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As some of you know, I became an Artistic Associate of Whistler in the Dark Theatre in late 2011 after numerous collaborations.  Part of what this means is that I have the ability to initiate projects through the organization.

I'm currently curating two ongoing projects that are near and dear to my interests: the Playwright Incubator Program and the Schollah Holla Project.


I'd like to take this opportunity to discuss the Schollah Holla Project, as it has already had public events, and as we have one more Holla coming up soon as part of our programming for our production of Vinegar Tom (January 27th for those of you intending to come).


 
 
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Graphic by Alison McDonough
Last month I had the pleasure of having a public staged reading of my new full-length play, Burning Up the Dictionary, performed with Vagabond Theatre Group.  This took place at Trident Booksellers & Cafe as part of their "There Will Be Words" reading series.  

Before I say much more I do have to point out that I was very amused to have a play that's largely about language appear in a series called "There Will Be Words." 

Readings are a step in the development of a new play.  I once discussed this process with a computer programmer friend and we realized that we had something significant in common: neither playwrights nor programers really know what they've done until they get to see it running.  The staged reading is a sort of a test run of a play wherein the writer can figure out what changes they intend to make as the work evolves.

This was the first time I've heard the play in its entirety in front of an audience.  I did have the privilege of a table reading of an earlier full draft at the Lark Play Development Center this past November (which I blogged about here) and I got to hear a chunk of it at a Small Theatre Alliance reading back in September (which I also blogged about) after earlier development through Playwrights' Commons' Summer Playground.  All three were really useful experiences, and the script has come a long way because of them, but this last piece was a larger step as it was an opportunity for me to evaluate the current (more advanced) draft under more public conditions and figure out what to do with it next.




 
 
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This post is largely about backstory.  I will try to avoid spoilers, but lately I am becoming of the belief that there are very few real spoilers out there for those that are aware of plot structure and the societal background of many of the stories we tell.

I bring this up for two reasons.  One: I recently saw The Avengers (which was awesome).  And two: Whistler in the Dark is not only producing Trojan Women, but through them I have put together (and will be moderating) the pilot panel of a new initiative called Scholars' Echoes, in which advanced doctoral candidates and recent PhDs from New England universities will be sharing their expertise with our audiences.

You may be wondering what these things have in common...




 
 
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Over the past few weeks I've found myself in the position of being asked by college students and recent graduates how to get started with working in theatre in Boston.  And in the very recent past I was elected to the board of the Small Theatre Alliance of Boston, which is a position I sought out in part so that I could work on university outreach.  As someone who frequently has a part in training young artists on how to make theatre, I feel it's also important to talk to them about where to make theatre beyond the confines of the academy. 

This is basically what I tell people about working in Boston...

 
 
This past Monday I took part in a  Small Theatre Alliance of Boston Open Mic Night at the Charlestown Working Theater.   I brought in a section of a new full length play I'm working on called Burning Up the Dictionary, which I'm billing as "a story of language, love, lust and loss."  I'll be having a round table of the entire thing at the Lark Play Development Center in New York City next month, so this was a great opportunity to test-drive a section of it in front of an audience and see how things play in front of an audience as I work on it in preparation for the Lark.  I've been developing it through the Playwrights' Commons/Company One Playwrights' Playground this past summer (which was quite a blessing), but this was the first time I'd heard it in front of an audience as opposed to workshop participants.