Theater Begins with the Playwright

"Theater begins here"
Motto of The Playwrights Center


This article, written by Polly Carl who heads up The Playwrights Center in Minneapolis, is possibly one of the best articles I've read about how the way new plays are selected is "seriously flawed".

My favorite quote is:

"If we start with the idea that playwrights and artists are what drive the theater--that they are indeed our greatest asset--and work backwards from there, it's amazing to think how this will immediately alter our practices."

I wish every Playwright, Literary Director and Artistic Director in the country could read it.

No, screw that.

I wish every actor, director, stage manager, costume designer, scenic designer, lighting designer, box office manager, board member, donor, congressman, patron and maybe even the plumbers should read it.

OPEN BOX: Open Mic for playwrights (this Saturday)

Got a ten-minute play? Got a scene from a full-length? Bring it down to the Rendezvous in Belltown, but get there early. Slots fill up fast.

Don't got a play to read? Just come down and have a beer and watch the magic of instant playmaking.

OPEN MIC: hosted by Becky Hellyer

Saturday May 17 at 4:30PM


Rendezvous' Jewelbox Theater (2nd Ave in Belltown between Bell and Battery)



If you are a playwright, simply bring enough copies of your 10 minute

script or excerpt to read, and seasoned actors will perform the

hell out of your script.

A Letter to Someone Who Thinks Making Script Changes Without Permission is Okay

Dear Someone Who Thinks Making Script Changes Without Permission is Okay,

In regards to your email that "it's okay to make changes in a script as long as you don't get caught". Or as you said, "Do it a Re-bar where they can't get you."

To make changes in a script without the playwright's permission is not just unethical and immoral but it is also ILLEGAL.

Period.

It's part of the contract that producers sign when they pay for the rights.

This is not quibbling over semantics or points of view. And while many out there bend and/or break the rules, it does not justify the action.

For instance, there are also many theater companies who don't even bother to pay royalties and/or even ask permission to perform the play. Is that permissible, as well? As long as they don't get caught?

By the way, doing a new play without telling the playwright or licensing company is also illegal and unethical, as well.

Should plays be cut? Probably. Anything "can" be cut, and might be better served for it. But that decision is always the writer's, not some director or producer who is leasing the rights.

That's not to say the production team couldn't have asked for permission to make changes--that happens all the time. And licensing companies and/or the playwright can be pretty accommodating to production needs. (We're not all protective Samuel Beckett tyrants.)

And I know you know there's a difference between Shakespeare that's beyond just the legal aspect of he's dead and his work is in the public domain. Any smart and professional director knows that the playwright is not some control mad tyrant but a valuable resource and respected collaborator. I know many a respected director of classics who would kill for the chance to whisper to Shakespeare in a rehearsal room, "But what the hell is he talking about with this whole 'To be or not to be speech...'"

Playwrights don't write their plays for money. Any money we get is nice but when we do receive any royalties its a pretty paltry sum. If we want money we have to cross over to write TV/film where production companies own the copyright and can change whatever they want. We write for theater because it is more poetic, immediate, more demanding, and ultimately more collaborative than other mediums. So please let's not take artistic participation and control away or you'll find more playwrights jumping ship to other mediums where they can actually feed their kids when others bastardize their work.

My question to you is why do you think it is acceptable for companies to treat another artist with such disrespect for their work? Why would you take away not only their legal right, but also cut them out of the artistic conversation? It's possible that suggesting a cut to a playwright might make them realize that the play is better for it and the change becomes a permanent aspect of the script. In that sense, you might be helping the playwright by asking for permission to make cuts.

So, again, I ask, why wouldn't you want work with the playwright?

Because making selfish choices under the wire hoping not to get caught is making selfish theater. And last I checked, theater was about community and collaboration.

But most importantly, it's the difference between professionals and amateurs. It is not about control. It's not about payment. It is about respect for the work and your fellow artists.

Regards,

A playwright

Can they do that?

Just got back from Laramie a few days ago. If you've never attended a regional festival for KCACTF, or any festival/conference like ATHE or MATC or SETC or...whatever, it's a thrilling experience. For one, you get to hang out with a whole bunch of theater folks, making conversations over beer or coffee, making friends, meeting old friends, but also the chance to attend classes, forums and panels. I met a lot of great playwrights, both students and faculty, and also met some folks from the "real world", like Kate Snodgrass at Boston Playwrights.

This is why we need an annual conference for The Dramatists Guild of America (and we're working on it! Really!)

I had been invited there by the Northwest Drama Conference (NWDC) as an invited playwright and representative of the Guild. I was there to teach a Monologue and a “Business of Playwriting” workshop. Here's the blurb for the latter:


“Can They Do That? The Business of Playwriting”
Playwriting is a business. Once your play is selected by a theater or university for production, you need to know much more than how to craft a scene. Do you know what a director can and can’t do with your script? Do you know the difference between a dramaturg and a co-writer? This class answers those questions and more We’ll cover the Dramatists Bill of Rights (or what should be in any contract) as well as discuss other production aspects including copyright, casting, rehearsals, billing, subsidiary rights, and compensation. We will also introduce you to the oldest organization advocating for your rights, The Dramatists Guild of America.

I was surprised to see The Business workshop overflowing—kids were sitting on the floor. As I went through my notes and talked about the Bill of Rights, I at first thought, “I’m not a lawyer and don’t know all that much…” then quickly realized, “Holy crap, these students are being taught absolutely NOTHING about new play development ins and outs”. They still thought playwrights could be banned from rehearsals and that the directors had the right to change stage directions without asking the playwright. This was a bit eye opening to me, especially since there was even a faculty member in the audience asking me questions.

I prefaced the class that though I was talking about contracts primarily, what we're really talking about is relationships. We're talking about how to work together in a way to make the show a success. Because the producers, directors, actors--we all want to put up a brilliant show. But sometimes we all have different ways of getting there and different needs. And its about opening the conversation so that there aren't misunderstandings later. It's not about being the Playwright Police, but about being included in the production process.

Afterwards a student said to me, "Man, I didn't know ANY of that stuff." And I replied, "How would you?" When I first started writing plays in college, I knew nothing about marketing, copywright, contracts, and other business stuff. I just wanted to see my play put up. I joined the Guild in NYC only after some really bad experiences and getting contracts in my face and me not knowing what industry standards were. I had no idea of the amount of things I didn't know.

And I think most of us are in that category.

I plan to present this workshop here in this region to our members as one of our free seminars. Likely that will be in April, but will keep you all posted.

So if this is something that you're interested in and want to see, let me know. Shoot me an email or give me a call.