. I don't mind it, though. I actually get a lot more done. I have a fair amount of down time, so whenever I have a free hour or two I work on other projects. I've also had to learn how to be fast. Nothing is precious anymore, and I think that's a good thing. I used to treat playwriting like it's "high art", but really, that was a way of only writing when I felt "inspired". Being a professional writer means you write whether you're inspired or not, and in doing so, I've gotten much much better. I'm more efficient, I'm not married to any one idea, which means there's always room to grow and I have to trust my craft and instincts.

In the window of the Drama Book Shop, part of Theaterspeak's WOF 2012
How did you meet your director Elena Araoz? How do you collaborate together?

Elena and I met in 2012 at the Great Plains Theatre Conference. She directed a reading of Alligator there, and we hit it off. I was really drawn to her as a director because of her background in Opera. She understood the musicality and epic nature of the play.

Collaboration is really like a marriage. You have to constantly be checking in with each other, even on things that feel little or mundane. The moment one person starts making decisions without talking to the other, is when resentments and assumptions creep in that can color everything. We really learned to be vigilant of that, and make sure we were talking daily.

What was the development of Alligator?

Talene Monahon, Lindsay Rico & Bobby Moreno 
This play has had a very long and winding road to get here. It was the third play I ever wrote, and it's taken me a lot of years of writing other plays and learning craft before I knew how to rewrite this play. I wrote an early first draft in 2010, did more readings and workshops than I can even count, and then put the play in a drawer for years. It's one of the first plays I wrote, and there's a rawness to it that I sort of love, even though it doesn't fit into the mold of a "well-made" play. That's something that felt important to hold onto, even though I know it's something theater critics will see as a "weakness".

What do you do to organize yourself while working on multiple projects?

I'm still figuring out how to do this so if you have any tips or advice, please let me know. Deadlines are everything.

How did you come to playwriting?

Survival :-)

Sean Smith, Julian Elijah Martinez & Dakota Granados

What's next?

Just keep writing and throwing it out to the universe. That's all you can do. I have a few TV projects and a feature in development, so those will take up most of 2017. And I'm working on a commissioned adaptation of Miss Julie called Magic City that'll be done in Miami next year.

Dakota Granados & Lindsay Rico

Anything you'd like to add?

Our run is almost sold out, so get your tickets soon!

ALLIGATOR is presented by New Georges in collaboration with The Sol Project at the Jeffrey and Paula Gural Theatre at the A.R.T./New York Theatres (502 West 53rd Street and 10th Avenue) November 27-December 18 with performances until December 16th.Get your tix here.

Photo Credit: Heather Phelps-Lipton

Monday, October 24, 2016

Jody Christopherson on being The Other Mozart

"It's about being heard."
- Jody Christopherson

The Other Mozart is the forgotten story of Mozart's genius sister, written and originally performed by Sylvia Milo. As the production is touring, Jody Christopherson is alternating in the New York production of this Drama Desk-nominated and NY Innovative Theater Award-winning play. She spoke about her experience stepping into this stunning role.

What is the Other Mozart about for you? 

It’s about being heard. I think of it very literally as a ghost story and I hope that it haunts people.

When we tell the audience this story, it is a chance for Nannerl to exist in their hearts and minds, in the way that so many stories in women’s history do not. This show, like many of the shows I love, relies heavily on our audience. We leave room for you in the telling of it and in the remembering of it. Also it's about a woman who was a genius. A GENIUS! How often do we hear that term used to describe women?

How did you get involved in this project? 

The Other Mozart is touring in multiple places, sometimes at the same time and there was a need to cast another actress to fill performance dates. I’d just created a solo work, Because You Are Good devised from interviews with Clove Galilee. Sylvia and I were both nominated for IT awards and performing at the same benefit, we saw each others' work and asked me to audition.

I used my great grandmother’s beautiful china teacup for the audition tapes I made (Sylvia was in Europe at the time). There’s a moment in the show where Nannerl plays a solo on a teacup with a spoons, because her father would not let her play the harpsichord. The line that follows is, “and everybody laughs, and I cry. And I never want to play them again”. I BROKE my great grandmother’s 100 year old teacup right before that line. I think somewhere she must have really wanted me to get the part. It’s a supposed funny moment and I did actually cry.

What has it been like to step into the shoes worn by another performer (Sylvia Milo)? 

So interesting. I mean really, we are all stepping into the shoes of Nannerl Mozart. And we kind of know who that was but we also kind of don’t. So while she is this grand genius rock star, She’s also every woman.

There is a lot of historical detail. Early on our director, Issac Byrne, and I talked about the whole thing being a container. Inside there is room for each person who's playing the role (Daniela Galli from Brazil, Samatha Hoefer from Germany, and of course Sylvia Milo - the show's creator).

Sylvia and I have also worked together closely. Every actor performs it uniquely but there are choreographed moments that are part of the shows rhythm (choreographed by Janice Orlandi). It’s been incredible to work with a lot of women (and Isaac) who clearly hold their own, but also are generous in holding space for other women/ artists.

And what has it been like to step into such a stylized piece? What has your research/specific training involved?

There’s a very European sensibility that Nannerl had and the piece has, a regal naturalism that exists inside of this sort of full body mask. I've been learning to use fan language, to move and gesture balletically in each moment. There's some German, French, Italian in the piece so it's been really delightful to work with artists who are European and can speak to pronunciations. There's a bit of music history in the piece as well.

I've been reading about the history of the Mozart family and women of the time period, Women in the Eighteenth Century: Constructions of Femininity by Viven Jones (a manual for behavior), A Vindication of the Rights of Women by Mary Wollstonecraft, The Mozart Family by Ruth Halliwell, The Mozart family letters, which are used in the text and physically in the show. There are hundreds that are strewn on the dress/set--Leopold and Anna Maria Mozart (Wolfi and Nannerl’s father and mother) and Wolfgang’s letters all survived because Nannerl kept them, preserved them. No one saved her letters, so Sylvia has fleshed her out using many historical facts.

Tell me about the hair?!  

It’s about 1.5 feet tall! It takes 90 minutes to put up, then an hour plus a half bottle of conditioner to take down. We use our real hair as Nannerl did when she created the hairstyle. Courtney Bednarowski, designed the version I wear.

There is a passage in the show, Nannerl is attending a Carnival ball in Munich and in lieu of having a fancy costume she creates an impressive, giant hairstyle for herself, which women start to copy. The roofs of carriages had to be raised in Salzburg so many women started wearing their hair that way.

The ladies of the time period used to place a loaf of bread on their head and secure their hair to it. When the bread was moldy it was time to redo it. Our process is somewhat similar but thankfully gluten free.

And the dress?

It’s an 18 foot dress that is also a wearable set, created by Polish Designer Magdalena Dabrowska. It hides many props- fans, powders, a piano. There are these tiny little pockets that hold everything all over it. I have a map as to where they are. For the first ¾ of the play I perform on the dress not inside of it, so it’s critical that I know where to step and where not to step.

Later in the show, I get into these cage-like pannier’s designed by Mio Guberinic, which are made from corset bones. Nathan Davis has created a scary sound cue for that moment, by recording the movement of ship anchors chains down at the South Street Seaport.

Depending on the amount of powder we blow into the air at each show the weight of the dress varies. Standing up in it and moving elegantly is challenging and also really fun.

How has the show/character affected your day to day life or dream life as these things can often do?

I find myself watching the way that people use their hands. As a composer and a woman of the period, hand movement was a major way that Nannerl expressed herself. I find myself talking more with my hands, using them in ways I didn’t before and I catch myself thinking that I’m being silly or
indulgent. And then I think it’s silly that I judge myself. Someone once told me, I maybe it was a magazine article? that people who talk with their hands are self centered. It’s amazing to me how normalized it is to talk about what women should or should not do. There are a lot of quotes from famous Philosophers (even female Philosophers) in the show that are pretty shocking dating back to the 1700’s.

Also, I am a female composer. I've never thought of myself in that way, even though I’ve written, performed and published music for the past 4 years. This role has really made me think about that, the credit we do and do not accept.

How or is it affecting/informing your other creative work?

One of the shows I wrote and perform with Ryan McCurdy, Greencard Wedding (, is gearing up for touring in 2017. (We have some announcements coming up about that.) Working with The Other Mozart has been informative on how to put a tour together. Artists, especially women, often don’t talk about finances in this business, what we can ask for, what our contemporaries are getting paid at a professional level.

I’m a big fan of #FairWageOnstage, the campaign to raise actors salaries to a living wage Off Broadway. When we’re talking about sending the show out to tour, we’re talking about being away from the city and other work for weeks or a month at a time and I have to think about that financially. We are talking about work we have to show up for and focus on in a very detailed way to be any good at it, the way that Nannerl did (and she never got paid as an adult woman for performing, it would have been considered improper). This idea of it being hard for women to ask for a fair equal wage goes back so far into our history, it as if we should feel shame for valuing our work. It’s almost impossible to split your attention in too many directions and still do the work that is needed on a piece like this. But I still do and know many other artists I admire who have to as well. It’s an ongoing challenge.

Do you have a day job? If yes or no, how do you organize yourself as you wear many hats?  

Yes. I work as freelance photographer ( and I very much enjoy that as well. I temp sometimes. I do marketing studies. I write content for websites.

I keep a budget where I balance all my expenses and spending each month. I keep a schedule (with alarmed reminders) in which I schedule work (acting and photography) gigs (temping and any other random cash money things), yoga, eating, sleeping and time to do things I like. I bike as many places as I can so that I can save money and multi task my work out/ physical activity.

I five years I’d like to have traveled to Ireland, Greece and be able to do a handstand in the middle of the room.

The Other Mozart runs at The Players Theatre in New York City until November 13th. You can see Jody Christopherson on Oct 29*, 30, Nov 5*, 6, 11, 12*​. For the full schedule and information go to: (*special event or talkback)

Photo Credit: Michael Niederman

Friday, August 5, 2016

Lindsay Joy on Collaboration, Courage and Her NYC Premiere of In The Event of My Death

Lindsay Joy
"Some of the community found out that there were 'gay themes' and took to writing angry letters to the school..."
-Lindsay Joy

What is your play, IN THE EVENT OF MY DEATH about?

Eight small-town twenty-somethings who know each other from high school share an impromptu time of mourning and celebration after the suicide of a mutual friend. It's a play about loss, mourning, and trying to move on.

Did you know your theme going in and did it evolve?

I knew I wanted to tackle the way we mourn and share now. I had a string of folks in my life pass away, and found out via Facebook and that sat badly with me. I was also thinking about the college kids specifically and some stats were released about high school/college suicide rates being higher and that caught me. I would say it was an evolution, for sure. I had the basic construct in my head, and my interviews with the students started to shade and color where the play was going.

How did the students affect the writing and development of the play?

I've never written a play using interviews as source material before. So, it was a whole new world. There were pretty major shifts in the script after each production and I can trace those shift back to emails, texts, and discussions with those students. One pretty major change happened with a character I was struggling with, and a young woman from Centre College wrote to me to say- I think she's queer...I think all of her behavior stems from that. It was a huge A-HA moment for me.

Cast for In the Event of My Death
How did the play change from the first draft read in NYC to the different productions?

HUGE. The basic framework is similar. Friends gathering, one set, one night, realistic, etc. However, the different productions led to new discoveries. Ashland had the emotional soul of the play right from the get-go, and it fed my rewrite for Centre. Centre had the rhythm of the play, and the character beats down to a was also where I realized this "small play" could play in a big house. From Centre, I cut and cut and cut. The draft for Clark was all about being spare, and their production used technology in a way I hadn't foreseen. The play has shifted yet again...the draft Stable Cable read aloud months ago is quite different from our rehearsal script.

How did the different audiences and communities respond to the play?

I'm very proud to say people were upset about the play before we arrived in Ashland. Some of the community found out that there were "gay themes" and took to writing angry letters to the school. In production, however, it was well-received. There was a high school group that attended the Ashland production, and that was the audience that loved it the most. Kentucky was WILD. Again, the students had heard about some community backlash against the "gay themes", and I was NERVOUS.Padraic Lillis let me get big-headed about it, as they were clapping he was giving me notes- ha!). Clark was more subdued to be sure (smaller space), but I know the students received great feedback from their peers. We shall see how it plays to an Indie Theater savvy house.
We were shown the space and it was huge. Held about 475 people, and I thought- this play is going to die in this house and there is no way they will fill these seats. I was SO wrong. Full houses. People on their feet the second the play ended (not that

How has this process with The Farm Theater changed you as a writer (creatively as well as otherwise.)

Lindsay writing in the window for Write Out Front at DBS
This process has opened me up as a writer. So much of our process is solitary- just me and my computer. This process made me realize there are other ways to construct a play that actually work for me. I think I've become much more aware of what is working in a script dramaturgically, more willing to cut a thing I might like for the betterment of the play. Some of my early work is very "clever" and I think getting past that was vital for me as an artist. It was a fantastic discovery for me to let my characters sit in uncomfortable silences and not add a quip or two to break it up. That might sound like a small thing, but it's huge for me.

What was it like working with different directors? How has it been collaborating with your current director Padraic Lillis, who you've worked with before?

Loved the different directors I worked with. Scott was super hands on, and very communicative. He came at it from a very emotional angle and I think he got some really dynamic work from his students. Patrick (from Centre) was an intellect, always striving for the "why" in every scene. I was lucky enough to rehearse with that group of students (over their Winter Break), and being in the room with Patrick felt like we were prepping for battle. Raymond (from Clark) was experimenting...tinkering (mixed media, projections, etc). A very different experience, but again- a terrific and growing one.

Padraic just gets me. Period. Watching him in the rehearsal room is electric. He's specific, and collaborative, none of that I'll sit behind a table shit. He's up- he's asking questions, he's always finding ways to make it more interesting and feel more real. For me as a writer, it helps to have a person that I share a short hand with. He and I will share a look and then he'll gesture a scissor movement, I nod, and I cut. It's hard to capture how nice that is to be able to trust someone like that.

How do you organize your time? Do you have a day job and a writing schedule?

This is the hardest question to answer honestly. I'm still working on it. I write whenever I can. Before work, after work. After rehearsal, weekends. I should have a schedule that I keep to- I think that works well for so many of my peers, but I've failed myself time and again with a set schedule. I'm a writer that needs deadlines...I need a fire lit under my ass to get things done. Don't get me wrong- I get shit DONE, but I perform better knowing that other people are counting on me. Oh, god- that sounds so bad.

I do have a full-time day job, and I have the terrible habit of saying yes to one too many things. It means I'm almost always burning the candle at both ends.

My goal over the next year is to find a bit more of a work/creative life balance. Part of that balance will mean keeping to a schedule. There. Now I've put it in writing.

What's else are you working on and what's next?

I have a short play called The Cleaners up at the Sam French OOB Fest on August 9th- it's a love story set at a crime scene clean-up. I'm also rewriting a ghost story play set in coastal Maine that I'm quite fond of.

Lindsay Joy’s IN THE EVENT OF MY DEATH is produced by Stable Cable Lab Co. and directed by Padraic Lillis and is running August 6-21 at IRT Theater in NYC with performances Wednesday through Friday at 7pm, Saturday at 3pm & 7pm, Sunday at 3pm, and Monday at 7pm. Tickets ($18; $20 at the door) are available online or by calling Brown Paper Tickets 1-800-838-3006. The performance will run approximately 1 hour, and 45 minutes, with an intermission. 

Thursday, July 28, 2016

Vovsi and Kaplan on Making Art, Wearing Multiple Hats and Dream Collaborators

"...the characters fiercely try to regain control when absolutely everything seems out of their hands..."
-Dina Vovsi

"This is a person I know I can trust with a piece of my heart..."
-Joshua Kaplan


What was the inspiration for your play VISITING HOURS?

Joshua Kaplan: My mother passed away last summer. I was very close to her, but our relationship was hugely challenging for many reasons that have kept multiple therapists in business for decades. A friend suggested I try writing a play about her passing. I resisted at first, it felt too fresh, but then realized the freshness actually weighed in the other direction, that the memories and poignancy would only fade over time. But this isn't an "autobiographical" play. I tend to find autobiographical plays somewhat forced and one-sided -- everybody wants to be the hero of their own story. Though it was inspired by my mother's passing and some of the dynamics in my family (as I perceive them, at least), as I got further into the script, the story and characters evolved in unexpected directions. They always do, of course, but when the inspiration starts with something so close to home, it's even more fascinating where the imagination takes you.

How was it developed?

JK: I am a member of the Actors Studio Playwrights/Directors Unit. We had a reading of the play in
January, and I knew immediately that this was something I didn't want to hear read around a table for time immemorial. Development is a necessary part of the theatrical process of course, but sometimes it feels like plays get bogged down in readings and workshops and never shared with an audience in the manner in which they were intended. I didn't want that for this play.

How did this collaboration come about?

JK: Dina can speak to this too, but it was pretty simple -- a mutual friend at Playwrights Horizons put us in touch, and it took off from there. I was immediately struck by Dina's dedication and the purity of her devotion to the craft. I thought, this is a person I know I can trust with a piece of my heart, which is what this play -- more than anything else I've written -- represents to me.

Dina Vovsi: I was recommended to Josh by a director friend of mine who wasn't available. We had a really fruitful hour-long phone conversation, and the play was originally supposed to be part of a festival where we would have gotten much less tech time and control over what we wanted to do. After the festival dealt us really unfortunate performance times, we decided that an independent production would suit the play and process much more productively.

Dina, what specifically interested or challenged you about the play? Why did you want to direct it? What has been the process been like for you?

DV: I experienced some trying times this year that put loss and grief in focus for me, and also really proved to me that people deal with those massive emotions in very different ways. What interested me most about Josh's play was the way in which the characters fiercely try to regain control when absolutely everything seems out of their hands, and how they do so with a great deal of humor and heart. The greatest challenge about this play is that it can very easily slip into the trap of getting too morose too quickly, and the playfulness and wit and bite really need to propel the story forward, so I began the process with the mission of trying to keep that fast-paced humor at the forefront.
My designers (Frankie Oliva, Jason Fok, and Emma Wilk) have been dream collaborators and are turning TheaterLab, which is a pretty raw and flexible white-box space, into an environment that highlights the sterility and discomfort of a hospital, while also providing functional elements that the characters have a great deal of control over - curtains to open and close, lights to turn on and off, and chairs to create a bed out of. These people are stuck here for almost 48 hours, so it's been really fun to figure out how each of them "lives" in the space. And the cast has been wonderfully collaborative - some of these characters are wrestling with deep-seated resentment toward each other and are covering up many layers of pain, so a certain level of trust and openness has to be there to be able to dig those out in a believable and compelling way.

Josh, what has the process been like for you? How has it been to produce and as well as be the playwright? 

JK: It's been very challenging to do both, to be honest. Writing is in my DNA. Whenever Dina sends me script notes, my heart jumps with a little excitement. I love the process of revision and editing. I'm an odd duck that way -- prior to my last reading, my director told me, maybe an hour before the reading, "this scene isn't working, it's way too long." So I took the hour before the reading to make massive cuts to the scene, and of course, the director was right. The scene read far better. It might be the former lawyer in me -- I was a lawyer in a past life -- but I love hacking my own work to pieces and rebuilding it into something better.

On the other hand, producing is not something that comes naturally to me. Maybe it doesn't come naturally to anyone, maybe it's a learned skill like so many others. But as a first-time producer, it's been a challenge to navigate all the twists and turns of mounting a production. Little things like, how do I list Equity actors, or where do I get posters made, things that seasoned producers know how to do I've had to learn for the first time. I've been fortunate to have an amazing creative team, assembled by Dina, and that's made my producing job much easier. But I'm constantly worried about whether I'm doing a good job as a producer, especially since my day job has kept me away from NYC for the rehearsal period. I don't worry the same way about being a playwright. I feel like I am a playwright, playing the role of a producer, and it's opening night and I still don't know my lines. I feel like that every day.

How do you organize your time? Do you have a day job and a writing schedule?  

JK: I do have a day job, multiple ones actually. Mostly I tutor, and I also teach yoga on the side. I consider myself extremely lucky in that, unlike many people in this field, I really enjoy my day jobs. It's not like I go to my day jobs thinking, god, I can't wait to be done with this. I don't know if I could sustain that kind of life. I need to feel like I'm filling some version of my place in the universe no matter what I'm doing. That's why I got out of law, because it didn't feel like me. Tutoring and teaching yoga both feel like they come from a sincere part of myself. Writing taps into a different part, and in some ways a deeper part, but that doesn't make the other parts any less valuable.

I write mostly at night, after I've gotten everything else I needed to do in my day done. That's probably not the best way to organize a writing schedule, but as hard as I've tried I can't seem to change it. God help the person who tries to get me out of bed before 9am. It's like that scene in the Exorcist, less pea soup, more growling.

DV: Oh man, well, still trying to figure out that one! Scheduling is a beast and in order to really commit to building a career as a director, you learn to juggle various projects with your "money" job and work in time for fellowship applications, seeing shows, and hopefully every now and then, time for yourself. With this show, after rehearsals I often have to sift through my notes and questions for designers and also script questions and ideas for Josh. Half the time, I'm running to work right after and have to just table the chaos in my brain for the rest of the day and trust that I've written down enough to be able to articulate it later.

I've worked a myriad of "money" jobs, from serving in bars and restaurants to being a freelance producer for a while to marketing or development work at nonprofit theaters and arts organizations. I've settled at a boutique hotel part-time that has been magically flexible with my schedule and worked around me being unavailable for long periods of time. For a long time I struggled with whether I needed my "money" job to be in the theater or not, but I eventually found that when I wasn't as creatively fulfilled, I tended to accept those types of arts admin jobs much more freely, and when I was actively directing, I was quite content being able to have a job I didn't have to take home with me at the end of the day.

I try very hard to work in days off where I put an automatic vacation response on my e-mail, but half the time I don't follow my own rules and still end up spending hours making sure everything is perfect. It's not healthy, I often go 30+ days without a day off, and I'm certainly trying to change that, but there are certain opportunities I can't turn down and also, I have to pay my rent.

Josh, tips for writers just starting out?

JK: Since on some levels I myself am just starting out -- I'm entering my first year as an MFA Screenwriting student at USC this August -- any advice I give should be taken with a pound of salt (I find most advice should be taken with a pound of salt, actually). Maybe the best advice I can give is, find yourself a champion of your work. I've had the amazing fortune of connecting and working with the legendary Estelle Parsons, who has been my greatest supporter and friend in this equal-parts fantastic, equal-parts grueling, business. Her belief in me has kept me going through some very dark times. Your champion can be anyone. Partners, parents, friends, professors. Just find someone who has so much confidence in you, you can't help but have a little in yourself.

Dina, tips for new directors?

DV: I really think of all the theatrical careers one could have, directing has the least clear path of all of them. I think there's a lot of following your instincts and choosing what's right for you - grad school, or assisting, or self-producing, or all three or none - mostly it comes down to practice and relationships. You can't call yourself a director if you're not directing. And you also can't call yourself a director if you're only assistant directing. I assistant direct because it gives me the opportunity to work on much bigger-budget shows so that hopefully when those kind of resources are offered to me, I know what to do with them, but you have to constantly work your directing muscles, and assisting doesn't count.

You need to find collaborators to create work with, and a lot of that is trial and error. A lot of it is saying yes to a lot of unpaid work for a while, is directing a lot of 10-minute plays where you end up in many rehearsal rooms with strangers who you may or may not click with (Michael Grew, who plays Jonah, was one of those strangers many years ago, and now I've worked with him more times than I can count), is making friends with assistant designers when you're ADing (like Jason Fok) and is about showing up and sticking around at various institutions and supporting other artists' work and having intelligent conversations about it with them and applying for every possible fellowship or opportunity and using whatever space that's accessible to you to create in.

It's learning from the other theater you see and love and hate. It's about building a certain reputation for yourself by being kind to people, having a strong voice and a great deal of curiosity and willingness to take risks. Down the road, it also becomes about knowing when to cut strings and say goodbye to projects or relationships when it's the right time.

VISITING HOURS runs from Thursday July 28th thru Sunday July 31st at TheaterLab located at 357 W 36th Street in NYC.  You can get more info and purchase tickets here.

Wednesday, June 22, 2016

The Power of Art and Starting a Conversation: Interview with Padraic Lillis

"105 people die from suicide each day in the United States and that rate is rising. One reason is because we don't talk about it. "
- Padraic Lillis

What was the inspiration for Hope You Get To Eleven...?

I was a guest artist at a university last fall and directing The Christmas Carol and a student there, who was great, easy and seemingly comfortable with herself committed suicide over the Thanksgiving break. I also have a relationship to the issue, having battled with depression at various times in my life, like every ten years or so, and I don't talk about it, and I don't think people in my life knew I battle with that. I probably seemed like that kid, like things are going o.k., but if you look at the social media world you'd see I'm running a theater company, I have an award winning film, and especially at the time that it was happening, I had just gone to Milan and won the award, and I had spent spring break in New Orleans with a friend, and I just thought, we need to talk about it because no one talks about this. The inspiration was to just start a conversation and when you share these things and release them it has less power.

Where were you in the midst of the depression when you were writing this?
Padraic Lillis

The worst of it had passed. But I wasn't far. I had struggled during the last year and a half and I was
taking care of myself and restarting with therapy and things were on the plus side, but things that were causing me stress and causing me to think that way hadn't fully changed, and so there were still challenges lingering. But one of the things that actually helped was starting to write something. Then wanting to make a piece of art about it has really helped lift me out of the thoughts and that period.

 Did you know going in that this was going to be a solo show that you would be performing?

I sat down to write it thinking I need to say something; I need to do something, and then it took the form of a solo show and a monologue. It took the form of me talking about my experience and this incredible kid who died and some statistics that I knew. I wasn't sure what I was going to do with it. You know, I've only acted twice; this will be the second time in 25 years since I graduated college so I wasn't really thinking, 'I'm going to do this', but then I thought, 'I have to do something with this but I don't really want to perform this because it's about my releationship to suicide and I want to keep it private and protected and I don't think I want people to know all that about me,' and then I was on social media and I saw that a friend of mine's kid had committed suicide and I was inspired to write the play. 'Screw it, I'm gonna do this. Somebody has to talk about it.'

What was it like working with the director Scott Illingworth on this?

Padraic in Write Out Front (Drama Book Store)
It's been great. I've known Scott for a while and he's smart and I trust him. What's been really good is just working on it and getting it closer and closer to me just telling a story. The more I work on it, it gets to be less sentimental and more about me just talking about it. The more confident I get about telling the story the more I'm able to make the points of why I'm telling the story: letting poeple understand how the mind works, letting people understand there are other possible causes, and it has become less heavy, mainly because I'm not sharing it for the first time. He teaches at NYU Grad and one of my favorite things that he said was when I was saying, "what I'd like to do with the section if I was a better actor..." and his response was, "Padraic there is no one better tahn you for this part." Its a good reminder.

What are your hopes for the play?

I hope it's impactful. I hope that it makes people want to talk about the subject. I hope it makes people want you to share their relationship to the issue or have compassion for people that have a relationship to suicide.

Hope You Get To Eleven or What Are We Going to Do About Sally? is part of the Planet Connections Theatre Festivity. All artists involved are donating their time and talents. All proceeds from the show will be donated to National Suicide Prevention Lifeline.

You can buy tickets here.  

If you can't attend and would like to donate to the cause - we are having people donate tickets through The Farm Theater's website. Every $20 donated we will make a ticket available for 'pay what you can'.

 If you are in need of 'Pay What You Can Ticket,' feel free to email Padraic at:
Padraic Lillis

The Paradise Factory
64 E. 4th St.
June 23rd 7:30PM
June 25th 5:00PM
June 29th 7:30PM
July 3rd    4:30PM