Beautiful Bodies by Laura Cunningham: an analysis for production

republished for the “By Nancy” series

Martha: We’re still young but we’ve been young for so long. (p 255, Plays for Actresses, ed. Lane, et al)

Two steps forward and one step back is still one step forward. However, as in all fights for freedom, the sexual revolution has incurred casualties. Abandoning the apron and sitting in the big chair has not eliminated, and perhaps complicated, the desire for companionship and the social pressure to “date, mate and procreate.” The play begs the question “Is THIS what we’re made for?” while still delighting in the complications and joys of long-standing female friendship.

Cast: 6 women, all approximately 35.

Set: single interior: Industrial NoHo (NYC location) loft

Costumes: Single costumes for all. Contemporary. At least one very fashionable. Pregnant belly in athletic clothes. Bike helmet with mirror. One blouse gets stained with red wine.

Royalties: Rights available through: http://www.broadwayplaypub.com/, no price listed before application

Running Time: 2 hrs

Pros: all-female cast with intelligent banter, very funny/ attractive title/one set; fits in any space; small

Cons: Don’t expect Hedda Gabler. Predictable conceit: old friends (all stereotypes) have a party and then the gloves come off (but much better writing)

Censorial concerns: Sex talk: schlong, clitoris, thingy, doo-hickey, herpes; marijuana smoking, pregnant woman drinking

Provenance: Play:

According to http://www.doollee.com/PlaywrightsC/cunningham-laura-shaine.html: Beautiful Bodies is currently the most popular comedy for women in Eastern Europe with multiple productions in Russia, Ukraine, Bulgaria. The play leads a dual life as a bestselling novel in English, Dutch, Russian, French (“Six Filles Dans le Vent”), German and Japanese.

Recommendation: STRONG with a light caveat (sexual, but not strongly, vulgar language). NOT WIDELY PRODUCED ON PROFESSIONAL STAGES.

Reviews

Houston, TX

http://www.austinchronicle.com/arts/1999-12-17/75059/

Madison, WI

http://host.madison.com/entertainment/arts_and_theatre/reviews/baby-booties-revive-old-conflicts-in-strollers-big-hearted-beautiful/article_f034b0e2-817e-11e1-ad54-0019bb2963f4.html

NY Times

http://www.nytimes.com/2002/06/16/books/six-in-the-city.html

Purchase:

http://www.samuelfrench.com/p/17151/beautiful-bodies

http://www.broadwayplaypub.com/the-plays/beautiful-bodies/

Available for lending from Princeton Public Library, IL in the collection Plays for Actresses, editors, Lane and Shengold

Advertisements

A Piece of my Heart by Shirley Lauro: an analysis for production

republished for the “By Nancy” series

Whitney (as VA spokesman): There is no such animal as Agent Orange disease. Here at the Veterans’ Administration we’re doing exploratory studies only. And obviously there is no medical treatment I can offer you, madam, as the disease simply doesn’t exist!

It took America too long to recognize, embrace, celebrate and support our Vietnam veterans. Many women who experienced firsthand the horror and neglect that was Vietnam have yet to have their stories broadly recognized. Based on A Piece of My Heart: The Stories of 26 American Women Who Served in Vietnam, an oral history by Keith Walker (http://www.amazon.com/Piece-My-Heart-Stories-American/dp/089141617X), the play dramatizes the book with actors playing multiples roles and singing songs indicative of the places and times. The stories travel from innocence and ignorance, through the wartime realities, and emerge in a world where they seek and often to fail to find a fit.

Cast: 6 women, 1 man

Set: single multiple use abstract space: levels, benches (props: bottle that breaks safely)

Costumes: Single costumes for all loosely representing the respective fields of service. Small pieces are needed to quickly distinguish multiple characters.

Royalties: Rights available through Samuel French, minimum $100/performance

Running Time: 2 hrs

Pros: CASTING ATTRIBUTES (via http://www.samuelfrench.com/p/478/piece-of-my-heart-a ): Ensemble cast, Expandable casting, Flexible casting, Multicultural casting, Room for Extras, Strong Role for Leading Man (Star Vehicle), Strong Role for Leading Woman (Star Vehicle). This writer: The popular period music and theme will resonate with the 60-80 year old ticket buyer. The physical needs of the show are inexpensive and conform to any space, especially smaller venues.

Cons: VERY HEAVY HANDED: In a play with much dire realistic content, there is very little comic relief. Predictable conceit: Whereas we haven’t seen this side of the conflict (sans some China Beach on TV), the stories are not overwhelmingly unique to women, therefore (IMHO) it doesn’t have much new to say.

Censorial concerns: some strong language (shit, fuck, cocktease, etc,) and talk of sex and implied rape; marijuana smoking, drinking, descriptions of violence toward children
Provenance:

Play:

c.1992

2,000 productions around the world

Named by Vietnam Vets of America, Inc.: “The most enduring play in the nation on Vietnam”

Finalist: Susan Blackburn prize

Winner: Susan Deming Prize for Women Playwrights

Winter: Kettridge Foundation Award

Playwright:

Major Fellowships: The Guggenheim, 3 NEA grants, NY Foundation for the Arts. Major Affiliations: a director of The Dramatists Guild Fund; Playwrights/​Directors Unit, The Actors Studio; League of Professional Theatre Women/​NY; Ensemble Studio Theatre; PEN; Writer’s Guild East; Author’s Guild.

The Radiant : New York off-Broadway premiere in winter, 2013.

All Through the Night: Chicago, Jeff Nomination, as “Best New Play of the Year,” with many subsequent productions

Clarence Darrow’s Last Trial: Miami, Carbonnell nomination, NEA Enhancement Grant, New American Play Prize honoree.

Open Admissions: Broadway, Tony nomination, two Drama Desk nominations, Theatre World Award, Dramatists Guild’s Hull-Warriner Award for Jewish Culture
Recommendation: PASSING. The playwright seems to have great talent and a very consistent feminist voice. Read her other works.
Reviews:

http://www.nytimes.com/1991/11/04/theater/review-theater-a-piece-of-my-heart-women-in-vietnam.html
http://dctheatrescene.com/2009/09/18/a-piece-of-my-heart-2/
http://peoriapublicradio.org/post/piece-my-heart-provides-cathartic-look-war-review#stream/0
http://www.starnewsonline.com/article/20100721/ARTICLES/100729942

Purchase:
http://www.samuelfrench.com/p/478/piece-of-my-heart-a
Available for lending from Elmhurst College, Southern Illinois University, University of Illinois at Champaign-Urbana, and Illinois State University libraries.

Stop Kiss by Diana Son: an analysis for production

republished for the “By Nancy” series

I first discovered this work while skimming other small theatre blogs. Imagine my pleasure that while skimming the “812.5s” at my local library, I discovered the play within our collection! I presume there was visionary librarian in Pleasantville in February 2000, when this gem of a play is indicated to have found a home here.

Stop Kiss is a light girl-meets-girl comedy that trips and falls hard into the not-quite-ready cruel world. Sara and Callie never planned on meeting, and may have never considered an affair, had their meeting never happened. The result is the true awkwardness of two people surprised by love captured within the beautiful yet ungraceful speech patterns of 20th century. Unfortunately that blossoming beauty is interrupted by a senseless act of violence that forces public definition upon two people who have yet to define what they have. Friends and family are mystified and well-meaning. Callie herself is at once exhilarated, surprised and confused.

The action is presented out of sequence, much in the style of Proof (Auburn). The juxtaposition of the non-linear scenes however aides to focus the viewer on both the beauty and the tragedy at once. We fear for the characters, knowing their fate before they do, on so many levels. The final scene ends with Sara and Callie’s awkward first kiss. We, the audience already know that this tenderness is fated to be followed by brutality. It is that brutality that forces definition. Perhaps definition of love is the most subtle and insidious brutality.

Production requirements are all feasible for most theatrical companies. It is best suited to a small stage. The cast is 6/7 (3m, 3/4f) with an age range from late 20’s to mid 40s. There are no ethnic restrictions. Several settings must be done simply as the scenes flow quickly: apartment, hospital examination, hospital room, police station house, hospital waiting room, street scene. The action is designed to be performed without intermission. Any props or costumes are contemporary: one nurse, one police detective. A series of vulgar epithets are repeated as Sara must repeatedly recount the attacker’s slurs. Editing for vulgarity would be ridiculous. Royalties are $80 per performance.

My recommendations are strong. The playwright is an American and a woman of color. The setting is again regrettably New York. However, the city of acceptance and opportunity seems in short supply of both. The irony makes the play more relatable to a broad audience. My community theatre isn’t brave enough…yet. I hope that yours is right now.

Provenance:

Diana Son is a producer and writer, known for Law & Order: Criminal Intent (2001), Blue Bloods (2010) and Love Is a Four-Letter Word (2015) http://www.imdb.com/name/nm1788547/ . She is the recipient of an NEA/TCG Theatre Residency Grant with the Mark Taper Forum, and a Brooks Atkinson Fellowship at the Royal National Theatre in London, and a member of the Playwrights Unit in Residence at the Joseph Papp Public Theater.

Son’s full length debut Stop Kiss was critically acclaimed. The play was produced Off-Broadway in 1998 at The Public Theater in New York City. It was extended three times. The play has been produced by hundreds of theaters since its initial run. In 2014, Stop Kiss was produced at the Pasadena Playhouse where it made the Los Angeles Times’ “Best of 2014” list1.

http://www.dramatists.com/cgi-bin/db/single.asp?key=2871

Available for lending from The Princeton Public Library, Princeton, IL

  1. McNulty, Charles (19 December 2014). “Charles McNulty’s best stage shows of 2014”. Los Angeles Times. Retrieved 18 January 2015.

Anton in Show Business by “Jane Martin”: An Analysis for Production

T-Anne: The American Theatre’s in a shitload of trouble. That’s why the stage is bare, and it’s a cast of six…Like a lot of plays you’ve seen at the end of the twentieth century, we all have to play a lot of parts to make the whole thing economically viable.

Caveat: I read this beautiful, brilliant, feminist, and very funny play having been passingly familiar with the title, and naively assuming that it was authored by a woman. The gender and identity of “Jane Martin” are part of its mystique. Most speculations point to male authorship, in part or in entirety. http://www.nytimes.com/1982/04/04/theater/mystery-deepens-at-louisville-new-plays-festival.html

I checked out Leading Women: Plays for Actresses II, edited by Eric Lane and Nina Shengold (ISBN 037572667) hoping for a volume from which I could mine some gold for my series on plays written by women. The tome includes some worthy titles that I love and had already read: Marguiles’ (male) Collected Stories, and Son’s (female) Stop Kiss. Ball’s (male) Five Women Wearing the Same Dress is a dated piece with which I’m very familiar, and of which I’m not enthused. I rejected two of the plays, for dubious producibility in my markets, before finishing them: Corthorn’s (female) Breath, Boom, Jordan’s (female) Smoking Lesson, and McLaughlin’s (female) Tongue of a Bird. The collection also includes one-acts and stand alone monologues which may be wonderful, but aren’t my “thing.”

Anton in Show Business skewers everything that is peculiar and maddening about American Theatre. It does so particularly in regards to being a woman in that milieu, and with such aplomb that one could see its cast of actors and some audience members rampaging other theatres after the curtain falls. Hopefully and perhaps, this battalion might leave nothing but salted fields for anyone short-sighted enough to propose another production of The Marvelous Swim Club of Church Basement Nuns. Unfortunately, some dialogue, no matter how on-point, poignant, perfect and passing may breach the toleration of censors and patrons in smaller, more conservative markets.

The fast-paced comedy follows three actresses from NY auditions (don’t worry they don’t stay long) for Chekov’s Three Sisters to a regional theatre in Texas where artistic hopes and dreams do battle with commercial realities and compromise.  All characters, regardless of gender,  (even the quick-change crew) are played by women. Each scene lampoons (lays bare?) American theatre’s idolatry of Stanislavski’s Moscow Art Theatre, the cult of celebrity, “artistic concepts,”  blind Anglophilia, and seemingly hundreds of other sacred cows and self-loathing preoccupations .

Recommendation: STRONG: with reservations

Pros: The casting will make use of so many of your wonderful actresses which are sadly disproportionate to number of roles you can usually offer them. The latter is another elephant pointed out in the action. The dialogue is hilarious, fast-paced and non-stop. All locations are implied by props on a practically bare stage (cost reduction?).

Challenges:

                   Language/Topics: One actor reveals, briefly, that she was sexually assaulted (“sort of halfway raped by a plumber”).  Another actor reveals her first orgasm (“I came.”) occurred while filming a pornographic movie. Both are sad/funny moments. The common vulgarities (shit, damn, fuck?, etc.) are true and passing, and as offensive as watching a 22-year old stubbing her toe. Women play men, and kiss other women passionately.

                   Props/Costumes: Women as men, an Afrocentric character, an airport waiting area with airline desk, one partially-built period costume, several quick changes

                   Dialects/Accents: Stereotypical African American, English, Polish/Eastern European, Texas/Southern

                   Casting: One actor should be African-American

Cast: At least 7 women, some regional accents, all characters 22-40. As many female stagehands as you can hire. See Challenges above.

Set: Open stage with many specific furniture pieces: airline seats

Royalties (professional): $100 per performance

Costumes: Dozens, including several quick changes, contemporary Costumes / street clothes, see Challenges above

Props: See Challenges above

Running Time: Two hours and 15 minutes, with an intermission http://www.totaltheater.com/?q=node/895

Controversial topics: sexual assault, promiscuity, pornography, infidelity, cosmetic surgery, sexual quid pro quo

Purchase:http://www.samuelfrench.com/p/2932/anton-in-show-business

Suitable for: Regional theatre, college theatre, very adventurous community theatre

Awards

     Play:

  • Winner: 2001 American Theatre Critics Steinberg New Play Award

     Playwright:

  • Best Foreign Play of the Year Award in Germany from Theatre Heute magazine (Germany)
  • Pulitzer Prize nominee; 1994 American Theatre Critics Association Best New Play Award (Keely and Du)
  • 1997 American Theatre Critics Association Best New Play Award (Jack and Jill)

Reviews:

2000, Original production, Actors Theatre of Louisville (KY): http://www.totaltheater.com/?q=node/895

Recent production reviews:

2007, Austin, TX: https://www.austinchronicle.com/arts/2007-04-27/469103/

2013, Tortonto (not favorable): http://slotkinletter.com/2013/08/review-anton-in-show-business

2002, Milwaukee: http://www.totaltheater.com/?q=node/897

2012, Atlanta: http://artsatl.com/review-smart-sharp-%E2%80%9Canton-show-business%E2%80%9D-offers-laughs-season/

2017, Silver Spring, MD: https://dcmetrotheaterarts.com/2017/02/25/review-anton-show-business-silver-spring-stage/

Featured photo: Production photo from the 2006 BLKBOX Theater production (San Diego, CA)

A Shayna Maidel by Barbara Lebow: An analysis for production

Luisa (reading Mama’s letter): If I could really be with you and put around you mine arms, it would be much better, but that is impossible. It cannot be. If I cannot hold you in mine arms, I hold you anyway in mine heart and this is true for every day in your life since you was born, if you was in Chernov, Poland or Brooklyn, New York, America.

A Shayna Maidel, set in 1946 Brooklyn, NY, (yes, NYC, so shoot me) explores the relationship between two sisters separated by the Holocaust. Rose Weiss, the epitome of the title which translates to “a pretty girl” from the Yiddish, emigrated as a child, and was spared the well-recorded daily horrors and decades of separation and loss suffered by her now-found older sister Luisa. After a surreal flashback to war-torn Poland, this 20-something assimilated liberated and gainfully employed young American woman with her own one bedroom, 3-room apartment and a closet full of pretty dresses answers a late night call (on Shabbas no less!) and reluctantly welcomes an unremembered sister with none of the above. The result is a study in identity and assimilation, privation and privilege with Barbara Lebow reminding us that good fortune is often not a matter of choice, but of chance.

At minimum, A Shayna Maidel allows its audience members to reflect on “those who went before us.” With the convenient metaphorical distance of period setting, the greater and more immediate context of refugees who are “white like us” emerges. According to the Global Rich List http://www.globalrichlist.com/, a website that brings awareness to worldwide income disparities, an income of $32,400 a year places one well within the top 1% of income worldwide. Currently with my income alone (not calculating for dependents and not including my wife’s income), The Global Rich List income calculator places me in the top 0.23% of the richest people in the world, the 13,754,109th richest person on earth! Most of those Americans reading this analysis have been blessed with opportunities; Many with multi-generational land ownership. All still yet with an education that, at minimum,  allows them to read. Most of my readers have never known poverty. Few have witnessed and feared genocide aimed at their own ethnicity. Yet there are those of us, perhaps within your family’s recent history, and definitely those with families abroad, who have not been as fortunate. We are now witnessing the highest levels of displacement on record. 65.6 million people around the world have been forced from their homes. Among them are nearly 22.5 million refugees, over half of whom are under the age of 18, www.unhcr.org/en-us/figures-at-a-glance.html. Circumstance has been our benefactor. Are we ready to share out good fortune?

Recommendation: STRONG

Cast: 4w/2m (with doubling, 4 characters are portrayed in shadow and low light)

Regional dialects: NY Polish Jew, Yiddish written phonetically and translated in an appendix

Characters 20s-late 60s,

Running time:  approx 2:30 (https://dctheatrescene.com/2007/10/17/a-shayna-maidel/)

Royalties (professional): $80 per performance

Running Time: Two hours and 30 minutes, with an intermission

Sets: Single interior, attractive but modest pre-war one bedroom Brooklyn apartment with one scrimmed wall revealing a bedroom. Lighting changes are the only indication of a change in place to and from Poland years before

Costumes: Approximately 14; periods: 1946 NYC well-dressed businessman and young woman, peasant clothing earlier

Props: conventional, period, especially exposed kitchen, dining area and living room

Controversial topics: immigration, privilege, Holocaust

Purchase: ISBN 9780822210191:http://www.samuelfrench.com/p/12910/a-shayna-maidel (not in stock 1/20/2018), http://www.dramatists.com/cgi-bin/db/single.asp?key=1091

Several buying options: https://www.amazon.com/gp/offer-listing/B00GUGUCW4/ref=dp_olp_all_mbc?ie=UTF8&condition=all

Suitable for: community theatre, summer stock, regional theatre, small theatre

Awards

Lead Actress: Melissa Gilbert (Rose Weiss): 1988 Outer Critics Circle Award, Best Debut Performance, 1988 Theatre World Award

Original production (NYC) review:

http://www.nytimes.com/1987/10/30/theater/the-theater-a-shayna-maidel.html

Recent production reviews:

2011, Pittsburgh: https://www.pghcitypaper.com/pittsburgh/a-shayna-maidel/Content?oid=1459048

2007, Washington DC: https://dctheatrescene.com/2007/10/17/a-shayna-maidel/

2002, Chicago: https://www.chicagoreader.com/chicago/a-shayna-maidel/Content?oid=909887

2010: Long Beach: https://www.backstage.com/review/la-theater/a-shayna-maidel/

2012, Coral Springs, FL: https://www.backstage.com/review/la-theater/a-shayna-maidel/

 

Crimes of the Heart by Beth Henley: An Analysis for Production

Chick Boyle: So Rebecca, what are you going to tell Mr. Lloyd about shooting Zachery, uh, what are your reasons gonna be?

Rebeca ‘Babe’: That I didn’t like his looks. That I didn’t like his stinkin’ looks! I don’t like yours either Chickie stick. So leave me alone and I mean it. Just leave me alone!

“At the end of 1980, Crimes of the Heart was produced off-Broadway at the Manhattan Theatre Club for a limited, sold-out, engagement of thirty-two performances. By the time the play transferred to Broadway in November, 1981, Crimes of the Heart had received the prestigious Pulitzer Prize. Henley was the first woman to win the Pulitzer for Drama in twenty-three years, and her play was the first ever to win before opening on Broadway. Crimes of the Heart went on to garner the New York Drama Critics Circle Award for Best New American Play, a Guggenheim Award, and a Tony nomination. The tremendously successful Broadway production ran for 535 performances, spawning regional productions in London, Chicago, Washington, Atlanta, Los Angeles, Dallas, and Houston. The success of the play—and especially the prestige of the Pulitzer award—assured Henley’s place among the elite of the American theatre for years to come. As Henley herself put it, with typically wry humor, “winning the Pulitzer Prize means I’ll never have to work in a dog-food factory again” (Haller 44).” http://www.encyclopedia.com/arts/educational-magazines/crimes-heart#A

This dark comedy set in the still small town of Hazlehurst, Mississippi (pop. reported in 2016 as 3,883), may well be the archetype by which all plays in this series will earn my recommendation. Crimes of the Heart is well-written, hilarious, character-driven within realistic circumstances, and portrays women as combatants in the war of life, not victims. It happens to have been written by a woman. Especially, for those of you who have read my peculiarities  IT’S NOT SET IN NYC!

It is no surprise that Crimes of the Heart remains a staple in the seasons of many theatres, even though I haven’t ever seen it here in Pleasantville. I checked the production history of our longest running community theatre and despite it being a community theatre’s wet dream (comedy, strong central roles for women, 1 interior set, inexpensive props and costumes), it has never been produced in the 50-year history of the theatre. Perhaps, early on, there were some moral concerns (murder, interracial affair with a teenager, ridiculously failed attempts at suicide)  but most all tawdriness is offstage and the story is done with so much humor, I cannot see how nearly anyone, outside of a Puritan complete with stovepipe hat, would have been, or would ever be offended. This should be produced in every season until the end of time replacing any considered future production of the The Marvelous Swim Club of Church Basement Nuns.

Recommendation: STRONG: YES! YES! YES! YES! YES! YES! YES! YES! YES!

Cast: 4w/2m, regional accents, all characters 19-32, Doc walks with a slight limp. Casting notice: https://www.backstage.com/casting/crimes-of-the-heart-4555/

Royalties (professional): $100 per performance

Running Time: Two hours, with an intermission

Costumes: approximately 13 including conservative practical dresses circa 1974 or earlier. 2 men’s costumes: 1 casual, 2 costumes for an attorney (season: fall Mississippi)

Set: single interior: 1974, kitchen of Gothic home in Hazlehurst, Mississippi with table and 4 chairs, practical sink, period oven range (1950s)

Props: saxophone case, weathered luggage circa mid-1960s, bag of pecans (some practical in shell), nylon stockings in point-of-sale packaging (1974) for each night, practical cake, antique phone, twine

Controversial topics: Suicide, infidelity, sexual relations with a minor, attempted murder, dark humor (coma).

Purchase: http://www.dramatists.com/cgi-bin/db/single.asp?key=1271

Suitable for: community theatre, summer stock, regional theatre

Awards

Nominations

  • 1982 Tony Award for Best Play
  • 1982 Tony Award, Best Featured Actress in a Play

Mia Dillon, Mary Beth Hurt

  • 1982 Tony Award, Best Direction of a Play (Melvin Bernhardt)
  • 1981 Drama Desk Award for Outstanding New Play
  • 1981 Drama Desk Award Outstanding Actress in a Play (Mary Beth Hurt)
  • 1981 Drama Desk Award Outstanding Director of a Play
  • 2002 Lucille Lortel Award, Outstanding Revival

Recent production reviews:

NY Times: http://www.nytimes.com/2008/02/15/theater/reviews/15crim.html

DC Metro Theatre Arts: http://dcmetrotheaterarts.com/2016/02/28/189881/

Backstage: https://www.backstage.com/review/crimes-of-the-heart/

Twin Cities Pioneer Press: http://www.twincities.com/2014/05/11/crimes-of-the-heart-review-guthrie-theater-does-right-by-play/

“..by Nancy…”

A Series of Analyses for Production of Plays Written by American Playwrights who Happen to Be Women

The Count, Marsha Norman’s meta-analysis of data from American regional theatre productions in the three years preceding November 2015, found that only 22% of those productions were written by women. A six-show season helmed by our most recent artistic director, a classically trained actor and outspoken feminist woman, sought to challenge our audiences with a season of diverse actors, gender ratio reversal, and non-traditional casting (andours is a Midwestern summer stock company in a town of 7500). Sadly yet, only 1 of our 6 mainstage productions was written by a woman,16%. The theme and purpose of the season was equality, not equity, but even the very female-centered works Five Women Wearing the Same Dress and Disenchanted were written by men. Stop Kiss by Diana Son and directed by Tim Seib, was a thing of beauty. Honestly, had we strived for gender equity that simultaneously promoted vigorous ticket sales leveraged by recognizable titles, we may well have been hard pressed to develop a season. Even though we have a group of alumni, referred to as the artistic ensemble, providing the artistic director and the board with inspiration tempered with patron familiarity, equity may well be one ball to many to juggle.

Nonetheless, I have dedicated the next several months to reading and sharing my analysis of the merit and viability of producing select theatre works written by American women. If you are familiar with my other analyses and commentaries, you are aware of my inflexibilities. For those of you who are not: I want to read and promote American works, preferably from 1930 to the present, with smaller casts (10 and under). Despite being born in New York and a former resident of Manhattan, I have grown very tired of shows set in the Northeast, especially NYC. Franchise shows like The Marvelous Swim Club of Church Basement Nuns are often money makers, but are almost entirely predigested pablum. Seeing one in a seasons any theatre makes me lash out irrationally.

Women have much to complain about. I empathize, even though I can never sympathize. I admit that I am a white middle class male in his 50s, but my curriculum vitae includes: years of living in large cities on a meager income with routine job instability, several years as a primary caregiver for children (my own and other families’), a masters degree in social work with routine professional development in disadvantaged populations, 13 years as a school social worker (a nearly exclusively women’s profession) working with victimized adults and children in rural poverty, and my clinical licensure. I am also married to a strong woman who makes more than I do and with whom I have raised two daughters who does not share my last name after nearly 24 years. I still ask this: Women playwrights and playwrights who write about women, I ask you to write works that demonstrate humans with a problem to solve who just so happen to be women. Feel free to leave your hot-flashing crotchety aunt, and your tribe of victims who get together on a Friday night and bear their souls on your hard drives and off the shelves and our stages.

I have compiled a list of titles and begun some reading. My next analysis will be Crimes of the Heart by Beth Henley. That will soon be followed by A Shayna Maidel by Babara Lebow. I will admit that despite my industrious reading and an undergraduate degree in theatre I am woefully ignorant of a sufficient number of excellent, non-pandering plays written by women, especially comedies. I welcome (beg?) your suggestions. Remember, I am still pushing an envelope in community with substantially more creamy filling than chocolate cookie. On the other hand, the trope of a character constantly spewing a litany of four-letter words, talking about sex acts, or making her victimhood more central than her capabilities, makes that character more tiresome than liberated. Give me fresh, provoking and especially hilarious perspectives from attorneys, police officers, entrepreneurs, parents and custodians pounded out on the keyboard of someone named Nancy or Shonda or Esperanza or Hareem or Ichika or Chengguang. I want it. Get to it. PDFs and works that are available on interlibrary loan are appreciated. I make waves when I write, not money. GO!

Advertisements

real theatre for remote venues