@dramatistsguild @AoiseStratford

With the leaves turning and snow in the forecast, I finally got a chance to catch up with Guild member, playwright, and theatre-maker George Sapio for the following interview on the first Ithaca Fringe Festival, which he conceived and spear-headed this summer.

Aiose Stratford: It has been a busy summer and fall in our region; so much going on. And the first Ithaca Fringe was part of that hectic energy. What made you want to do a Fringe Festival here, given other offerings?

George Sapio: Good question. Ithaca already has a vibrant theatre scene; Cornell University and Ithaca College, both with outstanding theatre programs; two well-respected theatres [The Kitchen and The Hangar], the Ithaca Shakespeare Company, and other companies that produce regularly. I think the question should be “Why not yet in Ithaca?” What’s been missing here is the fringe experience, the variety of performances by unconnected theatre groups, both local and out-of-town, that showcase productions that might not be done in established venues. Fringe-ing is risky business; you never know what you’ll get! But that’s also the joy of it, and luckily Ithaca has an appetite for risk-taking.

AS: You’ve been part of fringe festivals as a writer, too – what was your experience like and what do you think a fringe really offers the playwright?

GS: We did the Cincinnati Fringe in 2008, and it was amazing. Our show, Oatmeal and a Cigarette, played to sellout houses and received the Critics Pick award. The fringe folks treated us with respect and professionalism, and it was a seminal experience for me as playwright/director. We mingled with enthusiastic audiences and saw stunning shows from around the country. Fringes are invaluable experiences for playwrights; many are lottery-driven or first-come first-served, so all artists have a good chance. And many fringes do most of the work: find you a venue and tech staff, provide cheap or free housing for cast and crew, help with publicity, and often let you keep a sizable chunk of the door. It’s an unbeatable opportunity to get your work performed in front of audiences. The Cincy Fringe was a role model for me in creating the Ithaca Fringe Festival, and I also networked with the producers of other fringes.

AS: Other people are such a great resource, and there are plenty of people locally to share thoughts with – the Infringement Festival in Buffalo and of course the Syracuse Fringe, which also happened in our region this summer.

GS: Yes, the folks behind other fringes have been universally generous and helpful. I attended the last US Association of Fringe Festivals conference and was knocked out by all the help and advice they poured over us. There were reps from Portland ME, Minnesota, Missoula MT, San Diego, Orlando, St. Louis, and Syracuse (to name a few) and we all learned a great deal. The mutual support was very encouraging!

AS: How do you balance the work of being a playwright with the time-consuming work of producing other people’s plays, and what is the payoff?

GS: Both jobs are critical. There’s a huge payoff to producing – not financially, but in other ways. I’m of the opinion that you become a better playwright when you learn the whole business, and the best way to do that is to direct and produce other folks’ work.

AS: So it’s useful to ground things in practical context; get a sense of the process you’re part of.

GS: It can only benefit your own playwriting to know what possibilities are down the road production-wise. But yes, it does take away from writing time. Producing and/or directing are full-time mental commitments.

AS: And keep you physically away from the desk, too.

GS: Face it: there’s never enough time for writing. But you do what good writers do: make a schedule, sit yourself down, and bash those puppies out best you can.

AS: Now the dust has settled, what do you think went well and how was the response?

GS: We were very lucky for newbies. Everything went as well as it could have gone. Our venues were terrific. The acts were all great and easy to work with. Each show got reviews from pleased to enthusiastic. And we had no technical glitches, either; Peggy Carey, our production director, had every detail well in hand and never let up for a second. While houses weren’t quite as filled as they might have been until word-of-mouth kicked in, they were quite respectable. I lost track of the number of folks who said to me, “Why hasn’t this been done before?” Over four days, we had 20 performances and hundreds of audience members. I’m already fine-tuning things for next year and working on expanding our acts from five to eight. We’re solidly on the map.

AS: So what’s next for you?

GS: I’m the playwright-in-residence for the Actors Workshop of Ithaca, a Meisner technique acting school. My last play was written and self-produced a year ago, and I am itching to get this next one finished. I miss the journey of writing. Getting my next play done will be my main concentration. Along with fundraising for the 2015 Ithaca Fringe, which will take place next April. Stay tuned.

AS: I plan to!

astratford@dramatistsguild.com