When The Children Went Missing: a sculpture play

When The Children Went Missing: a sculpture play

Ramona left the twins, Julie and Justin, at the park. Forever. (A meditation on Hansel and Gretel)

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In Support of Play: Productions, Lipstick and Growth

This essay/blog was just posted in the TCG Circle Blog Salon: 

In Support of Play: Productions, Lipstick and Growth

I want to approach the question of artists’ needs from the point of view of one who has spent the greater part of several years navigating play development and what it actually means. There is too much play development and not enough production opportunities. Endless readings and workshops can turn what was once a play into a bedtime story – yawn.

As a somewhat fledgling playwright who has been fortunate enough to be given opportunities to develop my work, there is a simultaneous excitement and anxiety about the convergence of development, innovation and collaboration. Innovation in the theater is a communal act and although I believe in sharing and playing nicely with others, there’s always the possibility that instead of a vibrant new work you will be left with a cold, dead, broken thing because of how it’s handled. What does form or function mean when the play, the essential kernel of meaning, is dead? Most of us can think of a play production that deep deep down reminds of a dirge, or some kind of accidental, gawdy mourning ritual for the play that maybe once existed. Parades of corpses are only interesting when they are intentional; there is the vague horror of boredom as you stifle a yawn. It’s possible to overdevelop something, to talk it to death, before it has had a chance to live. Development, as it currently exists, often gets in the way of true collaborative innovation.

At the beginning of a process, playwrights need silence so that the traces of something, the mist, can form into something concrete and meaningful. The ghost of a play is so fragile; any little thing can make it disappear and no amount of coaxing, once it has been frightened, can call it back again. After the shape the play is formed, however crudely, voices are needed to help it grow into maturity. Lots of voices. Playful voices. Voices that are brave. Plays need to be seen, heard and experienced.

Audiences are needed as much as actors, directors and designers. As much as playwrights. Audiences tend to come so late in the game of play development. Playwrights need space to fail in front of an audience, and to write poorly, and still be given opportunities to grow. They need to collaborate with designers. They need a playground filled with friends who want to play with them, truly play, with costumes and lights and sounds and all of the things that make a play, a play. They need productions, or rather, for the others in the game to take the game seriously. Productions are serious play. Productions, for playwrights, are rare. Productions are the exception to the rule. This should not be so.

I enjoy readings and workshops. There is the play, thin, naked, sometimes shy, bubbling with possibility and hunger. But I think it’s deeply important for plays to be fat. I like fat plays the same way I like chubby babies. I want to see productions the same way I want to see little kids put on clothes, their mother’s heels and lipstick. They are fun and it’s necessary. The question then becomes, who will pay for this serious play? How can we invest in our artists and nurture their creativity? Who will pay for the costumes? Who will pay for the lights and sound? Who will pay for the lipstick?

            Playwrights need productions. They need money. They need lipstick. And it’s imperative that we convince those who can afford it that the arts are something worth investing in. Readings are wonderful. Workshops are great. But productions are imperative to the growth of playwrights.

Art is worth investing in, as is education and health care. It’s sometimes worth investing in art that’s messy and unresolved and strange as a way of getting to the good stuff, the meat on the bone, the meaning.

It is interesting to think about the fact that we think that the play of children is quite necessary. Play, for children, is a part of the work of life. Lessons are learned about sharing, communication, imagination and bravery. Play is not only permitted, it’s encouraged. When does this encouragement to play stop? Why does it stop? How can we get back to a place where it’s encouraged in artists so that lessons can continue to be learned?

In my daydreams, I see a space similar to a playground where playwrights can go and have their work produced – direction, costumes, lights, sound, makeup, actors (off book). They are produced even if the piece that is being worked on is not quite “ready”. They are produced and the work is playful and serious and rewarding and fun. They are produced and audiences come regularly to see where the piece is and how it has evolved. They are produced and can collaborate creatively, observing when things seem to work and when they don’t. They are produced and they are able to play and no one tells them that they have to play at half measures, quietly, subject to oppressive rules about form and content and budget and time constraints. They never have to stop. They are produced.

http://www.tcgcircle.org/2013/04/in-support-of-play-productions-lipstick-and-growth/

Gun Control Theater Action at New Dramatists

The Gun Control Theater Action at New Dramatists tonight was very moving. I was MOVED. It’s very humbling to be surrounded by a group of extremely talented artists (playwrights, actors, directors) who are all focused on ACTION, on DOING SOMETHING in protest. It reminds me how powerful theater can actually be since it is simultaneously a communal act, a chorus, a battlefield, a sharing, a prayer, a cry.

MY NAME IS JOE is coming to NYC / New Dramatist, April 29th…

The Gun Control Theatre Action 

is coming to New York!

First presented in DC along with the March for Gun Control
and Featured in the Washington Post. 

Now Hosted by Chiori Miyagawa,
a resident playwright at
 New Dramatists,
where it will be presented as a Pen and Swill Event.
 

APRIL 29th at 6:30PM 
at New Dramatists:
424 W 44th St, New York, NY 10036

Tickets: Free. 
RSVP to New Dramatists Pen and Swill Events at 212-757-6960

This free theatre action will open with remarks by
Manhattan Borough Presidential Candidate
Julie Menin

Followed by selected readings 

and the book launch of
 
24 GUN CONTROL PLAYS 
from NoPassport Press.
(Available now on Amazon.com)


This Reading Features Plays by
Neil LaBute, Jennifer Maisel,
Oliver Mayer, Winter Miller, 

Chiori Miyagawa,

Gary Winter, August Schulenberg,
Caridad Svich, Cecilia Copeland,
Yvette Heyliger, Amina Henry, Elaine Avila,
Saviana Stanescu, Gab Cody, Zac Kline,
and Lynn Manning.

Directed by 
John Moletress 

Actors Include: 
Kristen Connolly , Greg Keller, 
Bhavesh Patel, Noah Galvin, 
Reyna de Courcy, Jody Chrisopherson,
Jocelyn Kuritsky, Craig muMs Grant, 
Karin Rosnizeck, Sue Jin Song,
Yvette Heyliger, Alexis Camins
and Laura Zam.


Produced in collaboration between
NoPassport, force/collision, New York Madness, 
and New York Theatre Review
as a Pen and Swill Event Hosted by Chiori Miyagowa
a Resident Playwright at New Dramatists.
The New York Theatre Review (blogspot),
founded in 2010, is an independent media outlet for artists by artists
created “in the spirit of bringing more visibility to indie theater”.
Since 2010 the blog has garnered over 400,000 hits
with following in the US, UK, Eastern Europe and Unite Arab Emirates.
NYTR is a Member Independent Theater Bloggers Association.
http://newyorktheatrereview.blogspot.com/