Tuesday, November 30, 2010

Link on Links Vol. 2

I once wrote a post about how it's so cool that on blogs you can link to stuff. I thought it would be cool to do this in plays.

Consider this scene from Death of a Salesman:

Biff: Pop! I'm a dime a dozen, and so are you.

Willy: I am not a dime a dozen! I am Willy Loman and you are Biff Loman!

Biff: I am not a leader of men, Willy, and neither are you. You were never anything but a hard-working drummer who landed in the ash can like all the rest of them! I'm one dollar an hour, Willy! I tried seven states and couldn't raise it. A buck an hour! Do you gather my meaning? I'm not bringing home any prizes any more, and you're not going to stop waiting for me to bring them home.

Willy: You vengeful, spiteful mut!

Aw. I love a good link.

Wednesday, November 24, 2010

Meet Angela Hanks

Last but not least, Ryan Dowler interviewed newbie Angela Hanks. Here's what she had to say on childhood lies, the virtues of Texas, and her various writing habits.

Ryan Dowler: When you were a child, did you ever tell an outrageous lie?

Angela Hanks: Of course, man. In sixth grade I told this chick, Anna, that I was a twin. I believe Abigail was my twin’s name. I chalk it up to a combination of that Good Ol' Middle Child Syndrome, an impressive imagination, and adolescent yearning. I am one of five. Smackest in the middle. I think I just wanted some person close to me. Since that past infraction, I've been fine with being the middle child. I love my brothers and sisters completely and wholly and have come to understand how incredibly important they are to me and me to them. I wouldn’t be this fine- ass individual without them.

RD: Where do you like to write?

AH: While I sleep with my laptop, I frequent the computer lab over at the New School. I recently obtained an MFA in Playwriting from there. I am not ashamed that I still write at the computer lab. Not ashamed at all. Sometimes my magical computer location is available. I’ve secretly cried in the computer lab because shit sometimes gets real when you’re writing plays. I have slept over at the computer lab. Seriously, I have. It’s the sense of communion, I believe, that attracts me to it. Everyone is there to get something accomplished.

RD: If you could give any book to the fifteen- year old version of yourself, what would it be?

AH: Bone Black: Memories of Girlhood by bell hooks. I had already read Carson McCuller’s The Member of the Wedding by then.

RD: I think we're the only two Youngbloods/ers/ies from Texas. Are you ready for the TEXAS POWER ROUND?

AH: Yes!!!

RD: Okay, here goes:

Have you ever been to Schlitterbahn Waterpark?

AH: I have!

RD: Isn't it the greatest?

AH: Fond memories, yes. While I did not last on the surfing simulation ride, I have not been dissuaded from putting “learn how to surf” on my To Do Before I Die List.

RD: Do you want to dispel any myths about Texas?

AH: I want to dispel myths in general but Texas and its people feature majorly in my work. Here’s some history for you: Texans were once called Texians for a ten- year period after the Texas Revolution which resulted in the Republic of Texas. But then the United States was all “Eff you guys you can’t be your own country, and we’re gonna start calling you Texans, and wait a minute- are you hanging out with both Mexicans and American Indians! What’s wrong with you? Put a border there. Send those Comanches along the Trail of Tears. And listen you immigrants living in the Texas Hill Country: you’re not Czech- American or German- American or Swiss- American. You’re just plain white, but please keep making your delicious, delicious beer. But Okay: assimilate and adjust”. And that’s how all of that happened. And you know what: black cowboys exist. I know this because I’ve been to the Black Cowboy Rodeo at the State Fair of Texas. And you know what else: racism kinda still exists in the United States. It’s just that it exists more openly in some places. Than others.

RD: Do you have a Texas flag shower curtain?

AH: I do not own a Texas flag shower curtain, but my Texas Driver’s License will not expire until 2012.

RD: Isn't Williamsburg just a more snooty, less diverse version of Austin?

AH: Ha! Yes. Poor, poor Willy B. Get with the Progress Program. I do know some kids who live in Willy B and they’re decent people and I wouldn’t be friends with them if they weren’t ‘cause seriously who has time for jerks?

I don't judge the old contingent of artists who sought affordable rents or anyone trying to find affordable anything but [the artist-influx needs to] maintain an awareness and respect for the folks who first lived in those “affordable” areas, and not by choice, but because financial circumstance limits them to these particular neighborhoods.. I live in Crown Heights which is awesome. It’s predominantly West Indian, but there’s a diverse, community-minded crowd developing. An incredibly dynamic mix of people. My favorite bar there is Franklin Park. One of the bartenders plays some awesome Luther Vandross jams. Because he genuinely loves Luther Vandross. And I genuinely love that.

Austin is pretty rad. It’s eclectic. And Austinites work collectively to keep it that way.

RD: Similarly, last question: How has place influenced your work?

AH: It takes many hours to drive across the state of Texas. On that drive, the entire state changes in geography. I grew up in Dallas. 90% of my plays take place in Dallas. I feel like sometimes I write about Texas to get back to Texas because I'm so far far away from Texas. And I want to be near it but I can't. Not right now, at least.

Meet Eric Dufault and Lydia Brunner

Eric: Hi Lydia!

Lydia: Hi Eric! Well, to begin with the obvious: Where did you grow up? And when did you start to think seriously about being a playwright and why?

Eric: I grew up in Pepperell, MA, a little town on the border of New Hampshire. Very small: horses, foxes, turkeys.

I never had this perfect Road to Damascus "I'm going to become a playwright!" moment. I wanted to be a writer when I was young and impressionable. Somewhere in high school I made the responsible decision to move away from prose writing; I could easily see myself becoming some hunchbacked hermit all alone in the MA hills.

I began writing plays, and that migrated into college, and here I am now. Beyond the collaborative aspect, I like the possibilities and limitations of theatre. For me, it forces a "story-first" mentality. Also, I think you can do weird stuff well and get away with it.

Right back at you: You grew up in CT, right? Did you always live there? Do you feel like it influenced your writing in any way?

Lydia: I grew up in Ridgefield, CT, but I was born in northern California. I rode across the country at about one and half sitting on my grandma’s lap. Ridgefield is about an hour from the NYC and a ten minute drive from there to the town they based the The Stepford Wives on. The town has a Main Street complete with a local pizza place, and a candy store full of middle school kids.

I think it factors in some of my work, but it’s hard to explain how. The isolation affected me, and certainly the lesson that wealth conceals but does not solve unhappiness.

I did not want to be a playwright until a few years ago. My first year at Columbia, I was dragged along by a friend to a reading of a play written by his teacher. We wound up at the bar with the cast, playwright and her husband. Someone bought me a beer, and the playwright asked me why I hadn’t signed up for her class. In the dark, I couldn’t think of a reason not to.

Alright, back to you. What's the weirdest thing you've written into a play? What's the best moment of theater you've ever experienced? And what writers do you admire? Would you say that your work has a particular style?

Eric: I'm going to swap up the order that I answer these questions, if just to make things difficult.

We talked about how difficult and unpleasant it is to describe your own work, so I'm going to tread carefully with these answers.

I'm sure I have a style, though I don't quite know what it is. It's dangerous to try to identify and stick to a single style anyway, right? You just become a parody of yourself. That being said, there are common trends in my writing, and writers who have clearly influenced me.

Though I'm sure they're real common influences all over the playwriting world, the two playwrights who impacted my writing the most are probably Sam Shepard and Sarah Ruhl. I think they do really similar things, one in that gruff cowboy way, and the other in that wistful poetic way. Their best plays both make their own universes with their own rules, but allow them to be really accessible. They're also real funny! Lately I've been really into Mickey Birnbaum and Stephen Adly Guirgus.

Some of my early college-era plays were pretty weird. I grew up reading lots of comic books, and I think the hyper-compressed comic book writing of the sixties fed into the way I thought (think) about stories. I would try to pack as much as possible onstage; there'd be lots of historical figures and talking animals. One play had Vincent Van Gogh, Harry Houdini, Pinocchio, and a pair talking bugs. I think I've become more restrained since then. But talking animals do come up a lot.

Best theater moment as an audience member: I saw some Boston production of the Tempest when I was a kid (it's my favorite Shakespeare); I don't even know how much I understood or enjoyed it, but that motherfucker is burned into my brain. So much magic!

These are good and difficult questions, Lydia, so I'm totally going to boomerang them back to you. How would you describe your writing? Who're your writing crushes/influences? What was the first play you ever wrote? Do you have a "magical moment of theater" story?

Lydia: I too, have trouble describing my writing style. I’d agree that it depends which play is being written and that style tends to follow the content. But I guess I like violence, sex and humor. I’m more interested in families than romance. Most of my characters don’t finish their sentences.

I really like quite a few playwrights. For the more contemporary sort: David Lindsay-Abaires, Sam Hunter, Adam Bock, Julia Jordan, Joe Fisher, Craig Wright, Stephen Adly Guirgis, and Martin McDonagh jump to mind.

My first play was a pretty awful treatise on a doomed romance, full of half poetic language without much plot. But I quickly moved on from that type of work.

I really like theater that frightens you. I’d say the moment in SoHo Rep’s recent production of Blasted when the whole space goes black was probably the most memorable experience at a play. You hear something like a bomb, and then the sound of heavy objects being thrown. You sit in the dark for what feels like an eternity while these sounds get louder and louder. I clutched a stranger’s arm for dear life. Then the lights came up and the entire set has been dismantled and blown apart.

Eric: Wow, Lydia, I feel as if I know you so much more both as a person and playwright! And I’m sure you could say the same for me! Sure am excited to see what we come up with!

Monday, November 22, 2010

"Lonesome Winter" Opens December 2nd

The Management and Horse Trade Theater Group


Lonesome Winter

A Christmas comedy for the suicide set!


Written by Joshua Conkel and Megan Hill

Directed by Meg Sturiano

Winter Lipschitz is lonesome. She has no friends, an addiction to the Shop at Home Network has run amok, her nipple hair is out of control, and on top of everything else, her cat Sparkles hates her guts. After a failed suicide attempt, Winter is visited by life coach Debbie Metzger-Bolger. Will Debbie give Winter the tools she needs to get her life back on track? Or are the Pearly Gates the only thing in store for poor old Winter?

Featuring Nicole Beerman*, Megan Hill*, Kirsten Hopkins*, Nick Lewis, and Joshua Conkel

December 2-19th@ UNDER St. Marks
Thursdays-Saturdays at 8, Sundays at 2
Tickets Available at

*Member’s of Actor’s Equity. Equity Approved Showcase.

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Friday, November 19, 2010

Meet Ryan Dowler

Angela Hanks interviews new member Ryan Dowler (the dude on the left, not the chick on the right.)

Angela Hanks: So, you've lived in all 50 states. How was that?

Ryan Dowler: That’s an exaggeration of course, but I have lived in many places. It started when a friend and I dropped out of school in 2002. We were in love with learning and pretty full of ourselves, so we thought we would just do it all ourselves. That is to say, we would pick a city, move there and, with the help of great books and field trips, learn everything we needed to know about the world. The job market was good then so we could really choose any place in the country to move – ANY place – and we chose Iowa. There wasn’t any real reason other than the fact that it was “centrally located.” We knew no one there. Every day, when we weren’t working, we would get up early and spend all day completing assignments of our own design. The first textbook we picked for history (primarily because the Iowa City Public Library carried two copies) began by kind of saying, “Native American Genocide? Genocide Schmenocide! The numbers are greatly exaggerated!” We kind of looked at each other and thought, “What have we done?” But to answer your question, yes, then I moved around to a bunch more places, got degrees, etc.

AH: If you could perform one character from a play, who would it be?

RD: George Deever in All My Sons. Best walk-on ever. Or twenty years from now, Ray in Blackbird. Preferably anyone who’s an asshole and then isn’t an asshole and then still just might be an asshole.

AH: How does music inform your work? Does it? Or do you just like to rock out to awesome awesome jams?

RD: I’m one of those people who listens to one album over and over and over again while I work. It kind of acts as white noise to distract that part of my brain that wants to look all over or daydream or what have you. In high school, it was Weezer’s Blue Album and then a Ben Folds Five album over and over and over, and now lately it’s been Raphael Saadiq. When the album ends and iTunes switches to a new song, my brain goes, “B’wha?” and I have to start the album over.

In general, I always prefer music to no music. My girlfriend Molly and I just moved to NY and we live in this building with all these older quieter people and Molly keeps telling me to turn the music down. I keep trying to explain to her that in the building we’re the Randle P. McMurphy contingent and the Randle P. McMurphy contingent isn’t supposed to turn the music down. If anything, we owe it to them to turn it up. To be fair, it’s all like Ray Charles and Loretta Lynn and its not even that loud.

AH: Where do you like to write?

RD: I just came here from Athens, Ohio where I had the perfect place to write, a place called Donkey Coffee. There are so many places to sit, different rooms and kinds of tables to choose from and every table has it’s own little lamp. What it is, it’s cozy. In New York cozy means small, but in Ohio cozy means smartly lit and warm, with a place to hang your coat. There was a table on the second floor with a big window where you could watch the snow fall and the people walking on the street. There was a couch in a great big room with paintings better than windows, where you could sit and write for hours next to sleeping teenage couples wrapped up in limbs and sweaters and scarves. Not a bad thing to see if you’re trying to write about the better parts of being a human being.

I almost missed out on a year and a half of very productive writing time at Donkey. Athens itself is a place of contradictions as an environment for writing. A lot of great writers – Laura Jacqmin, Dana Formby, David Mitchell Robinson , to name too few -- have come out of Charles Smith’s program at OU lately, but the workload in terms of writing is intense (3 full-lengths and 60 short plays written and staged in 3 years + all the classes on structure and theory + teaching). You’re really getting your Malcolm-Gladwell-10,000 hours- thing, but the location can be very isolating, for good or ill. Winter in rural Ohio can get pretty depressing and I remember I had one of those graduate student therapists because I was having trouble leaving my house.

She said there must be somewhere else you want to go to do your work. And I said there is one coffee shop I like, but I can’t work there anymore because everything I’ve ever worked on there – every essay, every lecture, whatever -- is a piece of shit. It was a pretty pathetic show, but I completely believed it, and walking through the door just brought all that back and it was all very distracting and sad. Finally the thing that happened – Winter ended and I stopped being foolish and in a kind of Saved-by-the-Bell Scheme, I started writing there to get close to another more talented playwright that I had a crush on, who’s now my girlfriend.

I haven’t really found a place in NY yet. A lot of them are lit like a Wal-Mart. I like that CafĂ© Grumpy location in Greenpoint, but it’s very far away. Ditto Flying Saucer, but they won’t take any cards. Did you see that Joan Rivers documentary? I want to work in a coffee shop that looks like Joan River’s apartment. That’s what I want. Where you can transition from coffee to beer when the time is right. Also it takes credit cards. And has a little lamp on every table.

AH: You do know that your last name rhymes with another Youngblood's last name, right? How do you feel about that?

RD: Darcy Fowler is actually the first Youngblood/er/y that I met. There shouldn’t be much confusion. She’s much more socially adept and bright than I am. She’s the one I’d choose first to be on my softball team, based on what I imagine leading/being on a softball team might be like.

There’s actually an actress in L.A. with my full name. She’s much more googleable than me. Old friends sometimes contact me to congratulate me on my plays and on playing “Pregnant Girl #2” on The O.C.

Thursday, November 18, 2010

Dirty Thirty

In recent weeks, especially in the Wasserstein dust-up in our comments section, there's been a lot of discussion about ageism and Youngblood's "under thirty rule" in particular. I've been thinking about these comments a lot. See, in one month and three days, I, your humble blog administrator, will turn thirty.

They won't give me the boot immediately, of course. I'll get to finish the season and you'll probably be able to see a few more warped brunch plays from me. But still, it's bitter sweet. Sweet: I've been in Youngblood for three wonderful years and in that time my writing has grown exponentially as have my chances at becoming an actual, factual, honest-to-goodness career playwright. I never went to graduate school, and in many respects I feel Youngblood (and running my own theater company for six years) was my graduate school. There's no education like a DIY education, I can tell you that. But bitter: thirty is young for a playwright, isn't it? Why can't I stay another five years? Or ten?

I know why.

Theater is not a place for young people. I see all sorts of problems with the institutions: racism, sexism, classism (the one nobody likes talking about.) But ageism? I can certainly see how the search to find the next great young playwright, as one commenter put it, could be annoying to somebody who found playwriting later in life. Even so, that's maybe one or two or a small handful of young playwrights. The rest of us have to wait until at least thirty or later for any modicum of success. And why? Because the whole industry is controlled by people who are middle aged or older and they want to do their own generation's plays.

I don't mean that as an insult. I like plays by writers around my age too (when I get to see them.) I just think it's disingenuous to say that ageism is such a big problem when you can barely get young people into a theater*. Unless you mean ageism against young people, but I don't think that's what these people mean. The reason there is no "over thirty" playwriting group is because THE WHOLE INDUSTRY is an over thirty group.

I'm going to miss Youngblood terribly, but you know what? There are tons of writers' groups in this city. I hope I'll find a new artistic home when I go, but I also understand why I do have to go. Although it may seem otherwise to some, a place for young playwrights to grow together is fundamental to the health of the art form. I'd like to be in Ma-Yi, but I'm not Asian. I'd like to be in the Public's Emerging Writers Group, but I have an agent and they don't allow that. This is okay. There need to be more groups like Youngblood, not less. Groups for queers, women, people of color, writers without MFAs...

Theater should be for everybody, shouldn't it?

*On that note, and this should be a whole other post, if you are interested in getting young people to your theater then you should do plays they want to see instead of using an edgier font on your marketing materials. Just a little tip from me to you!

Meet Rachel Bonds

Christopher Sullivan interviewed fellow newbie Rachel Bonds.

Christopher Sullivan: Where did you grow up? Do you feel like it had an impact on your writing?

Rachel Bonds: I grew up in Sewanee, Tennessee, which is a tiny college town in the mountains. There are literally two stoplights in the entire town. It's a beautiful place, a very quiet place. I spent a lot of time growing up getting lost in the woods. Though everyone there knows everyone there, so in another sense, it was difficult to ever really be lost or to blend in. It's the opposite of New York. I miss it very much sometimes.
It's absolutely had an impact on my writing. I think it has spurned my fascination in the idea of isolation, in the strange or frightening things that happen in small places. I was also raised by academics, which instilled in me a deep love and reverence for books and an obsession with language.

CS: How would you describe your work? Are there elements/themes/ideas you find yourself returning to again and again?

RB: I'm interested in our quotidien language, in our often inarticulate methods of interaction. I'm interested in "yeah" and "oh" and "okay" and "um" and the possibilities that live in these little words. I'm also interested in theatricality and magic and a character's ability to suddenly speak very elegantly and eloquently. I think my current work explores what happens when these two elements collide, when the everyday world of work and bosses and "yeahs" and "okays" meets with something whimsical or dark or otherworldly. I write a lot about grief. And fear. And death. Dark things. Time passing. I find myself returning again and again to the things in my life that I can't seem to put into words or explain. I keep trying to find a way to explain them. I'm a bit haunted.

CS: How do you balance your work in theater with day jobs/supporting yourself? Do you find there is always a conflict between the two?

RB: I've been lucky over the past four years to have a very flexible job that's allowed me to work from home and fit my writing in around it. In the past year, however, I've found I need more and more time to write and really need to fit my day job around my writing. Working from home has also taken its toll on me, as I've spent a lot of time alone in my apartment with a computer going crazy and suffering from lack of human interaction. I recently decided to leave my job. So. Come January I'm looking for part-time work that involves human interaction.

CS: Any artists/writers/companies you find particularly inspiring lately?

RB: I've been a huge fan of Pig Iron's work over the past several years. I'm interested in devised work and I think they've collaboratively created some smart, theatrical and gorgeous pieces. I'm also an enormous fan of Nature Theater of Oklahoma. I'm a little obsessed with Melissa James Gibson and Jenny Schwartz. And I love Tim Crouch. And I recently saw ERS' Gatz, which I can't stop thinking about.

CS: What are your interests outside of the theater?

RB: I have a background in creative non-fiction---though I've recently gotten away from essay-writing as I focus on my plays. I love to cook—I have a farm share with the Greenpoint-Williamsburg CSA. My boyfriend and I have been making our own pasta lately. I love to travel...I wish I could afford to do more of it. I also love dance parties. I run a lot, too, which helps keep me sane. I'm quietly and slowly training myself to run a half-marathon. What else? Yoga. My bike. HBO shows. Looking for a new job. Cats and dogs. Coffee.

Tuesday, November 16, 2010

Meet Alex Borinsky

In true tit-for-tat fashion, new Youngblood member Darcy Fowler now profiles fellow freshman Alex Borinsky.
So sayeth Darcy:
Alex Borinsky. I walked into Grey Dog. He was sitting at a small table, scribbling away in his notebook, black coffee by his side. He looked focused, thoughtful, calm. A hint of a smile on his face. It made me smile. I think I figured out why. There’s a light that emanates from him.
The Place
He grew up in Baltimore Maryland, home of John Waters and The Wire. Baltimore, he says, is a very dear but troubled city. Never too big for it’s britches, which was something that Alex seemed to appreciate. Maryland’s also known for it’s jousting. Alex doesn’t joust. Not even a little.
The People
Some of Alex’s favorites include Chekhov, Beckett and to my excitement, The Muppets. He resonates with Gonzo, the strange and kind hearted Muppet that may or may not be from outer space. Favorite Muppet moment: “There’s a skit where Zero Mostel talks about his fears, and all these scary looking Muppets appear.” I you tubed it. It’s incredible. [Ed: link here.  Plus, check out what Zero gets up to behind Sam the Eagle around 5:30 of this one.]
The Playwright
Alex found his love for writing through poetry. But that was really just for himself. He found his love for playwriting at Yale. He talked about one particularly amazing teacher whose very being “oozed the pleasure of making plays and using language.” She always put emphasis on the joy of the process.
Also while at Yale, Alex (who is also an actor) worked with an experimental theatre group called the Control Group. They stretched themselves, experimented and explored. They made plays in houses, and backyards, and lit fires on rooftops during performances.
At school, Alex wrote his first play: The Polish Egg Man, and he didn’t look back.
The Present
He is currently part of the theatre company American Centaur, a group that puts playful twists on Shakespeare (americancentaur.weebly.com). He’s also a huge fan of dance, and his serious obsession with American Puritans is just starting to reemerge.
Alex presently lives in Harlem, amongst many picturesque dilapidated buildings.

Meet Darcy Fowler

As profiled by fellow newbie, Alex Borinsky.

Darcy Fowler laughs very generously and her whole face lights up when she smiles. She was one of the first people I met in Youngblood, and I liked her from the start. I’m looking forward to seeing one of her first plays, The Bird and the Two-Ton Weight, when it goes up this winter at E.S.T.

The Place

Darcy grew up in Massachusetts, on the Marblehead-Salem border. The town is sea-shantyish, she says – lots of lobsters and lobstermen. It’s witch country, too: here and there, a few people still claim to be witches.

The People

Darcy names Nicky Silver, Adam Bock, Aaron Sorkin, Laura Wade, Mel Brooks, the Marx Brothers, and Tina Fey when I ask her about her influences. Then she adds, “And my mother.” It becomes clear that we share a deep, aching love for the Muppets. Of the lot, Darcy identifies mostly with Fozzie Bear, the hard-loving comedian with a heart of gold. Her favorite play of the moment: The Pavilion, by Craig Wright.

The Play

The Bird and the Two-Ton Weight tells the story of a girl who comes home after death of her mother to act as the glue that will hold her family together. She finds a mysterious parcel on the front porch that seems to be her mother’s notebook. The play unfolds around the ways in which this notebook moves the girl through her grief.

Later I asked Darcy how much her plays emerge from her own experience. She answered that they start with her own experience, yes, but that the process of shaping the play involves a growing confidence in a structure and set of characters that draw the play away from the impulse that inspired it and towards a life of its own.

Darcy says that she enrolled at Syracuse to study acting, but that the faculty encouraged her and her classmates to make their own theater, to find confidence in their own voices. The Bird and the Two-Ton Weight came out of that encouragement. It was the project on which she says she discovered that “I had this voice I didn’t fully know I had.”

The Present

These days, Darcy writes, performs with the Story Pirates, and develops a webisode with friends called “You Make My Dreams Come True,” about a group of girls who start a Hall and Oats cover band (http://www.youmakemydreamscometrue.com/. Seriously good.). Though the majority of her roommates are musicians, Darcy at first denies any musical skill of her own. “If I could I would play the drums,” she says, and pauses. Then: “I play the drums when I’m drunk. It’s a great way to get out excess energy.”

She is an ardent apostle of the Ditmas Park neighborhood of Brooklyn.