Wednesday, September 23

Racism and the Healthcare Debate




There’s something being left unsaid in the national healthcare debate. No one is willing to talk about the 800-pound enchilada in the room: Racism. From what I’ve seen of the opponents of universal healthcare, they’re of the Caucasian persuasion. And I ask myself, what does that say?

I should tell you a few things about myself. I’m white, middle class, and until my recent diagnosis and treatment for cancer, I thought I had me some of that ‘Gold-Plated” insurance coverage I’d been hearing about. It ends up that after fifteen years of paying expensive monthly premiums, my gold-plating wasn’t 24 carrot. On top of having to cover twenty-five percent of my medical costs, there are some crucial, and very expensive items, that my policy wouldn’t cover.

I can’t fathom why the average citizen would be opposed to allowing all Americans access to decent healthcare. I understand the motivation of those who profit from our current system: insurance companies, pharmaceutical giants, and politicians who take cash from lobbyists. They’re all driven by greed. But what about regular individuals? Why are they against the idea?

Their argument about not wanting government intrusion doesn’t work for me. Look at Medicare. That’s a government-administered program that provides universal coverage to people starting at age sixty-five. I haven’t heard one opponent of universal health care say that program should be cut. Quite the contrary. These same people kick and scream if anyone dare talk about changes to that truly gold-plated coverage.

Why then are people opposed to creating a safety net for all, regardless of age? I can only come to one conclusion. The average citizen opposed to universal coverage is using the “keep government hands off my healthcare” argument to hide the fact that racism, ethnic and economic racism, is driving their opposition. These seem to be the same anti-immigration, English-only folks who use rhetoric and false logic to hide their ugly, self-serving nature. So yes, I think racism is playing a huge, silent role in this all-important issue. That, and the fact that most, if not all, of the opponents to universal healthcare haven’t been truly sick. At least, not yet.

Saturday, June 27

Theatre Bay Area Playwrights Showcase


I'm stoked that my new play, Luna Negra, is part of the Theatre Bay Area Playwrights Showcase. The line-up of playwrights who will be a part of this wonderful event includes:

Conrad Bishop
and Elizabeth Fuller

Anna Budd

Adam Chanzit

Lisa Kang

Cassandra Lewis

Nirmala Nataraj

Ayodele Nzinga

Scott McMorrow

Wendy Morton

Ignacio Zulueta 


The Showcase will take place at two venues this year:

July 21 as part of the
Bay Area Playwrights Festival 
(Magic Theatre in San Francisco)

August 20 as part of
TheatreWorks New Works Festival 
(Lucy Stern Theater in Palo Alto)

Hope to see you there!


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Tuesday, January 20

It's A New Day!



Text of President Barack Obama's inaugural address on Tuesday, as delivered.
OBAMA: My fellow citizens:

I stand here today humbled by the task before us, grateful for the trust you have bestowed, mindful of the sacrifices borne by our ancestors. I thank President Bush for his service to our nation, as well as the generosity and cooperation he has shown throughout this transition.

Forty-four Americans have now taken the presidential oath. The words have been spoken during rising tides of prosperity and the still waters of peace. Yet, every so often the oath is taken amidst gathering clouds and raging storms. At these moments, America has carried on not simply because of the skill or vision of those in high office, but because we the people have remained faithful to the ideals of our forebears, and true to our founding documents.
So it has been. So it must be with this generation of Americans.

That we are in the midst of crisis is now well understood. Our nation is at war, against a far-reaching network of violence and hatred. Our economy is badly weakened, a consequence of greed and irresponsibility on the part of some, but also our collective failure to make hard choices and prepare the nation for a new age. Homes have been lost; jobs shed; businesses shuttered. Our health care is too costly; our schools fail too many; and each day brings further evidence that the ways we use energy strengthen our adversaries and threaten our planet.

These are the indicators of crisis, subject to data and statistics. Less measurable but no less profound is a sapping of confidence across our land — a nagging fear that America's decline is inevitable, and that the next generation must lower its sights.

Today I say to you that the challenges we face are real. They are serious and they are many. They will not be met easily or in a short span of time. But know this, America — they will be met.

On this day, we gather because we have chosen hope over fear, unity of purpose over conflict and discord.
On this day, we come to proclaim an end to the petty grievances and false promises, the recriminations and worn out dogmas, that for far too long have strangled our politics.

We remain a young nation, but in the words of Scripture, the time has come to set aside childish things. The time has come to reaffirm our enduring spirit; to choose our better history; to carry forward that precious gift, that noble idea, passed on from generation to generation: the God-given promise that all are equal, all are free and all deserve a chance to pursue their full measure of happiness.

In reaffirming the greatness of our nation, we understand that greatness is never a given. It must be earned. Our journey has never been one of shortcuts or settling for less. It has not been the path for the faint-hearted — for those who prefer leisure over work, or seek only the pleasures of riches and fame. Rather, it has been the risk-takers, the doers, the makers of things — some celebrated but more often men and women obscure in their labor, who have carried us up the long, rugged path towards prosperity and freedom.

For us, they packed up their few worldly possessions and traveled across oceans in search of a new life.
For us, they toiled in sweatshops and settled the West; endured the lash of the whip and plowed the hard earth.
For us, they fought and died, in places like Concord and Gettysburg; Normandy and Khe Sanh.

Time and again these men and women struggled and sacrificed and worked till their hands were raw so that we might live a better life. They saw America as bigger than the sum of our individual ambitions; greater than all the differences of birth or wealth or faction.

This is the journey we continue today. We remain the most prosperous, powerful nation on Earth. Our workers are no less productive than when this crisis began. Our minds are no less inventive, our goods and services no less needed than they were last week or last month or last year. Our capacity remains undiminished. But our time of standing pat, of protecting narrow interests and putting off unpleasant decisions — that time has surely passed. Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America.

For everywhere we look, there is work to be done. The state of the economy calls for action, bold and swift, and we will act — not only to create new jobs, but to lay a new foundation for growth. We will build the roads and bridges, the electric grids and digital lines that feed our commerce and bind us together. We will restore science to its rightful place, and wield technology's wonders to raise health care's quality and lower its cost. We will harness the sun and the winds and the soil to fuel our cars and run our factories. And we will transform our schools and colleges and universities to meet the demands of a new age. All this we can do. All this we will do.

Now, there are some who question the scale of our ambitions — who suggest that our system cannot tolerate too many big plans. Their memories are short. For they have forgotten what this country has already done; what free men and women can achieve when imagination is joined to common purpose, and necessity to courage.

What the cynics fail to understand is that the ground has shifted beneath them — that the stale political arguments that have consumed us for so long no longer apply. The question we ask today is not whether our government is too big or too small, but whether it works — whether it helps families find jobs at a decent wage, care they can afford, a retirement that is dignified. Where the answer is yes, we intend to move forward. Where the answer is no, programs will end. Those of us who manage the public's dollars will be held to account — to spend wisely, reform bad habits, and do our business in the light of day — because only then can we restore the vital trust between a people and their government.

Nor is the question before us whether the market is a force for good or ill. Its power to generate wealth and expand freedom is unmatched, but this crisis has reminded us that without a watchful eye, the market can spin out of control — and that a nation cannot prosper long when it favors only the prosperous. The success of our economy has always depended not just on the size of our gross domestic product, but on the reach of our prosperity; on our ability to extend opportunity to every willing heart — not out of charity, but because it is the surest route to our common good.

As for our common defense, we reject as false the choice between our safety and our ideals. Our founding fathers ... our found fathers, faced with perils we can scarcely imagine, drafted a charter to assure the rule of law and the rights of man, a charter expanded by the blood of generations. Those ideals still light the world, and we will not give them up for expedience's sake. And so to all the other peoples and governments who are watching today, from the grandest capitals to the small village where my father was born: know that America is a friend of each nation and every man, woman, and child who seeks a future of peace and dignity, and that we are ready to lead once more.

Recall that earlier generations faced down fascism and communism not just with missiles and tanks, but with sturdy alliances and enduring convictions. They understood that our power alone cannot protect us, nor does it entitle us to do as we please. Instead, they knew that our power grows through its prudent use; our security emanates from the justness of our cause, the force of our example, the tempering qualities of humility and restraint.

We are the keepers of this legacy. Guided by these principles once more, we can meet those new threats that demand even greater effort — even greater cooperation and understanding between nations. We will begin to responsibly leave Iraq to its people, and forge a hard-earned peace in Afghanistan. With old friends and former foes, we will work tirelessly to lessen the nuclear threat, and roll back the specter of a warming planet. We will not apologize for our way of life, nor will we waver in its defense, and for those who seek to advance their aims by inducing terror and slaughtering innocents, we say to you now that our spirit is stronger and cannot be broken; you cannot outlast us, and we will defeat you.

For we know that our patchwork heritage is a strength, not a weakness. We are a nation of Christians and Muslims, Jews and Hindus — and non-believers. We are shaped by every language and culture, drawn from every end of this Earth; and because we have tasted the bitter swill of civil war and segregation, and emerged from that dark chapter stronger and more united, we cannot help but believe that the old hatreds shall someday pass; that the lines of tribe shall soon dissolve; that as the world grows smaller, our common humanity shall reveal itself; and that America must play its role in ushering in a new era of peace.
To the Muslim world, we seek a new way forward, based on mutual interest and mutual respect. To those leaders around the globe who seek to sow conflict, or blame their society's ills on the West — know that your people will judge you on what you can build, not what you destroy. To those who cling to power through corruption and deceit and the silencing of dissent, know that you are on the wrong side of history; but that we will extend a hand if you are willing to unclench your fist.

To the people of poor nations, we pledge to work alongside you to make your farms flourish and let clean waters flow; to nourish starved bodies and feed hungry minds. And to those nations like ours that enjoy relative plenty, we say we can no longer afford indifference to the suffering outside our borders; nor can we consume the world's resources without regard to effect. For the world has changed, and we must change with it.

As we consider the road that unfolds before us, we remember with humble gratitude those brave Americans who, at this very hour, patrol far-off deserts and distant mountains. They have something to tell us, just as the fallen heroes who lie in Arlington whisper through the ages. We honor them not only because they are guardians of our liberty, but because they embody the spirit of service; a willingness to find meaning in something greater than themselves. And yet, at this moment — a moment that will define a generation — it is precisely this spirit that must inhabit us all.

For as much as government can do and must do, it is ultimately the faith and determination of the American people upon which this nation relies. It is the kindness to take in a stranger when the levees break, the selflessness of workers who would rather cut their hours than see a friend lose their job which sees us through our darkest hours. It is the firefighter's courage to storm a stairway filled with smoke, but also a parent's willingness to nurture a child, that finally decides our fate.

Our challenges may be new. The instruments with which we meet them may be new. But those values upon which our success depends — hard work and honesty, courage and fair play, tolerance and curiosity, loyalty and patriotism — these things are old. These things are true. They have been the quiet force of progress throughout our history. What is demanded then is a return to these truths. What is required of us now is a new era of responsibility — a recognition, on the part of every American, that we have duties to ourselves, our nation, and the world, duties that we do not grudgingly accept but rather seize gladly, firm in the knowledge that there is nothing so satisfying to the spirit, so defining of our character, than giving our all to a difficult task.

This is the price and the promise of citizenship.

This is the source of our confidence — the knowledge that God calls on us to shape an uncertain destiny.

This is the meaning of our liberty and our creed — why men and women and children of every race and every faith can join in celebration across this magnificent Mall, and why a man whose father less than sixty years ago might not have been served at a local restaurant can now stand before you to take a most sacred oath.

So let us mark this day with remembrance, of who we are and how far we have traveled. In the year of America's birth, in the coldest of months, a small band of patriots huddled by dying campfires on the shores of an icy river. The capital was abandoned. The enemy was advancing. The snow was stained with blood. At a moment when the outcome of our revolution was most in doubt, the father of our nation ordered these words be read to the people:

"Let it be told to the future world ... that in the depth of winter, when nothing but hope and virtue could survive...that the city and the country, alarmed at one common danger, came forth to meet (it)."

America, in the face of our common dangers, in this winter of our hardship, let us remember these timeless words. With hope and virtue, let us brave once more the icy currents, and endure what storms may come. Let it be said by our children's children that when we were tested we refused to let this journey end, that we did not turn back nor did we falter; and with eyes fixed on the horizon and God's grace upon us, we carried forth that great gift of freedom and delivered it safely to future generations.

Thank you. God bless you. And God bless the United States of America.

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Tuesday, January 13

Dramatists Guild Comes to San Francisco



Dramatists Guild Comes to San Francisco

In the effort to extend the Guild into other parts of the country, and to unite our members from state to state, we are proud to announce an exciting two days of Guild programming hosted by some of San Francisco's prominent dramatists' supporters and theatres.

ALL EVENTS ARE FREE, and priority is given to members first, non-members second, but all on a first come-first served basis. To participate, you must reserve each event separately at the email or phone number listed below the event.

THURSDAY, JANUARY 29th
6:30 pm Dramatists Guild Town Hall Meeting to be hosted at Playwrights Foundation and Z-Space. Guild members and non-members are invited to attend an information session that will detail an overview of the Dramatists Guild, discuss plans for its future and then an open Q & A for members. With Gary Garrison (Executive Director of Creative Affairs), Roland Tec (Director of Membership) and Scott McMorrow, San Francisco Regional Rep. Space is limited to members of the Dramatists Guild.
Location: Playwrights Foundation/Z-Space, 131 10th Street, 3rd Floor (cross street is Mission)
RSVP: lpontius@dramatistsguild.com ; mention the event you're RSVP'ing for.

8:00 pm: State of the Union: Bay Area Theatre. Representatives of small, medium and large-sized theatres and service organizations will discuss trends in theatre, playwriting, dramaturgy with Gary Garrison, moderator. As guests are finalized, a list will be shared with members via email. Space is limited first to members of the Guild, then the general public.
Location: Playwrights Foundation/Z-Space, 131 10th Street, 3rd Floor (cross street is Mission)
RSVP: lpontius@dramatistsguild.com ; mention the event you're RSVP'ing for.

FRIDAY, JANUARY 30th
1:00 – 4:00: Master Class for Playwrights: Keeping the Drama in Your Work and Out of Your Life. Led by Guild Executive Director, Gary Garrison, this workshop/discussion will address issues every working artist struggles with in the day to day business of creating and promoting both our art and ourselves as artists such as inspiration, motivation, emotional support, identity as a writer and writer's block. Before joining the Guild in '07, Garrison taught full-time for twenty years in the playwriting program at NYU's Tisch School of the Arts. 20 participants total.
Location: Playwrights Foundation/Z-Space, 131 10th Street, 3rd Floor (cross street is Mission)
RSVP: lpontius@dramatistsguild.com ; mention the event you're RSVP'ing for.

6:30: The Author as a CEO. Art is bewildering. Worse yet, once the artist has broken through the bewilderment of developing a craft and producing a portfolio of works, he/she must then change perspectives from art to business. Business is bewildering. This short lecture by the Guild's Director of Business Affairs, David Faux, will review the main points of dealing with your portfolio as intellectual property assets. The lecture will be followed by a question and answer period.
Location: Playwrights Foundation/Z-Space, 131 10th Street, 3rd Floor (cross street is Mission)
RSVP: lpontius@dramatistsguild.com ; mention the event you're RSVP'ing for.

8:00: T.I.C. Trenchcoat in Common, by Guild member, Peter Sinn Nachtrieb. Peter is the author of the highly-acclaimed, Hunter Gatherers. Join us this evening at a performance of his new play followed by a discussion with the playwright.
Location: Encore Theatre Company @ The Magic Theatre, Fort Mason Center
The Magic Theatre is located on the third floor of Building D of Fort Mason Center at the intersection of Marina Blvd and Buchanan Street.
For tickets, ($10-$40) call 1-800-838-3006, 
or, order on-line at http://www.brownpapertickets.com/event/48836
To attend the post show discussion, please respond to lpontius@dramatistsguild.com

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Tuesday, January 6

Shakespeare Lands in Court




This just in from The BBC.

Retrial for Shakespeare's Shylock

Seven senior lawyers convened in New York last month to reconsider the case against Shylock, Shakespeare's money lender in The Merchant of Venice.

One of those lawyers, Anthony Julius - best known for representing Princess Diana in her divorce from Prince Charles - explains why he voted to let merchant Antonio keep the money after all.

In the play, the young man Bassanio asks his friend Antonio to lend him money so he can woo the beautiful and wealthy heiress Portia. Antonio promises to cover a bond, so Bassanio turns to the moneylender Shylock and names Antonio as the loan's guarantor.

Shylock, who hates Antonio because he had insulted and spat on him for being a Jew the week before, proposes a condition: if Antonio is unable to repay the loan at the specified date, Shylock will be free to take a pound of Antonio's flesh. Antonio defaults on his loan, and Shylock's case against Antonio goes to court.

At first it looks like he will win, and will get his pound of flesh.

A disguised Portia tells the court that the bond is indeed enforceable. Shylock, it appears, is free to cut. But Portia pleads with him to be merciful and to take cash in substitution.

"No, the time for payment is past, I want the penalty instead," says Shylock.
It looks bad for Antonio. He braces himself for the knife, and then the situation takes a different turn.

Stages of argument

Portia comes up with her ingenious reading of the bond. "Take the flesh", she says, "but not the blood." The blood is not specified in the bond, so it cannot be taken.

This is the first stage of Shylock's defeat. He cannot take the flesh without the blood, so he is stymied. This, and the earlier point that favours Shylock, could be called Portia's "first stage argument". Portia then presses her advantage.

The bond amounts to an attempt on the life of a Venetian citizen and that is a capital offence (the "capital crime statute"). Not only does Shylock forfeit the bond, he also forfeits his life.

This could be called Portia's "second stage argument".

The court, showing mercy to Shylock that he had not shown to Antonio, commutes the sentence, though on somewhat humiliating terms.

Literary 'law'

Of the seven judges who heard Shylock's appeal in New York, five sided with him and therefore upheld the appeal. Only two were against him, and I was one of this dissenting minority.

The majority judges thought that Shylock should get something - at least repayment - for the loan default. They also thought he was not guilty of the capital offence.

I thought these decisions were sentimental and did not derive from any proper legal analysis of the issues. They had the best intentions. They thought that a persecuted Jew had come before them and they wanted to come to his aid. But this is what might be called a "category mistake". It assumes that Shylock is a person who has a life independent of the play, and that the logic of the play itself can be disregarded. It cannot be disregarded; not, at least, without violence to the play's texture.

It is in accordance with the logic of the play that Shylock is condemned. That means, among other things, it is in accordance with the "law" in the play.

Question of character

The case against Shylock's appeal works like this...

First, we have to disregard Portia's first stage argument.
It is pretty clear that both her points about enforceability are bad. She starts off by saying that the bond can be enforced, but she can only take this position by suppressing the existence of the capital crime statute.

No court would allow a contract that involves committing a criminal act to be enforced.

She then says that the bond can only be enforced if Shylock does not take blood, but she is wrong about this too. Any court would allow the blood to be taken as well as the flesh. Whatever is incidental to the performance of the bond would be allowed as part of its performance.

Then there is Portia's second stage argument which she should, of course, have advanced straight away. All she needed to say, as soon as she turned up in court, was "the capital crime statute forbids it!" That would have been the end of the case.

But that would also have meant no suspense or drama.

The majority judges needed to rewrite the play to find for Shylock. But to rewrite the play is to lose its Shylock. The judges extinguished him as a character by upholding "his" appeal... and that was not merciful.

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Saturday, August 2

Puppets in San Diego




Puppet Therapy, a short comedy about a couple and their venture into marriage counseling, bondage, and threesomes, will be presented as part of the Best of The Blitz produced by Fritz Theatre.

Puppet Therapy
By Scott McMorrow
Aug 14-17
Thur, Fri, Sat at 8 PM
Sun at 3 PM
The Lyceum Theater
76 Horton Plaza
San Diego, CA
Tix: 619-544-1000

Tuesday, May 6

Prime Numbers in NYC



Got some great News! My play, Prime Numbers will be produced Off-Off Broadway by Love Creek Productions. Directed by Linda Loren, this short play explores the darker side of sibling relationships when a feuding brother and sister prepare to attend a Mardi Gras style funeral service for their mom.

Prime Numbers
by Scott McMorrow
May 18-21 at 8 PM
Beckmann Theatre
American Theatre of Actors
314 W 54th St
New York, NY 10019
Tix/Info: 212.581.3044

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Friday, February 29

Longwood Play Fest

Just found out that "Civil Twilight" will be produced as part of Longwood University’s 1st Annual Ten Minute Play Festival. This short play takes the audience on a surreal journey through the high desert as two women work together to uncover the source of one of their party’s madness.

Civil Twilight
by Scott McMorrow
March 28 at 8 PM
March 29 and 30 at 3:00 PM
Black Box Theatre
Longwood University
201 High Street
Farmville, VA
Box Office: 434-395-2474

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Thursday, February 28

Goin' Off-Off Broadway

Just found out a short play of mine is going to be performed at the Wings Theatre this April. "(before) The Rubaiyyat of Omar Khayaam," will be directed by Tracy Francis Off-Off Broadway as part of the Noor Play Festival, an Equity Showcase of plays dealing with the Middle East.

"(before) The Rubaiyyat of Omar Khayaam" was developed as part of PlayGround, in residence at Berkeley Rep, and takes a comedic look at the moment just before Persian scholar Omar Khayaam decided to become a Sufi poet. During his heated conversation with a clay bowl, Omar realizes that it’s best to seek closeness with god while he’s still alive, instead of waiting until he reaches the afterlife.


Venue Information:

(before) The Rubaiyyat of Omar Khayaam
April 13 at 8 PM
April 14 & 15,at 7 PM & 9 PM

Wings Theatre
154 Christopher Street
New York, NY

Tix/info: 212.627.2961

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Sunday, January 27

Kennedy Center ACTF



If any of you are in the Los Angeles Area Feb 13 & 14th, I’ll be leading two playwriting workshops at the Kennedy Center American College Theater Festival - Region VIII conference. Here are the details if you can make it:

Both workshops will be held as the CSULA campus:

What’s Next?: Giving Your Finished Play to the World
Wed., Feb 13th, 1:00-2:20
Room: Music 101

Ten-Minute Plays: The Haiku of American Theater
Thurs, Feb 14th, 3:00- 4:30 PM
Room: Music 256

California State University at Los Angeles
5151 State University Drive, Los Angeles
(323) 343-3000

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Monday, December 31

Kicking off the New Year



I'm excited to be a part of the Tapas Short Play Fest held in Monte Rio, CA. My play, Turtle Shopping, will be produced along with plays by Janice Eurgubian, Tom Kelly, Scott Kersnar, Lee Senior, Jacquelyn Wells, and Lauren D. Yee.

Details:

Tapas: A New Short Play Festival
Jan 10, 11, 12, 17, 18, 19 @ 8 PM
Jan 13, 20 @ 2 PM
Pegasus Theater Company
20347 Hwy 116 , Monte Rio, CA
$15 general/$12 for students
Tix/Info: (707) 522-9043

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Wednesday, October 10

PlayGround


Been having some great news of late. First off, I’ve been selected to be part of the writer’s pool for PlayGround in residence at Berkeley Rep. Here’s the full list of this year’s pool:

Vicki Anderson, Neela Banerjee, Crish Barth, Christopher Bernard, Andrew Black,
Cass Brayton, Robyn Brooks, Kenyon Brown, Ron Campbell, Adam Chanzit, Dave Garrett,
Garret Jon Groenveld, Leah Halper, Daniel Heath, Stacy Nathaniel Jackson, Brady Lea,
Aaron Loeb, Lisa Ludden, Jonathan Luskin, Doug MacPherson, Richard McKern,
Scott McMorrow, Ross Peter Nelson, Michelle Ortega, Evelyn Pine, Geetha Reddy,
Molly Rhodes, Carolina Rojas, Diane Sampson, Martha Soukup, Tom Swift,
Nicholas Turner, Maya Lis Tussing, Richard Weingart, Lauren Yee, Ignacio Zulueta

The other great news is I won the One Minute Play competition, and was flown to MN and feted on the red carpet at the Ivey Awards. Many thanks to Scott Mayer, Mitch Kelly and all the people at the Ivey Awards for making this happen, and big thanks to the Playwrights Center for their support, and many many thanks to The Mall of America for their very generous gift.

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Thursday, August 2

One-Minute Play Contest

Photobucket - Video and Image Hosting

I’m stoked to be a finalist in the One-Minute Play Contest. There are some great short plays, and YOU GET TO PICK THE WINNER.

There are two categories, Youth and Adult, and readers vote for a winner in each of the categories by visiting: One Minute Plays

(As an added bonus, you can also play spot-the-typos with my play.)

The Playwrights’ Center, The Ivey Awards, and Mall of America have teamed up to create The One-Minute Play Contest. There’s a PDF, as well as an audio file, for each of these plays:

Finalists - Adult

"The Jewel of Adam" by Dan Dietz
"Calling Long Distance" by Scott McMorrow
"Learner's Permit" by Michelle Jane Wilson

Finalists – Youth

"Fifty-Nine Lines" by Daniel Burns
"Untitled" by Jon Fusco
"We Freaks" by Oriana Lada

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Sunday, July 29

Bay Area Playwrights Festival



Just spent three days last week at the playwright’s pre-fest retreat for the Bay Area Playwrights Festival. Blown away is the only way to describe it. Playwrights read their plays in front everyone at the retreat, and it was awesome. This is a works-in-progress kind of thing, and Playwrights Foundation Artistic Director Amy Mueller has created an environment that allows writers to work on their plays and help them grow.

All of the plays and playwrights I saw rocked: Kevin Oakes, Annie Baker, Julie Hébert, Zakiyyah Alexander, Sam Hunter, Chris Chen, Aaron Loeb, Marisela Orta, Denize Springer.

Roll out and see these plays (complete schedule)
at the Magic, and if you can’t make it, definitely come see these playwrights when their plays come to your town.

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Tuesday, July 17

Things to do in Denver




I’m off to the Playwrights Showcase of the Western Region in Denver this week. A great time is sure to be had by all. Lots of really cool plays being presented, and the line-up of panelists is incredible: Richard Dresser, Christine Emmert, Dawson Moore, Anne Garcia-Romero, Aoise Stratford, Kent Thompson, Chip Walton, and Edith Weiss. I’m excited to a part of this by leading two workshops, “Self-Producing: Grande Idea or Great Folly,” and “Ten-Minute Plays: The Haiku of American Theater.”

Saturday, July 14

prenatal sex determination

For me, the underlying question is, why such a strong emphasis on male prenatal sex determination...


'Indian register' for pregnancies
By Sanjoy Majumder
BBC News, Delhi

An Indian minister has proposed that all pregnant women register with the government and seek its permission if they wish to undergo an abortion. Women and child development minister Renuka Chowdhury says the move is aimed at stopping the aborting of unwanted female foetuses.

Although prenatal sex determination and selective abortion are banned, far more boys than girls are born.
Critics warn that the new move could backfire and be misused. Ms Chowdhury also wants abortions to be permitted only in specific circumstances, although she did not spell out what these may be.

The minister says a register of pregnancies would allow the government to track them and crack down on the practice of foeticide which she says is widespread in parts of northern India.

Despite the ban on prenatal sex determination, the government has been unable to prevent the selective abortion of female foetuses and the practice of female infanticide.

According to the last national census, for every 1,000 boys, there are only 927 girls in India.

But critics say the new move is an infringement on personal freedom and could also be misused.

Wednesday, July 4

Is it porn?

The EU recently launched its own YouTube Channel, and caused a stir with one of its debut clips...



Here's what the BBC reported:

Sexy clip lifts EU YouTube debut
By Stephen Mulvey
EU reporter, BBC News

When the EU opened its own channel on YouTube, no-one could have predicted it would get upwards of 20,000 hits a day.
But while videos on the CAP and road safety are barely getting touched, a clip of sex scenes from European cinema has become a runaway success.

Titled Film Lovers Will Love This!, it shows men and women having sex in different ways and places, and ends with the words, "Let's come together".

Supporters say it celebrates European cinema, but others term it "soft porn".

British Conservative MEP Chris Heaton-Harris told BBC News the European Commission was wasting taxpayers' money.

"They do have an image problem but I think cobbling together 44 seconds of soft porn on the internet is not a brilliant way of solving it," he added.

Creativity

Godfrey Bloom, a UK Independence Party MEP, described the video as tawdry and tacky, adding: "It is like watching an elderly relative trying to be cool, very embarrassing."

A Polish MEP from the conservative League of Polish Families has accused the commission of using "immoral methods" to promote itself.

European Commission spokesman Martin Selmayr said there had been a flood of complaints from Poland about an intimate scene between two men - but refused to accept there was anything controversial about the film.

Fuming at what he called "quasi-religious bashing of the very important cultural diversity we have in the European Union", he said the lovemaking clips were excerpts from award-winning films, and that the commission was proud of the EU's rich cinematic heritage.

"The European Union is not a bible belt, we believe in freedom of expression and artistic creativity," he added.

The sex-scene video is one of four made for screening in European cinemas to advertise an EU fund that helps distributes successful films made in one EU state to others.

'Slap and tickle'

All four have been available on the European Commission's website and YouTube since February, and until Friday one of the other films, with much less sex in it, was the most popular.

It is only since the launch of the EU's own YouTube channel, EUtube, that the Let's Come Together video has outshone the others.

Labour MEP Gary Titley said: "European films are about more than a quick slap and a tickle. It is bonkers that this clip gets so much attention."

At the launch of the channel on Friday, Commission Vice-President Margot Wallstrom said: "It is very important for the Commission to use all the means at its disposal when it comes to communicating with European citizens."

None of the e-mailers to the EUtube site has objected about sexual content.

The main complaint has been that few of the films are yet available in languages other than English, but the orgasmic cries of Film Lovers Will Love This! need no translation.

Thursday, June 21

Ashland New Plays Fest

Got some great news today. My play, TURTLE SHOPPING, has been selected for the Ashland New Plays Festival held July 7-9th in Ashland, OR.

Details:

Turtle Shopping by Scott McMorrow
July 7 & 9 @ 8:00 PM
July 8 @ 2 PM
Ashland New Plays Festival
Stevenson Union
Southern Oregon University
Ashland, OR

Admission: $10
tix info: 541.482.4357

Thursday, June 7

Spendin' Time in Rehab

this makes me feel not so bad about all my various vices...

Wednesday, June 6

The Tap Is Back!

Monday, May 28

News from the front...

Been having some good news lately...

I'll ll be leading playwriting workshops at The Playwrights Showcase of the Western Region this July.

My play Future Sex will be part of the 2007 Bay Area Playwrights Festival (BASH) in San Francisco this August.

Prime Numbers will be produced by Theatre Limina this Summer.

Turtle Shopping was recently published in AUDIENCE magazine.

Did a poetry reading the other night in support of OAKLAND OUT LOUD, an anthology of PEN writers that I'm in.

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Saturday, May 19

Who Says Poetry is Dead?

Tuesday, April 24

Muslim voices: Women's views

What role do women play in Muslim communities - and does wider society focus on the negative stereotypes, rather than the real people?

For the Muslim Voices week, the BBC brought together two women who had never met, a playwright and a business woman, and
asked them to share their views…

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Saturday, April 21

The Religious Wrong Strikes Again

I lifted this from Adam’s Blog… stuff like this freaks me out and pisses me off… tales of intolerance from the Religious Wrong need to be told and retold...


Last night's performance of INVINCIBLE SUMMER was disrupted when eighty seven members of a Christian group walked out of the show en masse, and chose to physically attack my work by pouring water on and destroying the original of the show outline.

For the full story, visit mikedaisey.com

Wednesday, April 18

Tom Stoppard

Okay, I'm spending way too much time on YouTube, mainly surfing for nonexistent monkey porn and weird rap videos made by troops in Iraq. It wasn't a total waste of six and a half hours. I still have plenty of time to finish that script before first rehearsal, and I did come across this...

Tuesday, April 17

My Kingdom for a Podcast


Bill Goes Digital...

Saturday, April 14

The New Praetorians




I’m living in a science-fiction movie. And it’s not a good one. Enter Blackwater USA - a commercial paramilitary our Government out-sources to various hot zones, including Iraq and Afghanistan. These mercenaries are ex-Special Forces, and here the plot thickens. When employed in combat roles, Blackwater is not subject to civilian or military law. They’ve got their own high-tech weapons, armored vehicles, and airplanes. They’re an aggressive, kill-first-and-ask-questions-later outfit. Except that when the Congress that hired and pays them asks questions, Blackwater refuses to answer.

Many have likened Blackwater to the Praetorian Guard of Ancient Rome, which became famous as assassins of emperors. In this country, a coup d’etat is virtually impossible. Sure, the Aryan Nations might want to topple our Government. But really, there’s no way racists armed with shotguns and rifles could beat down our Army with its tanks and machine guns. Say what you will about our military’s current deployment, good-bad-or-ugly, not many of us living in the States fear it will rise against us. Why? Because we have civilian control over our Services. (photo: Blackwater employees in New Orleans after Katrina hit)


But in act two of this science-fiction, double-feature, Doctor X creates a creature similar to Blackwater, and this private militia arms itself with similar War accoutrements currently held only by our Armies. They get their own tanks and machine guns. All in the name of Democracy.

In the final scene of this really bad B movie, the hero remembers too late that the private sector is driven by profits. At its Initial Public Offering, the majority of our creatures’ stock is snatched up, and this private group of heavily armed, highly dangerous killers goes to work... for someone else.

What I’d like to know is this. Is anybody else watching this movie?

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Thursday, April 12

Wild Man Rests




We love you KV…
Some of the best times I’ve had were spent between your covers…



This bird is out of his cage

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Wednesday, April 11

Outrage at India menstrual form


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Thursday, April 5

My Show in Florida


I’m totally stoked to be a part of
Pensacola Little Theatre’s Studio 400 Reading series .

My show, Puppet Therapy, goes up May 15th. Here’s the lineup of a whole bunch of great writers and their plays:

Thursday, April 26th

The Cartharsis by Kristyn Robinson
The Rental by Mark Harvey Levine
Dance in Venice by John Shanahan
That Thing by John Shanahan
Wednesdays by Sue Brody
Not a Competition by Sue Brody

Monday, April 30th

Shrink by Jennifer Godwin
Figment by Mark Troy
That's the Way the Cookie Crumbles by Patricia Milton
Back Roads by Stephanie Walker
The Gardener by Stephanie Walker
Last Chance Filler Up by Isabella Russell-Ides

Tuesday, May 15th

The End by Kristyn Robinson
Last Call by Lia Romeo
Puppet Therapy by Scott McMorrow
A Lovely Moon by Evan Guilford-Blake
Mind of the Critic by Adam Szymkowicz
Ambience Pizza/54th and 9th by Adam Szymkowicz

Thursday, May 24th

Have a Seat, Please by Steven Bergman
Center Bed Dweller and the Secret Fart Woman by Lindsay Price
Spinsters by Barbara Lindsay
On the Line by Barbara Lindsay
The Kiss by Mark Harvey Levine
Surprise by Mark Harvey Levine

Monday, April 2

Art Imitating Life Imitating Tom Waits


Well it's got to be a chocolate Jesus
Make me feel good inside
Got to be a chocolate Jesus

Keep me satisfied

Well I don't want no Anna Zabba

Don't want no Almond Joy

There ain't nothing better

Suitable for this boy
Well it's the only thing

That can pick me up

Better than a cup of gold

See only a chocolate Jesus

Can satisfy my soul

Chocolate Jesus by Tom Waits


Friday, March 23

Edward Albee

Blanket statements scare me. Often, the blanket tries to do too much covering and ends up getting spread thin. That said, I think Edward Albee is spot on about his interpretation of how his work relates to the theater scene when he says, about making changes to his work, 'Go fuck yourself; if you don't want to do the play I wrote, do another play.' (LA Weekly, 2/21) He has that power. And I realize that disagreeing with such an icon may not be the most popular or intelligent thing to do. For the record, I think Mr. Albee is a great advocate for playwrights, and I like much of his work. But, for those of us lower in the food chain, telling producers and directors to fuck off may not be the for the best. I agree with him that writing a script is an act of individual creativity. Quite a different thing when it comes to making that script into a play, though. Collaboration can be a great thing, and it can suck, depending on the people involved. But to say “These are my words, and I will die defending them” can also be dangerous.

For example, I have a short play, Turtle Shopping, and this three-character piece has gotten a fair amount of exposure. In it, three Jewish women (mother, daughter, and grandmother) discuss, among many things, how the passing of generations erodes cultural bonds. In my text, the grandmother hails from Russia and has a thick accent, while the other two women have none. The first director to work the piece (John Ribovich, Calaveras Rep) suggested we keep the grandmother’s Russian accent, give the mom a New York accent, and leave the daughter with none. This one minor change added more dimension and depth to the play, and underscored the concept of cultural dilution. Now, I could have defended my text and said no to the change, but the play would have suffered.

I’m not saying writers should capitulate and compromise on every issue, but I do feel some discretion is called for. I spend a fair amount of time editing anthologies of short fiction, and if I were to make a blanket statement, it would be this: To a person, the writers who bitch the most about the process are those with the least amount of experience. The more established the writer, the easier they are to work with. I’ll leave it the you to figure out what happens with the bitchy writers during the next round of submissions. I will say that I’ve been pondering this issue for awhile. And this is what I’ve come up with - Writers hear all the time, in creative writing classes, seminars, and conferences, that their words are their own, which they are. They also hear that they must defend their words on pain of death. And they should defend their work. But not to its own detriment.

(This piece was first published in THE LOOP, v. 50)

Sunday, March 11

The Beatles do Pyramus & Thisbe















Stumbled across this bawdy and bizarre video of John, Paul, George, and Ringo performing Pyramus and Thisbe in front of a raucous crowd.

Tuesday, March 6

Submission - Part 1





Submission - Part 1
by Theo van Gogh and Ayaan Hirsi Ali


This film starts out in Dutch, then soon continues in English

From the BBC:

The murder of Dutch movie director Theo van Gogh in November 2004 came just two months after this highly controversial film, Submission - about the abuse of Muslim women - was shown on national TV in Holland.

Radical Islamist Mohammed Bouyeri, 27, has now been jailed for life for his murder after confessing to the killing, claiming he acted out of religious conviction.

Theo van Gogh's name was better-known around the world because he shared it with his great-great-grandfather, the brother of artist Vincent van Gogh.

But in the Dutch film community, he was a well-known figure and has been described as the Netherlands' Michael Moore.

Submission may have only been a 10-minute English-language short, but it caused uproar in his home country when it was broadcast at the end of August.

The outcry centred on the stories of four Muslim women who were beaten, raped and forced into marriage, and were asking for Allah's help.

It becomes apparent that their chadors and gowns are transparent and their half-naked bodies are visible through their dress.

On their bodies are written Koranic verses describing the permitted physical punishments for women who "misbehave".

The film was written by Somali-born Dutch member of parliament Ayaan Hirsi Ali, who has been a strong opponent of Islam's treatment of women.

Hirsi Ali has said she wanted to draw attention to the hidden violence against Muslim women, describing some practices as "savage Medieval customs", and show Muslims are the same as everyone when stripped bare.

Sunday, March 4

from the what the fuck files...


a sad chapter…

Thursday, March 1

World Book Day


This is it (drums rolling)….

March 1, 2007, the 10th annual World Book Day . Grab yourself a good book, sit down with someone you love…
Or is it grab someone you love, sit down with a good book? Oh well, works either way for me…

My pick for today is Infidel by Ayaan Hirsi Ali . Everyone should know this phenomenal woman.

And remember, World Book Day or not…Read Early, Read Often



Monday, February 26

In The Rough



Playwrights Foundation has announced the line-up for their "In The Rough" Reading Series, featuring plays by these awesome playwrights:

Jason Grote
Geetha Reddy
Marcus Gardley
Sheila Callaghan
Tanya Shaffer
Nastaran Ahamdi
Rachel Axler
Peter Nachtrieb

Guess who is the company manager for this faboo project!

Wednesday, February 7

ADM - It's What We Do.


Somewhere west of Topeka, someone is going out for a joy ride to get “a breath of fresh air,” which is why a farmer is being paid a subsidy by the U.S. Government to harvest corn, and why a train burning fossil fuels is transporting that corn, and why ADM is turning that corn into ethanol, a renewable, cleaner-burning fuel .

And somewhere south of the US-Mexico Border, corn prices are soaring out of control and the poorest of people can’t afford to eat.

ADM – “It’s what we do. It’s who we are.”

Monday, February 5

Feb 5th


Happy B-Day, John!

Tuesday, January 2

frolicking with Maggie & Jake


Last week, I was frolicking in the wee hours with actress Maggie Gyllenhaal, (Secretary) and her brother, Academy Award-nominated actor Jake Gyllenhaal (Broke Back Mountain). No, not like that! You do have a filthy mind. Hanging with these hotties took on a more serious tinge when the lodge they were staying at in my town caught fire. I’m a firefighter in Inverness, and spent the night battling the blaze while they were evacuated to safety. A brief account of the night follows:



This Fire Fought Back

When the sh*t hits the fan, it usually does so in the dead dark of night. True to form, as hurricane force winds ripped through West Marin, disaster came knocking once again in the wee hours. The piercing tone my fire pager yanked me from a deep sleep, and I knew right away this call was serious. Most times the dispatch simply issues a generic response for “Inverness Fire.” Grabbing a flashlight to slice through the black veil of the power outage, I heard the litany squawking forth from my pager, “Engine 380, Engine 1584, Chief 300...” The adrenaline rush kicked in as the list kept growing while I pulled on some shoes and headed for the door. The rush spiked with the chilling end of the initial dispatch, “... possible structure fire, 30 Callender Way.”

Mike Meszaros and I were out of the station and underway in Engine 380 immediately. Over the radio, we heard Jim Fox announce he was on scene and Woodacre’s dispatch echoed his stark transmission for all incoming units to hear, “Structure fire confirmed, 30 Callender Way.” On a scale of one-to-ten, my adrenaline level high-jumped to twenty.

Everyone on the Inverness Fire Department is familiar with that address. Over the years, we’d been there several times for minor things, and Margaret had always been gracious and wonderful, putting the needs of her friends and guests before her own. Based on our knowledge of the building and surroundings, we knew we had to move fast. 380 was the first engine in, so we went on scene dry, meaning we didn’t stop to drop a line at a hydrant. Our rig carries 500 gallons of water for initial attack, and we knew follow-on units would take a hydrant to supply us with more if needed. And it would be needed.

Mike pulled into the restaurant’s driveway, jumped out of the truck and began to set up for pumping while I donned an air tank. Jim’s brother, Tom Fox, pulled an attack line off of the engine and headed to the back of the building. Over the radio, I could hear Jim coordinating incoming units from Marin County Fire and Inverness. Following the hose line Tom laid out, I found him at the back corner of the structure putting water on fire. Through the thick smoke ,I could barely see the outline of the tree-smashed water heater engulfed in flames.

The propane line feeding the heater was leaking just above its shut off valve, and the jetting gas fed the blaze. Tom pushed some of the flaming gas back with a heavy blast of water, and directed me to reach in and shut the valve. Reaching into the inferno with a gloved hand, I snapped the valve shut. The volume of flames seemed to drop in half, and we continued to fight the fire that was rampaging under the building. Things were looking good, and it seemed we might knock this fire down and out. Until a blast from those hurricane force winds sent the scorching conflagration deeper under the building.

By this time, more units were on scene, and the sweet smell of burning cedar shingles mingled with black smoke and searing flame. Brian Cassel was steadily working another attack line off of 380, dousing the driveway side of the building with a torrent of water. Between Marin County and Inverness units, we had the front and side of the building covered with attack lines, deluging the fire with thousands of gallons of water. It seemed that every time we beat the flames back, winds would whip the fire into a frenzy and breathe life into the blaze somewhere else. We were fighting fire, and this fire was fighting back.

With the help from Skywalker and Bolinas Fire, we surrounded Manka's with hoses. I was reallocated to the back of the building to help Ken Fox work attack lines from Engine 381. We were trying to keep the fire from totally engulfing the entire structure. But that howling wind was our greatest foe. Gusts slammed into the front side of the building, causing the wind and building to join forces and function as a giant bellows, sending bright orange-red flames upward, licking the black night sky.

Several of us had rotated through that back position: Cathy Davis, Mike Connelly, Tom Levy, Jeff McBeth, Ken, and myself. And it was between one of these rotations, when for a brief few seconds no one was standing there next to the back fence, a giant oak came smashing to the ground exactly where we had be stationed to fight. This 30-plus inch diameter beast would have surely crushed any firefighter unlucky enough to have been caught in that ill-fated spot.

Several hours into the battle, Jeff, Tom, Cathy, and I were positioned in the extreme back corner. The building was totally ablaze, and the call had come down to focus on water conservation. Manka’s, jewel that she was, was lost, and the best we could do now was to make sure this angry fire didn’t get a chance to spread and burn down any more of our beloved Inverness.

The chaos and fog of fighting fire clarified in the minds of most of us. When that wicked wind sent flames soaring from windows and eaves, we doused them back with blasts of water. During this stage of the battle, still shrouded in the darkness of night, I had the chance to reflect on the magnitude of what was happening. Up until then, I was so focused on the task at hand, I hadn’t been able to think beyond the fight. But standing in the back yard, spraying water, working to prevent the fire from spreading, and with the collapse of this grand old dame inevitable, I had time to think about this great loss, this end of an era.

There was the wonderful anniversary dinner my wife Annalisa and I had enjoyed, oysters and antelope, topped with a bottle of vintage red wine. And the surprise at the end of this superlative meal, when we learned that her dad had called the restaurant during dinner and given them his credit card to pay the bill. There were the local’s nights spent with friends. I can still taste the blue cheese smothering a mile-high hamburger. And even though we didn’t get there as often as we would have liked, it was always special to know there was such a fantastic place just around the corner from our house.

Sunrise brought with it a welcome drop in wind. Slowly, gradually, as day pushed night aside, we could see the whole of what happened. Manka’s had collapsed to her knees, the top floor tumbling into ground, fire still sending plumes of smoke into the blue sky.

We had fought a good fight, but in the end, Mother Nature had more to say about the finale than we did. Firefighters from Inverness Fire, Marin County Fire, Skywalker Ranch, and Bolinas Fire worked their asses off trying to save her. They’re all heroes in my book. And so are the people of Inverness. This event is bigger than the just physical and emotional loss of losing a magical place. We all shoulder this part of Manka’s history.

Thursday, December 14

Project 365 - Week 3


Project 365 - Week 3 in San Francisco was a blast! Playwrights Foundation had Bay-Area playwrights present the plays at The Museum of the African Diaspora, and we all felt a great sense of belonging and community working on this wonderful project.

As a playwright, it was eye-opening for me to act in these plays. Suzan-Lori’s work allowed me the freedom to explore creative expression at a level that I rarely experience through simply applying pen to paper.

I thoroughly enjoyed all the plays I performed in, and was especially jazzed by acting in "(Again) Pilgrim’s Progress (For Thanksgiving)". Robert Henry Johnson choreographed the movement for this play, and he had us to create individual dance “phrases” for the piece. At first, this was especially challenging for me, then I remembered the advice Suzan-Lori gave about ignoring the bouncer standing at the door of our creativity. Her words gave me the courage to open up and find my own truth for this piece, and I really felt something truly magical.

Monday, November 6

Suzan-Lori Parks & 365




Amy Mueller of the Playwrights Foundation asked me if I was interested in being the Project Coordinator for the San Francisco Hub of 365 Days/365 Plays, and I leapt at the opportunity. The thing that jazzes me most about the project? Suzan-Lori Parks sat down and decided to write what many people would consider “a work that cannot be produced.” I love that! As a playwright, I appreciate the audacity of the challenge. So, this awesome writer sets about writing the impossible, and the next thing you know, the theater community rises up and figures out a way to stage it. This is what jazzes me most!

The San Francisco Hub is being spearheaded by three groups:
Z Space
Playwrights Foundation
Cutting Ball

I work closely with all three groups, and help maintain smoothness and continuity of the project with participating companies. The main thrust of my work is getting 52 companies on board, keeping them up to date with information regarding the Project, tracking productions, and coordinating scripts.

Tuesday, September 26

Italian translation of Leftovers


I’m off to the Frankfurt Book Messe next week, trying to sell book rights to various countries in Europe. This is the biggest rights fair of its kind, lots of meetings and lunches spent flogging the product. Not much time to play, but I do have a dinner meeting with Stefano Martinelli about working on the Italian-to-English translation of his opera, Polly.

I’m also going to bop down to Bologna the night of Oct 7 to catch a production of my play, Avanzi (Leftovers, Italian translation), put up my by friend Nino Campisi of Teatro del Navile. Check out the lineup for his entire festival at:
BOA Italia 2006

Thursday, July 20

Kennedy Center & Cat in the Hat


Just got back from The Kennedy Center... it was fantastic. I spent two weeks as a Guest Artist in their Playwriting Intensive program. There was a small group of us who were lucky enough to have classes with members from the A-List in American Theater, including: the always wonderful Gary Garrison, whose class in structure and character development rocked; Marsha Norman did this amazing thing with us, using The Cat in The Hat as a template for story structure and subject exploration; Steven Dietz’s class on playwriting was priceless. I love his work and his approach to process. Cathy Norgren gave a dynamic workshop focusing on design as a starting point to enhance writing; Mark Bly, Melanie Marnich, and Heather McDonald all used guided writing exercises that opened up the storytelling process in a magical way; Caleen Jennings worked with us on freeing up the creative process by providing an exercise that guarantees you can always overcome writer’s block; Robert Aguirre-Sacasa had us write deleted scenes from our plays. This was revealing in the most amazing way; Christopher Bayes’ acting workshop was phenomenal; Rebecca Taichman gave us great insight into the writer-director relationship; Lenora Brown’s dramaturgy workshop is a must for any playwright; Carlyle Brown gave a workshop and candid discussion about playwriting; and we had the once-in-a-lifetime opportunity to work with the extremely talented actors Rick Foucheux and Jennifer Mendenhall.

Saturday, June 17

Those Clever Dutch

Europe was fantastic. While in Bologna, I ended up sitting on a panel for Teatro Del Navile’s Acting School, helping Nino evaluate this year’s crop of students. Also met with the cast of Leftovers, the play is in fine shape.

In The Netherlands, I came across a book of plays written by Dutch authors, 4 Playwrights in 2003. This book is part of Atelier’s Theatre in Translation Series. The plays were written and produced in Dutch, then translated into English for publication. Esther Gerritsen’s Housewife is a wonderful play, as well as Clay by Marijke Schermer. These plays, and the work of the Italians, gave me a strong look at what I call stylized realism - characters that are set in a realistic/natural environment and tweaked up a notch to make them slightly hyper-realistic.

Tuesday, May 9

Teatro del Navile

I’m totally stoked. Gregg Henry sent me an acceptance letter for the 2006 Kennedy Center Summer Intensive in Playwriting. Two weeks in D.C. this July working with some of the finest theater artists around.

All the more reason to celebrate by popping off to Europe next week. Peter and I are planning a few days of decadence and dancing in Amsterdam, then I’m flying to Italy to see Nino Campisi, the artistic director of Teatro Del Navile. He’s working on the Italian translation of Leftovers, to be produced in Bologna this fall.

Friday, April 28

velvet heat

It’s a bit surreal how things work. I recently learned that Velvet Heat, a poetry anthology I edited, is a semifinalist in the Independent Publisher Book Awards. I put this project to bed over a year ago, and it faded comfortably into the misty corners of memory, only to pop up again in this most wonderful way.

Monday, April 17

PWC

The Playwrights' Center is fantastic. An entire organic entity devoted solely to the development of playwrights. The reading of Future Sex gave me a lot of fresh ideas, and I interviewed Polly Carl for the radio show next month. She’s great, a dedicated and dynamic advocate for writers. Kristin Newbom did an excellent job putting my reading together, and the talented Kevin McLaughlin was wonderful playing the role of T.J.

To top it off, The PWC is housed in a converted church. Bell tower and all. They’ve got a stage, rehearsal rooms, and offices to run the Center. I honestly can’t think of a better use of space. The theatrics of religion replaced with the Theater. I love it. We should convert all churches.

My reading was a huge help in figuring out the next steps for rewrites. It’s invigorating to see that level of commitment. I left re-energized, and highly recommend joining as a member (national membership is only $40).

Monday, April 10

great frothing idiot

The great idiot is frothing again. Got caught making a leak. And the cloak he keeps hiding behind, come on. What’s next? One of his lackeys standing in front of us, saying, “Yes, it is the President’s Executive Privilege to be f*cking you over.”


Good news is, I’m off to Minneapolis this week for a reading of FS at The Playwrights’ Center.

Friday, April 7

Jessica Goldberg & Seismic Theatre

The reviews are in, and people really liked the radio show last night… and these are folks that would let me know if the thing was in the tank. Of course, I can’t take all the credit. Having Jessica Goldberg’s play to work with did most, if not all, of the heavy lifting. Her writing is so delightful and eloquent, the words dance off of the page… a bunch of us went out after… woke up this morning feeling the festivities…

Thursday, April 6

Ken and Larry

been reading "The diaries of Kenneth Tynan"
(Bloomsbury, 2001)... came across this fun
entry of KT quoting Lawrence Olivier:
'In films,' Larry says, 'there is no performance. You just shoot a lot of rehearsals and pick the best.'