Education

#PlaywrightRespect and why it’s important

If you missed the hullabaloo over the weekend regarding the #PlaywrightRespect hashtag on Twitter, here is an overview. Saturday, the talented Donna Hoke posted a call for new, never produced, never published ten-minute plays from a group called Words Players. Donna went into great detail about WHY this call was offensive to playwrights in her blog post (which I linked to in a previous blog) and suggested tweeting about, using Facebook to spread the word, etc, using the hashtag #PlaywrightRespect. If you follow me on Twitter or on Facebook, you saw that I was madly tweeting and retweeting about it. Words Players responded by not allowing anyone to post on their Facebook page and ignoring the tweets and hashtag. When this same issue was presented last year at this time, the management at Words Players responded with,”if you don’t like it, don’t submit”. Which is a response many of us chose to not do last year and this year.

The respected theater producer and blogger Howard Sherman picked up on the issue and blogged about it himself on Sunday. In that blog, a commentator who works with Words Players asked why this was such a big deal.

This is why.

I’m a working playwright, involved primarily in Theater for Young Audiences and community theater. I work with a lot of bright kids, smart talented kids, with aspirations of being theater teachers, dance teachers, English teachers or performers. During a recent rehearsal of a big name Music Theater International (MTI) licensed musical, I noticed the actors were taking minor liberties. Skipping a word here, a line there, rearranging words. To most people, this would not be a big deal, but I wanted to take this opportunity to teach these 16-21 years old (with a few 30 year olds and older thrown in) something. I sat down and opened up MTI’s licensing agreement at the front of the script and read to them and had them read along, the agreement that we are not allowed to change words, etc as written. It was like seeing a light bulb go off. This was something they had never been taught.  As I explained, “even if I wasn’t a writer and this wasn’t a hot button issue with me, I would still be talking to you about this because this is what the license says we have to do.”

The #PlaywrightRespect hashtag was chosen because that is what theaters are not doing when they make blanket changes, lines, gender, etc. without at least consulting the playwright. There is a difference between interpretation and changes to the script. Here’s an example, I recently had a production of my TYA adaption of Alice in Wonderland done by a children’s theater education program in Atlanta. My script says this:

HATTER crosses to the table, sits down and the chair breaks. He sighs and begins to work on it.

What they did was one of the funniest, couple of minutes of physical comedy I’ve seen a young actor do. It wasn’t anything I had imagined, but it was a legit choice that respected what I wrote. However, they respected every written word. They had a chair break and they had the Mad Hatter work on the chair. They said every word of dialogue as written.

We could choose to not send in our plays, and many of us have made that choice. HOWEVER, the reason this is an issue to many of us is because we share the same goals as you and your company do, to educate the next generation of theater and art creators and that starts with teaching respect for the writer’s words. The writer’s who have spent hours, days, weeks, etc into crafting a play that you want to produce. By asking us to write a brand new work, even one that is ten minutes long, without respecting the words and the time it takes to write that, is insulting to us. It’s like asking for a gift and then breaking it because it wasn’t the right color, or whatever. It doesn’t teach children about the collaborative nature of theater but rather encourages a culture of entitlement.

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Making Connections: Based On The… by Everett Robert: Interview + Giveaway

Making Connections: Based On The… by Everett Robert: Interview + Giveaway.

EVERETT ROBERT: BEING AN ACTOR HELPS MY COMMAND OF DIALOG

An Interview I did with Ognian Georgiev, a Bulgarian broadcaster, writer and blogger!

EVERETT ROBERT: BEING AN ACTOR HELPS MY COMMAND OF DIALOG.

Attacks on Satire Is An Attack On Our Humanity

#JeSuisCharlie In my play THE ABSOLUTELY TRUE STORY OF TOM SAWYER AS TOLD BY BECKY THATCHER, I included, at the very end of the show, a bit of satire. Not the greatest writing in the world and that good of satire but a light poking at president of the time. The line goes “George? That boy was dumb enough to be president.” This was inspired, no doubt, from my love of Saturday Night Love, The State and other comedy groups. I found out later (not at the time of the performance) that one of the actors parents got upset at my friend who co-directed the show and accused him of bringing a liberal bias into everything he did there. People get upset at satire all the time, its how we respond that matters.

Satire, in all its forms, really is our expression of speech. That’s why we can mock President Obama the same way we mocked President Bush and President Clinton, and President Bush, and President Reagan and President Carter and President Ford and President Nixon and…well the list goes on.

As someone who cares about the arts, who supports the arts, who lives in the arts, the minute we silence one voice in one area, gives us the power to silence the voices of anyone we disagree with and that will lead to tyranny and the end of our humanity.

Satire May Be Uncomfortable, But Humor Makes Us Human : NPR.

I have No Mouth and I Must Scream – A playwright’s response to #Ferguson

One of my favorite writers is the incomparable Harlan Ellison. Harlan once wrote a short story about a fickle “god” (in reality a computer) who manipulated and changed and warped a group of people for it’s own amusement. In the end there was one man who had no mouth and had to scream. Can you think of something so horrible? A need to scream, a warning to shout, anger to release, fear to vocalize and yet you have no mouth.

I am not that man. I have a voice. I am a writer, a wordsmith, an artist, a talespinner and a storyteller. I have a few publishing credits and a few people who follow me on Facebook and Twitter. I have a blog (obviously, you’re reading it now) and a few followers there who may read it (like you). I come form a place and background of some privilege (not as much as some, but more than others.) I have been blessed to travel to parts of the world that some of you never will go, I have stood on a volcano in Guatemala and on a beach in the Philippines. I have seen these countries natural beauty but also the dark side. Children in hospitals crying out and street urchins reaching, begging for a dollar. I’ve seen homes, shacks, that were barely liveable and offered no protection, let alone amenities. I have cried over the things I’ve seen. I can still feel the pull on my shirt of children going “Joe. Joe. Hey Joe, gotta dollar Joe?” 

But I haven’t just seen poverty in foreign countries. I’ve seen it here too. I spent formative summers in high school working on Mississippi Delta, working on homes that should have been demolished, or watching dozens of people living in a house made for a few. 

Some people will say I shouldn’t say anything even if I have a voice. To them I say, “If I don’t speak up who will” or as the famous saying goes “All that is necessary for the triumph of evil is that good men do nothing.” So I will not stay silent, not about Ferguson, not about ISIS, not about arts in schools and arts education or any other subject I feel passionate about. 

There are people out there, in American towns like Ferguson, MO, who until two weeks ago, probably felt they didn’t have a voice. I KNOW that they felt they didn’t have a voice. I’ve heard their stories, people I know who are African-American and have experienced fear that what happened to Michael Brown, might happen to them. Fear, anger, and a lack of a voice lead to violence. When you answer violence WITH violence, the result is simply MORE violence.

When I was a kid, my folks had a gas grill, one day I was told to light the grill. I went outside, turned the gas on to high like I had done hundreds of times before, and went to light the match. Nothing. The wind was blowing and the matches wouldn’t take. I got more matches and finally got one to light the grill. However, I spent so much time messing around with the matches that when i touched the match to the grill, a flame leaped out and toward my face. I was lucky, I singed a few eyebrow hairs that’s all. What I didn’t know is that while I was trying to lit the grill to control the fire, the gas was building up until it “popped”.

That’s what happens when you have no voice. The gas just builds and builds and builds until it explodes.

I don’t have an answer, I wish I did. I pray I had an answer. I wish I could definitively say that if there was greater emphasis on arts in school, in painting, drama, writing, dance, etc, that the voiceless would find their voice. I think it helps. I know it has helped me, but that seems like such a simplistic answer in the face of such racial turmoil.  So maybe we need a little more arts education.

I want to say that if we just talked better, opened up communication and learned from one another these things wouldn’t happen. And that would help, I’m sure of it. I know my personal views on certain issues (not related to race) changed when I met people that believed different than I did. So maybe we need a little more communication.

I don’t know the politics of race that well, but I’m a student of history. I just finished a couple of plays that, at least to me, resonate, in these troubled times. One is about a young girl who moves to Lawrence, KS with her family at the dawn of the Civil War and why they moved there (to stop the tide of slavery). The other is about the most unlikely Civil Rights advocate you can imagine, a “bad guy” professional wrestler named Roscoe “Sputnik” Monroe, who was responsible for the intergration of Memphis, TN in the 50s. Sputnik Monroe’s story particularly struck me. Here was the most unlikely of heroes, an ordinary guy, who saw and injustice and fought for it. He was arrested six times, he was threatened and he threatened to give up his livelihood if there wasn’t intergration and it worked. I dont’ know if this is the full answer, but we could use a few more Sputniks, good men who aren’t afraid use their voice to speak for those that can’t.

You may feel you have no mouth and you must scream, but I assure you, you do, just try.

#Ferguson