Mom. Playwright.

Today it was back to school in metro Atlanta. My son started pre-K, so I’m in an educational state of mind.

My family attended a children’s theatre performance this past weekend that I’m still trying to process, as far as how to share with the company’s powers-that-be how poor the experience was–constructively. I thought I’d do it here, as a blog post: Top 10 Tips for Successfully Engaging Young Patrons and their Parents at Your Show. But two days later I’m still having difficulty not coming off as snarky, and that is not my intention.

So I’ve tabled the idea and decided that I will just email the artistic director, as it was she who solicited our attendance in the first place. And lest you get the wrong impression, know that it wasn’t necessarily the show itself with which I took issue, but all the lacking supportive factors ’round it that prevented a pleasantly professional theatre outing.

Suffice to say that as I addressed my husband’s question of, “We drove all the way out here for that?!” on the ride home, I regretted not taking our children to see a closing weekend performance of Sleeping Beauty at the Center for Puppetry Arts instead, given the free tickets I’d been offered. I’d just wanted to give “the little guy” a chance–the same chance I’d want afforded to me as a fledgling playwright.

The thing is, we have to recognize opportunities to shine when they’re presented and seize them. Otherwise, the patron or production lost may be our own.

Class dismissed.

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Ow!!

Excuse me while I try to determine why my daughter, currently standing on my lap as I type one-handed, has just bitten my earlobe, under the guise of going in for a kiss. Should I be concerned, or just chalk it up to behavior to be expected of a toddler one week and 10 days into her “Terrble Twos”?!

Perhaps, ironically, she sensed I was about to lead you to this link, Butchering My Baby-A Parable, and decided that in case I had any literal ideas, she’d attack first.

No worries, Baby Girl–it’s just a clever metaphor from Kristoffer Diaz on the process of getting a play ready for stage. Now let’s go check Mommy’s ear and make sure there’s no permanent damage a la the infamous Tyson-Holyfield fight.

Has your “baby” ever been butchered? How did it leave you feeling?

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I was feeling stuck last week. It happens.

But last night I was determined to get “unstuck” and back to writing in the wee hours of the a.m., when I can claim the morning as mine.

I was stirred by a memoir writing exercise link found in my inbox last Wednesday by way of Oprah’s Book Club. Written by Abigail Thomas, the text came from Thinking About Memoir and included a challenge to Begin With Two Pages…

Two pages of 10 exercises such as, “Write two pages of something you can’t deny,” and “Write two pages of what you have too much of.” I started this morning with, “Write two pages of when you knew you were in trouble.” Whoa! Can’t you just see that in your mind’s eye on stage? An opening line of, “I knew I was in trouble when…”

I don’t have any intentions (at this point) of writing my memoir, but I find these exercises as fertile ground for mining play dialogue and premise. I maintain, inspiration can come from anywhere. Thanks, Abigail and Oprah.

Check out the How to Write Your Own Memoir excerpt and exercises. Will you take the challenge? It’s just two pages. Even a Mom Playwright can handle that!

And while you’re at it, check out these tips for making reading fun for kids.

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If you’re a playwright in the metro Atlanta area, this post’s for you. If not, read anyway and consider relocating for a month.

I received the following email message in my inbox from Jill Patrick, Managing Artistic Director Extraordinaire of Working Title Playwrights, the premier play development group to which I belong (despite the absence of my name on the still-yet-to-be updated Affiliates page… I’m told it’s being worked on! ). The message was announcing THE KICK-ASS SERIES: ACT TWO–The Second Installment of a Gonzo Playwriting Workshop in Five Parts.

I participated in ACT ONE earlier this year, and I will be forever grateful for the experience. I highly recommend this workshop series to anyone who is serious about designing a playwriting life.

I’ve reserved my space. Will I see you in class? No matter if you didn’t attend the first installment–you can jump right in now. When you register, tell ‘em Lisa B. enthusiastically sent you!

Working Title Playwrights Presents

THE KICK-ASS SERIES: ACT TWO
The Second Installment of a
Gonzo Playwriting Workshop in Five Parts

With Pamela Turner and Hank Kimmel

• Consider your life…
• Now, consider your writing.

In both cases, you may be jumping ahead before you’re ready

With the first, you’re on your own, Baby, but with the second, We Can Help.

* The most common complaint expressed by theatres is that too many submissions are underdeveloped and/or full of deadly mistakes.

* Our remedy is applied over four consecutive work sessions and then a workshop reading.

* First, through writing exercises, group critique, and “example mentoring”, you will start and finish a 10-minute play. Instruction will focus on “the character’s journey” and will emphasize the unique “rules” for a 10-minute play. You will have reading assignments and writing assignments both in and outside of class time.

* Second, you will hear your play performed by professional actors in a public reading followed by a formal critique conducted by Pamela Turner, Hank Kimmel, and a guest reviewer.

The Course Sessions and 2008 Schedule

September 6, 1-4 pm Part I – SETTING SAIL – The idea
September 13, 1-4 pm Part II – THE CALL OF THE SIREN -The characters
September 20, 1-4 pm Part III – BEYOND THE HORIZON – The story
September 27, 1-4 pm Part IV – FINDING LAND – The structure
September 28, TBA Workshop Reading and Response

SPACE IS LIMITED!
COST: $175 PUBLIC/ $150 WTP MEMBERS
CALL 404.441.2716 or e-mail Managing@WorkingTitlePlaywrights.com
TO ASSURE YOUR SEAT TODAY!

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As an attorney turned stay-at-home mom in New Hampshire, Susan Chamberlin has traveled a path to playwriting with more dramatic twists and turns than even I can claim.

Thanks to Jeanné McCartin at Seacoast.com for her feature on Chamberlin. I’ve found yet another heroine for whom I’m cheering. Read it and be inspired.

If you’re in the Portsmouth, NH area this weekend, show support and see George and Bill are Friends and Lions and Hyenas–two of Chamberlin’s works appearing in Late Night Confessions II at The Players’ Ring–Friday, Saturday and Sunday.

Go mom playwright Chamberlin, go!

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The Fund for Women Artists Theatre Funding Newsletter, Vol. #45 was made available today. Thanks, Carrie and Martha!

For a brief overview of the Fund, check out this 8-minute video. If you fancy yourself an artist, join the community! And don’t be afraid to toss a few dollars into the karma well.

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When I was a child, I spoke as a child, I understood as a child, I thought as child; but when I became a (wo)man, I put away childish things. I Corinthians 13:11

Inkubator, PlayPenn, the Cradle.

Funny how these words to me as a mom (when spelled correctly, not creatively) don’t seem so loaded. But as a playwright, I am intrigued by the point made that they are perhaps infantile and condescending when related to how new plays are regarded and developed. I’ve been chewing mightily on the read in yesterday’s Washington Post, “New Plays: The Coddling Can Be Constraining” written by Nelson Pressley.

As pointed out in the article, being a newbie to the playwriting world, I am interested in readings and workshops for my work.

However, having attended a number of play readings to support fellow playwrights, I know when my time comes, I will welcome other cooks into my kitchen, but be mindful to not let their contributions spoil the pot. There’s something to be said for taking things with a grain of salt–eating the fish and removing the bone…

Bottom line: as a playwright you’ll want to eventually be produced. You’ll want to leave your work open to the audience’s interpretation–in its produced form. Then everyone can have at it all they want.

I see both sides off the argument. Perhaps being a mom gives me the perspective that crawling is fine–in fact at 9 months old it’s a welcomed, celebrated feat. But if you’re still crawling at 4 years old and haven’t yet walked, there is cause for concern.

What do you think?

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Summer colds, unexpected South Carolina treks and a home improvement project have tipped the scales more toward “mom” than “playwright” these last couple of weeks. It’s all good. Such is life.

Shifting back into my groove today I had the pleasure of taking in readings of Psychology of Chromosome X and A Lovely Malfunction by Shontina Vernon, as a part of the National Black Arts Festival’s Discovery: A New Play Development Project.

Whew! I’m no prude, but there was a whole lot of sex talk goin’ on that got me to wondering how much I could handle as I questioned where I stood among the characters presented. I loved that! I enjoy being challenged and pushed to defend or further consider my stances and examine the root of their origins.

This is why I love and appreciate theatre–I grow from every encounter. Be sure to keep an eye out for Shontina Vernon’s work and dare to go bare.

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Thumbing through the latest issue of American Theatre, while the little ones napped, I noted the In Memorium column for late mom playwright (and actress) Oni Faida Lampley, written by (mom?) playwright Darci Picoult.

I was moved by its poignancy. It was clearly written by a friend who knew and loved Ms. Lampley, who lost a seemingly valiant battle against breast cancer. Though being new to the scene I’ve never personally experienced or encountered Ms. Lampley’s work, it is clear from the essay that she was a talented, witty and warm woman who touched many a life. Tough Titty, the story of a family facing cancer, was a work she wrote while dealing with her illness.

According the column, Ms. Lampley turned 49 on April 15, and died thirteen days later. The following day, a memorial was held at New Dramatists in New York, where family and friends packed the space and spilled out into the hallway. Her son spoke last after many and said, “My mom was the busiest lady I knew. She never stopped working.”

I couldn’t help but be simultaneously inspired and pained by his words. I know I want to do something to reach out to him, as my heart aches for him and his younger brother as they continue on in this life without the tangible presence of their mother.

So in the spirit of good mama karma, I intend to sow a seed into their lives, knowing in some way that their mom will appreciate it.

Click here for more details on Ms. Lampley’s life and the scholarship fund established for her sons Olu and Ade. Ask your mom playwright self what she might want to do with this information.

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I couldn’t keep from laughing at this ”news” clip on Onion News Network. In your high school days, which award might you have snagged?

High School Tony Awards Honor Nation’s Biggest Drama Club Nerds
 

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