The following was posted in the comment section of the Words Players Facebook page, re: the recent controversory over their call for submissions.
There are some here who believe that the playwrights who have voiced our concerns have somehow “bullied” Words Players, Mr Driscoll, or their young actors and directors. I have been closely following the hashtag on Twitter and the @WordsPlayers twitter account and have seen snark but not bulling. We have not in any way threatened violence or made fun of you personally. We did not dox anyone or threaten to. We have not once, that I can find, attacked any of the young actors or directors. Many of us have stated, on Facebook, on Twitter, on Blogs, that our biggest concern is the education of these students. That we want everyone to treat playwrights with respect. In the original call, as it stood, many of us felt that we were not being respected, both by tone, word choice, and by the implication that our words would be changed with or without our permission. Mr Driscoll has graciously acknowledged that it could be read this way. But we still have questions and we still have concerns. I think just about anyone who has ever spent time in the theater has seen actors “go up” or have paraphrased because they either couldn’t be bothered to memorize or just couldn’t memorize. I have been involved in theater for a quarter of century. The majority of my life has been spent acting, writing, directing, producing, live theater. And most of that has been on the high school or collegiate level. I have worked in churches and in bars. And I’ve seen it happen. But just because it does happen does not make it right. As someone who has just finished directing a production of Legally Blonde, I strove every day to make sure that my young actors (most were between the ages of 16-22) got every word, word perfect. At one point there was some confusion, the book said one girl sang a part of a song, the score another. I contacted MTI and said, “hey we have a question here…” and they answered it within 24 hours and apologized for not answering it sooner. Does that mean we had a word perfect show? No. Because it happens. Bt my actors knew that was what I was striving for. In my training, I was taught “you aren’t the writer of this play, you cannot change the words no matter how much you want to.” And that has never limited my artistic ability to create something new and fresh and original. In my adaptation of Alice In Wonderland, I wrote “Hatter enters, sits down and the chair breaks. He tries to fix the chair” (that isn’t word perfect to the script btw I just don’t have it handy in front of me to copy and paste), when it was performed in Atlanta, I saw 2 minutes of some of the funniest physical comedy I’ve ever seen. That is not modification of the script, it is an interpretation.
There are those who have asked, why we have held this amateur theater to a professional standard. My first response is, don’t you want everyone to be treated like they are a profession, regardless if they are or not? Wouldn’t you want your children to learn how to act and react in a professional environment and learn the proper “professional” way of handling things in the theater? My second response is this, Mr Driscoll is a college professor and is a mentor to the young students of Words Players. As such, he should be aware of the current standards and practices in the theater world (which for decades have included not changing writers words without their permission, provided the writer’s works are not in the public domain.) As an educator, he SHOULD be held to a higher standard. Just because this is “art” doesn’t mean that there isn’t a professional behavior to be taught, and our main concern was that the next generation of theater creators (actors, writers, directors) were not being taught that. Surely you would want your business teacher to teach your children the proper way to do accounting, or build a computer or cook or whatever. Before you can bend the rules, before you can “break” the rules, you must learn the rules, I was always taught (and that there are some rules that shouldn’t be broken) and again, our concern, based upon this call, was that an unprofessional behavior would be taught.
I sincerely believe Mr Driscoll, North Words and Words Players have the very best intentions at heart. I do believe that they respect writers, but that respect isn’t reflected in the call for scripts that we saw (on your public website, and yes as I mentioned in my follow up comment above, it is a public website that anyone can access and does access. If you did not mean for this call to be spread, a simple “this submission opportunity is by invitation only” and would not be posted on your website OR you could have put, much like the Barnyard Players in Kansas City have done, “this submission is limited to people within 300 miles of Rochester, MN” or anything similar.) Writers have had the words abused, as I said, and almost every writer can attest to seeing it happen, or actor, or whatever. And in light of last years incidents with the transgender casting of Olenna without David Mamet’s permission and the incident with DGA president Doug Wright’s play, Hands On A Hard Body, and the rearranging of words, songs, scenes, etc without permisison and the arrogance displayed there (the director reportedly said “But you have to admit I made it better” to the writer) and in follow-up investigation on TUTS in Houston, I hope all of you can see why many writers are defensive and take up this cause as being quite personal. Words Players is not the first to have had this happen nor will it be the last. It was just a perfect combination of events, bloggers, and writers taking up a cause that was quite important to us. The continued silence on the issue, the deleting of posts criticizing the call for submissions (and I saw some of those that were deleted and they were not in any way “bulling” or “vulgar” or anything else.) fueled us on, encouraged us to make our voice heard louder and louder until the Dramatist’s Guild, Doug Wright, Playbill and Broadway World had no choice but to hear us. And at that point you did what you had to do.
I understand why Mr. Driscoll granted an exclusive with Playbill, but I would have loved to have seen him reach out to those that first started this call, particularly Donna Hoke and Howard Sherman.
I know this was long, and I appreciate anyone taking the time to read it and hopefully the critics of #playwrightrespect understand where we come from.
Reading their letter to the Dramatist Guild, I can sympathize. They describe a collective environment where writers, directors and actors helped each other. I love that style of theater. I love workshops, and I love that kids spearheded this. My first couple of plays were done in the same guerrilla style “hey my dad has a barn, lets put on a play” style. Hell, directing Legally Blonde, I had no budget; props, costumes, set decoration came from actors closest, homes, or out of mine or my co-director’s pocket (and I wasn’t working much so that made it difficult). I understand where they are coming from, but that doesn’t make it any less right or wrong, how it was suggested it would be handled. There is growing up as a theater and growing out and then there is remaining stagnant. I hope this was simply a sign of growing pains.