@dramatistsguild @DonnaHoke
As the two new reps in New York State, Ithaca rep Aoise Stratford and I are charged with how to best serve our regions. In February, at the Dramatists Guild regional representatives meeting, we realized that that our regions are very different from urban areas or entire states with larger memberships and frequent, direct Guild concerns. With New York out of our mix, we’re dealing with smaller cities and more isolated playwrights. Determining that our two regions essentially cover the state, we decided the need was to simultaneously provide far-flung playwrights with useful information and, perhaps more importantly, community.
To that end, we opted for a seminar about breaking out of our insular territories. We wanted to help playwrights learn how to best work with their local theaters, but also how to look beyond those to the greater theatrical universe by learning how, what, when, and why to submit plays. We also opted for teamwork.
I drove to Ithaca for the first of two meetings which was hosted by the Kitchen Theatre. Aoise had invited representatives from local theaters as well as playwrights from as far away as Syracuse (the unofficial dividing line between us). For two hours, we provided information we’d compiled about diverse submission opportunities, local theaters talked about their needs and programs, and we fielded questions and moderated discussion about play submission.
A couple of weeks later, Aoise came to Buffalo to repeat the meeting for about fifteen playwrights from Western New York. I was pleased to see some new faces among the group, and moreso that even the most seasoned playwrights learned something new about Guild membership and resources, local theater opportunities, and submission. We followed up with a great group dinner on the strip, and then some of us took in my play, Seeds (which featured a sex scene, so now this column has addressed this issue’s theme) at our host theater, Road Less Traveled, a National New Play Network member that is an incubator for new local work. Feedback I received over the next week indicated our inaugural programming was both welcome and well-received; playwrights are eager for more.
In addition to formal programming, I’ve also begun a Play Club, where we read a contemporary play that we’re unlikely to see live and meet to discuss it. Not only does it keep everyone up on what new plays are attracting attention, but it also gives us an informal reason to gather for a couple educational and social hours over coffee or drinks.
As this issue comes out, Shakespeare in Delaware Park, the second largest free Shakespeare festival in the country, is in full swing with Hamlet, and we’re gearing up for our 11th annual, 11-day Infringement Festival, which runs July 25-August 4. Nobody is turned away at Infringement, and it’s the perfect opportunity for playwrights to practice the art of self-production. This year, three other playwrights and I will produce Buffalo Car Plays, on-the-fly performances that are the perfect Infringement fare. It’s all the ideal lead-in to the Dramatists Guild conference at the end of August. I hope to be accompanied by many playwrights from my region and to bring home—for those who can’t make it—inspiration and information to last until the next one.