@dramatistsguild
Last week I received this email from a new playwright: “I have recently started writing a play that I have wanted to write for several years now. I was just wondering about what steps I need to take to properly get it produced, create contracts with the theatres, legal information etc. I was going to talk to xxxx at xxx Theatre to see if he would be interested in producing the play once I’ve finished it. If not, then I will send it to a couple other theatres and see if they would be willing to produce it.”
My heart sank thinking I was going to have to be the one that knocked the wind out of her sails. Send it to a couple of theatres? I’m still trying to get artistic directors, who know me, to read my stuff. As my cousin told me years ago, the joy better be in the writing because that may be all you get. So, I asked other playwrights what disillusions them, helps them in their process, and the best/worst parts of being a playwright.
AL: Nothing disillusions me about playwriting. It’s the best of both worlds for me because it blends the intensity and joy of the solo act of creation with the dynamic collaboration of the production process. While the industry’s emphasis on developing new and unproduced work generates lots of production opportunities, it can make it difficult to get additional productions of previously produced scripts.
MP: Process. Get involved in a writer’s group with folks who have skills at your level or above. If you find yourself getting consistently excited by another group member’s work, then I’d guess that’s a good sign that you can learn something from them.
DM: Helps the process: Sitting down and writing, then sending the work out. Best part: When you get a great director, great cast, great designers, great crew, and great audience, it’s just magical. Worst part: Watching someone fuck up your stuff.
CZ: Disillusioned? I’ve been bummed lately that I am neither a white man or a young person. I feel like I came late to the party. Process…writing everyday. Belonging to a good supportive writer’s group. Seeing or producing a lot of plays, I learn stuff all the time.
KC: I’ve found that even if you get a wonderful production, great reviews and even win awards, it’s practically impossible to get a second production! I’ve had a NY agent for 20 years but have gotten every production by myself. I once had a play done and the director and I had a lot of differences of opinions. Some people were saying I was “in love with my own words.” So the next play I decided that I would keep my mouth shut. And the production was very disappointing. After that, I decided that I would always be as involved as possible. I’d rather be known as a bitch than a bad playwright!
AS: What bothers me is that there doesn’t seem to be a progression of success. I once assumed that all I had to do was get a toehold. None of my productions were stepping stones to subsequent productions.
SS: As a playwright you want to tell a story, but you have to deal with financial and production limitations. Theater companies don’t necessarily want to risk doing a new play. The process: actors memorizing the words and directors creating the staging makes my words something new. They’re a part of this brave new world that’s been created on stage.
jpound@dramatistsguild.com