In six days, Vince and I are going to take A Big Risk. We’re going to get on a plane (Vince hates flying) and go to Minneapolis, Minnesota. There we’re going to hand a script to a room full of people, most of whom I haven’t met (first-draft readings take a pint of my blood), and we’re going to read it, rehearse it, record it, and make a serial podcast out of it.
This is Jarnsaxa Rising. Ancient Norse Gods use humans as pawns to battle each other. When an ancient giantess takes human form to engage in eco-terrorism, a corporate team tries to stop her, and learns who the real enemy is.
The script is stylistically different for me, in narrative and in craft. I’ve never written science fiction or fantasy before. Adjusting to audio drama is also new for me. Vince has done a lot of sound engineering and still experiments with it for fun. He’ll be performing all of the sound engineering and writing all of the music. We made a sketch comedy podcast episode to prove to ourselves we could do it. Now we’re getting involved with other people and going on a journey.
Carin Bratlie believed in me enough to produce Traveling Light years ago, and now we’re going to go take a leap of faith together again. She’s assembled a solid, smart cast, and she’ll be directing.
I know so many people who complain at being left out of opportunities. There’s so much “they don’t want me because I’m too (x, y, z) for them” that I hear, and I want to be in a culture of saying “yes, and.” This is one of those times where we can step up and build the sandbox in which we want to play.
Speaking of building your own sandbox, progress on Jarnsaxa Rising continues. In addition to the script, I’m working on “meet the artist” posts for the podcast’s blog. Every time I open up my e-mail, see the performers’ headshots and read their bios, I get all warm and giggly inside. This project is going to be Really Good.
And last night it rained, finally, so the garden is getting wild again. The red lilies are blooming and doubling and trebling, and the morning glory vine has started to fight with the lavender, but they’re no match for the mint, so I have to get in there and break up some of this battle.
Once upon a time there was a playwright who was really, really bored.
She sent a Facebook message to a friend, a director, who was never bored, halfway across the country. The message was, “I need something new to write about, throw me a prompt.”
The director said, “Just above the 60th parallel in the Baltic Ocean, a team of researchers arrives at an abandoned wind farm, to investigate some unexplained energy surges. They discover that the wind farm has become sentient. And hungry.”
The writer said, I like this, and she researched and thought and imagined. Five years later, we have this:
It seemed like a great play idea, with multiple characters and the wind turbines themselves being played by actors who rotated giant rain sticks, as if the gods and humans and everyone were all embodied in the wind turbines. But the story was too unwieldy. It made more sense to break it into episodes and do it as a podcast. So, basically, it’s a science fiction fantasy revenge tragedy that takes place in a dystopian future and the ancient past.
and that’s what I’ve been up to lately.
So, I’m writing the script. I’m eight episodes in, with hopefully only two more to go. although two of the episodes may get merged into one. Vince is doing all the sound engineering. Carin is directing, she’s found a cast, and we’re going to Minneapolis to record it in July. We’ll edit the files in August, and launch the podcast in the fall.
I’ve been taking a Coursera course, called Sagas and Space, about Norse culture and how they thought about themselves. It’s been inspiring and helpful, particularly Terry Gunnell’s guest lecture on “Spaces, Places, Liminality and The Supernatural in The Old Nordic World.”
I’ve been learning a lot about Indiegogo. This is our campaign, in case you like this and want to help. We’re just over 5% funded, with 41 days to go. I get about two messages a day from people who want me to pay them to retweet the campaign or add it to a directory. which feels like adding my needle to a haystack.
Tonight, I have writer’s block. I know what needs to happen next, everything is outlined. As I write, I feel like I’m stumbling. There’s a lot of new things that I’m learning: writing purely for audio instead of live audio-visual performance, using episodes, using non-linear narrative. some information is missing, and I don’t know what it is, but without it, I can’t confidently move forward. I’ll get it, I just have to find it. I also know that writing doesn’t come from inspiration, inspiration comes from writing.
Fortunately, I have a really good cast, good people who have said, “sure, I’ll climb aboard your wagon.” I just want to make sure I don’t disappoint anyone.
I wanted to go to bed early tonight, so I can get up early tomorrow. It was hot today and it’s supposed to be hot tomorrow, so I’d like to have some of the cool hours of the day at my disposal. I want to get up early, pull weeds and water the flowerbeds before the rest of the world gets moving. The local amateur pyrotechnic aficionados are setting things off, which upsets the dogs. They’re being pretty good about it, but I can hear them shuffling around anxiously.
I think I’m just going to lie down and listen to an audiobook, and hope that settles me down.
Philadelphia Arts Advocacy Day probably sounds like something involving tall skinny women wearing all black and chunky jewelry sipping chardonnay and complaining about the callouses they have on their check-writing hand. And who’s to say it isn’t? Any tall skinny woman who wants to sip chardonnay and complain about arts funding is a friend of mine, as long as she keeps donating to the arts organization of her choice.
But seriously, folks. The Philadelphia Cultural Fund is likely to be reduced for fiscal year 2016. Last year arts advocates convinced Mayor Nutter and City Council to approve an increase in the funding, to $3.14 million. This year, we’re only asking that the budget not be reduced. We’re not asking for an increase (though that would be really nice too). We’re just asking that it not be cut (to the 1.84 million that Mayor Nutter has proposed).
In order to have cool things that make a place livable, such as summer camps, street fairs, orchestras, nifty little painting and writing classes, and endless productions of Shakespeare to make us all feel smart, you have to have cultural funding in your city budget. If you want to be a great city, you have to have great art, and that means great money. We’re not even asking for more money, we’re asking just to keep the number the same.
Thank you for all the hard work that you’re doing for Tacony and Mayfair. I moved to Tacony when I married my husband, and in the past eight years I’ve seen a lot of positive change. For example, the Tacony Storefront Improvement Program was long overdue and is a great asset to our neighborhood. Here is another way that life in our district can be improved, that’s also very important to me.
The Philadelphia Cultural Fund’s budget allocation is at risk. As a writer, artist and arts supporter, I’m writing to urge you to save the Philadelphia Cultural Fund (PCF) and keep the budget allocation at $3.14 million for the fiscal year 2016.
As you already know, last year Council appropriated an additional $1.3M for PCF, bringing its allocation up to $3.14M. This additional funding allowed PCF to dole out larger grants and reinstate the Youth Arts Enrichment grants. This grant provides project support for arts-education programs serving K-12 students in the Philadelphia School District.
Funded projects directly address the priorities of reducing youth violence, reducing truancy and drop-out rates, and increasing the percentage of School District graduation rates and graduates going on to college.
They give kids something positive and productive to do. This is something that our district desperately needs. We have tons of young people wandering the neighborhood, and no opportunities available to them beyond sports. For kids who aren’y interested in or good at sports, there needs to be meaningful activity. Furthermore, participation in arts programs helps increase emotional intelligence, making people less likely to engage in violent or destructive activity.
There are many people in Tacony and Mayfair who are just plain bored, and live to complain about renters or people who are different, and watch television. Events such as the Mayfair farmers’ market and street fairs give residents the opportunity to interact. It’s great that this is happening, but we need more. The Devon Theatre has been sitting idle for years. It’s a tragic joke that the past artistic directors abandoned it. However, it would make an excellent space for Theatre Philadelphia companies to give performances. People in our district need intellectual and emotional stimulation that art and culture provides, in order to lessen violence, drug use and crime. The arts also enhance local businesses; people who attend arts events are more likely to spend money near by, such as for dining and parking. The Philadelphia Cultural Fund allows for better opportunities not only in District 6, but throughout the region.
Mayor Nutter has only appropriated only $1.84 million for the PCF in his FY2016 budget. Please encourage Council to act and ensure that PCF is flat funded for Fiscal year 2016.
Please allocate $1.3M for the Philadelphia Cultural Fund.
Thank you again for your hard work, your time, and your attention to this important matter.
If you are, or plan to be, in the Los Angeles area on Thursday, November 13, you owe it to yourself to head down to Casa 101 Theatre in Boyle Heights to see Teatro MOZ.
Tickets are now available for a showcase of Latino-American love for the man whose voice helped redefine masculinity, Morrissey. The short plays are all culled from a nationwide call for submissions. I took a gamble with my friend, DJ and cultural connector, Rhienna Renee Guedry. We wrote a play about bicycles, not having sex, and woman-loving-women who love Morrissey, and sent it in, crossing our fingers and clapping our hands because we believe in fairies.
A few weeks later, we were fortunate enough to have our play, Pretty Petty Things, chosen as a finalist.
Unfortunately, I’m unable to get to Los Angeles from Philadelphia right now. BUT, if you can, you should! The cast is not only talented and skilled, but also gorgeous. The show promises to be a tour de force, complete with live musical performances and a lot of sweet and tender hooliganism. It’s only playing for one night, Thursday, November 13, at eight pm.
How often do you get to see a theatrical event that combines Latino contemporary life and California culture with the Anglophilic pop sensibility of the former frontman of The Smiths? Come to Casa 101 Theatre, 2102 East First Street, Los Angeles, California, 90033, for a singular dramatic event.
Earlier this summer, I was browsing through different lists of playwriting opportunities, and I found one that reached out to me like a beacon in the dark.
TEATRO MOZ, sponsored by Real Women Have Curves Studio, is sponsoring a short play contest. Do you have a dramatic memoir about the first time you fell in love with this Charming Man? Do the lyrics or title of a Smiths/Morrissey song inspire a story in your soul? Submit a short MOZ-themed play for a chance to win prizes and a staged reading of your piece by professional actors later this year!
I thought, that sounds so crazy it has to be fun. I know next to nothing about Morrissey, but I bought “You Are The Quarry” when it first came out, and loved “Irish Blood, English Heart.” I listen to The Smiths’ older hits quite a bit, and the sense of desire and longing, maybe desire for desire itself more than fulfillment, speaks to my inner gay man. Usually themed play contests and showcases are about heavy topics, but I’ve never seen anything like this before. I thought, I love this.
So, I sent a quick e-mail to my friend Rhienna. She is a DJ and creative connector (as DJs tend to be) in Portland, and every year she runs the annual Morrissey Mobile Disco bike ride as part of Pedalpalooza. Basically, a lot of people get together and ride a pre-planned course, with decorated bicycles, Morrissey look-alike outfits, and, of course, music, music, music. I thought if anyone knows anything unique and fun about the phenomenon that is Morrissey, she does.
We had a cross-country confab. Oddly enough the deadline for the play contest was immediately following the next annual ride, so she had plenty of fresh material. We talked about Morrissey, his cancelled tour dates, loving him from afar, how his appeal transcends boundaries of sexuality and gender, and how the ride is a really fun time. and how riding bikes with a group on a gorgeous summer evening is a fun young and in love or in love with love thing to do. Their course’s goal was the Joan of Arc statue in Coe Circle, and since it’s beautiful and Philadelphia also has a Joan of Arc statue, I had to work that in.
She gave me a lot of information, helped me sort through ideas, and I typed it up and sent it.
Today, we got an e-mail from Teatro MOZ that Pretty Petty Things was picked as one of ten finalists! Which means it’ll be in the showcase!
Not only am I excited about this, I’m excited about what this means. Basically:
Someone in LA loves the phenomenon that is Morrissey and his music to say, “let’s put up a short play festival about this thing I love.”
And a professional theatre said, “Sure. This is new, this is different, yes, we’ll back it.”
And they sent a call for entries out.
Meanwhile, in other cities in other parts of the country, two women said, “You know what, that sounds like fun and it’s something I know a little bit about, I’ll work on something and send it in and if they like it, they like it.”
Basically, once again, as Lorna Howley said, what is theatre but a big party?
I love the idea of people getting positive ideas and putting them together to make something bigger and better. which, in my opinion, is what theatre is all about.
and I can’t wait to find out why the celebrity judges are. I’m secretly hoping for Thomas Lennon.
Last night, Dominic D’ Andrea sent out the e-mail explaining the groupings of scripts and pairing with directors, and just reading it feels really, really good. Dominic D’Andrea is one of the hardest working men in show business: he produces these One-Minute Play Festivals all over the country. They’re not just specialized by city or state; INTAR Theatre has partnered with the OMPF to create the One-Minute Play Festival of Latina/o Voices twice. The focus and energy of last year’s Philadelphia show was contagious enough to sell out all three performances. Remembering how much fun it was to watch and be part of, and looking forward to this new show, is making me feel all twitterpated.*
One of the goals in writing a piece for the One-Minute Play Festival is to reflect or explore a issue or trait unique to the host city, in a simple, powerful theatrical moment. So, basically, it’s a living haiku about our experience right now. They take longer to cook up and picture in your brain, than they do to actually write. When you write them, you have to write them so they’re actually much shorter than a minute, to give the actors room to breathe and be aware in the experience.
This is why we write plays, so we can take a plan and hand it off to other artists and see what they do with it.
Anyway, I’m excited, and based on the names and information I’ve seen so far, this promises to be a really good show. It takes place on August 3, 4 and 5 at 8pm, at the Adrienne Theatre. Yes, they’re school nights, it’s summer, deal with it. All the good stuff happens on weeknights anyway. I get more excited over new plays than babies or jewelry. This is going to have over a hundred new plays. Whee!