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Artistic Director of New Dramatists
Author of the study: Outrageous Fortune: the Life and Times of the New American Playanother take on this talk. I’ll look to link to the video recorded version once it’s up.

New Dramatists: background — 50 playwrights in former Lutheran church former soup kitchen and homeless shelter; how fitting: metaphorical for playwrights now.

London spoke of the strangeness of creeping around New Dramatists and finding original scripts: Red burning light of the American Life Fornes; “Millhand’s Lunch Bucket” — 1st draft of Joe Turner’s Come and Gone. Plays by David Lindsay Abarre and Nilo Cruz

Toyed with more comic elements, song creation, including a song “What a difference a play makes” — Marsha Norman’s response to a request for a song about a play; but seriously, for London, plays do make a difference; there’s not a playwright that he’s met who doesn’t have the answer to the question: can they single out the play that changed their life. London, again, posits the question: “Do plays really make a difference? Do they really change lives?”

London does not shy away from mentioning his own longing for good movies, books, and music from his ipod. So, as such, London often feels that he is a “rabbi in a church for playwrights where I constantly question my faith”.

London wondered: does the difference a play makes pass from writer to writer; that is, is there a charge that can be passed from one writer to another?

Quote: Nothing is ever gone as long as there are people to remember; people to write it down.

London noted that forms of theatrical expression are fading: seder play, burlesque; although, I will point out that in Cleveland, so far as I can tell, vaudeville and burlesque forms are making a come back.

London: find your faith where you can; hoping people meet you where they live.

London bemoaned the “energy of where our culture is directed” and that we all know what that me;ans. The theaters that were supposed to help instead have invested in “large administrative staffs”; “monumental buildings”, and have failed to provide “structures for sustaining playwrights over time”. One need only look at what is happening in Cleveland to see the constant reality of this.

By exploring the needs of playwrights, London was lead to the study that became outrageous fortune.

Highlights (as fast as I could type, so you’ll be better off reading the full report):

American non-profit theaters are risk averse, corporate-board-driven entities that lack daring leaders; what non-profit theater leaders mean by “audience” likely refers to “large donors” or “key assets”; the economics of playwrights is impossible: otherwise employed or poor $20k – $40k per year; half of sources come from elsewhere; of 90+ percent of income only 15% comes from plays; 3% comes from royalties: $750; average was 35-40 and a winner of Obies, etc.

Surprisingly, despite the posturing, the functioning and economics of theaters have made it impossible for playwrights to exist in them.

MFA programs are pumping out playwrights and saddling them with debt that they will never be able to repay.

Without theaters that support playwrights, can one imagine the early plays of O’Neill; the success of Odetts and Albee; the delicacy of the plays of Horton Foote?

Playwrights need to ask themselves, “how do you get sustained by an environment that won’t love you?”

a challenge to idealism
soul in the machine of a capitalistic economic structure

After casting out an immense IMMENSE oppressive darkness, London switched gears to allow a bit of light in: that we seem to be living during a moment of extraordinary change; Mellon was re-evaluating its priorities; there exists now a great moment of energy and intention (for playwrights). That there is “a weird seismic shift” underway.

Arena Stage: a resident theater embracing its historical responsibility to lead

where do we look for inspiration?
when you stare at something long enough it grows larger
large theaters aren’t evil they are misguided
david grimm

keepers of ecstasy and empathy
bitterness kills playwrights (poets)

You aren’t free when you are passive…can’t blame others, theaters, etc. Playwrights must lead, must be a force for change on your own.

Playwright leadership

passivity and blame are the unfortunate response of artists in a market economy

what will you make happen, what will you do with the gifts of this weekend?

guarre to wilder

theaters serve to stop the homogeneity of our society; to defend against a monoculture.

matt–playwrights–lazy writing practices?
what does it mean to be a writer in a collaborative art?

don’t understand the impulse to write something and then give it to others to fuck it up
plays are unfinished (artistic directors)–but the expectations are different now — playwrights know the play will change, etc.
richard nelson — speech several years ago — treat us like children and we’ve allowed ourselves to be treated like children

troubling in research: despite the fact that there were great stories of collaboration; critiquing institutional theaters of a certain size.
let go of the notion that the institutional theater is “the theater”
pig iron
13p
children’s theaters
theaters in their own community
new theater (create your own)
different models

Howl Round
Arena Stage
http://www.howlround.com/

The first event I attended here at DG Con was a conversation with Christopher Durang, whose play Why Torture is Wrong and the People Who Love Them was at CPT not too long ago.

Durang was a highly engaging story-teller and was fabulous to listen to. For some strange reason, or perhaps not so strange, I was reminded of John Bellairs–perhaps it is the Catholic upbringing and the way it manifests itself in the work.

What follows below are the notes that I took as I listened. I have expanded on some things as I was inspired to do so:

One of the opening questions posed to Durang by host Jim Price was what is it that leads to the mix of serious and the strange in his writing. Durang talked about early influences, including: how to succeed in business w/o even trying; and I Love Lucy. Durang said that he was always attracted to quick paced performances and is not a fan of the real-time nature of drama in the 50s.

Durang wrote his first play @ age 8; and it revolved around the I Love Lucy episode when Lucy has a baby… the family and friends practice… it’s time… then panic when it happens… he loved that.

Durang says that he came from a family that was open to the arts
memoir of johnny durang…? He had his first production in 2nd grade… and he discovered that it was fun.

early musical banned in boston, etc. 13th birthday gypsy… his mother was like gypsy because she would tell everyone about his plays…

The 1st audition process he was involved in included girls from other schools; he was at an all-boys Catholic school; he recalls that the nuns were not happy that the girl (in the show) had to drop a shoulder strap at the end; the show ended w/4 weddings (it was very shakespearean).

Durang attended Delbarton 7 -12; had to work hard at math, not very good at it. Durang remarked that his mother’s divorce lawyer suggested he attend Harvard, where he goes. There he goes through a bout of depression from fresh – junior; not much theater during that time. Part of the depression he attributes the discovery/realization that what he learned during his Catholic upbringing, with regard to God and the universe, is not true.

At Harvard he creates the greatest musical ever sung for which Al Franken auditioned. (mad magazine style spoof of “real” songs)
Gospels in musical comedy terms. “everything’s coming up moses”
He lived in Dunster House. al gore and tommy lee jones were there at the time. The show included 9 apostles (5 women) couldn’t get 12. 2 weekends; good reviews; later uproar… offensive to Catholics…
“pigs trampling in a sanctuary” quote… included this statement in his Yale application.

yale
albert? irish nuns (repressive) vs. italian (violent)
a lot of cabaret stuff
howard stein
william blake/thomas gray met in glass menagerie
& eleanor and franklin roosevelt
2 weekends
graduate newspaper (wrote their own review under a pseudonym — did not give themselves a rave)
life story of mitsy gaynor? gloria steinem…

Durang remarked that from one of his shows there were lines cut … And Durang had to go to whomever cut them–professor, faculty–and say, essentially, sorry, our name is on it, not yours… I don’t remember the context; fully. But this goes to the Holding Our Tongue DG conference in Cleveland, where I first met Gary Garrison; and the issues surrounding the forms that censorship take.

new york
sigorney weaver
so hard to make a living…
wendy wasserstein
taught acting even though he didn’t act
typist at Yale Medical — had to write rejection letters for people’s “donated” bodies because they had too many
got $8K grant from yale
cbs playwriitng?
titanic… (sigorny weaver)
idiots karamozov
lustintania (another ship that sank) das lustintania songer spiel…
sister mary ignatious
vanities — 11pm slot $5 per performance
brecht — eva perone the demon first lady of buenas aires (a ‘fib’ they created)

With regard to the playwriting business today, Durang remarked that he has found the movement to be toward development versus production;
caveat being that he doesn’t know as much now about what’s going on…
teaching with Marsha Norman. Durang finds the atmosphere troublesome
in that, as he recalls when he started out in ’75-’76; there was alot of $ for production of plays (new american plays); now it’s “workshops”; and that if 5 theaters have an interest in a writer all five theaters will do readings of his/her work; the playwright doesn’t get a production and each theater will dramaturge the play and make suggestions and “playwrights lose their play” that way.

Further, Durang finds that dramaturgs tend to subscribe to rules when there are, in fact, no dramaturgy rules. For instance, one dramaturg told him that you “can’t open a play w/ a :30 minute monolog”.

Advice to writers: if you see something you love, try to figure out what it is about it that you love and how you can write something similar to it; additionally, it is important to find people who will give you feedback about the play that YOU want to write.

find your voice:
have them write from “their own stuff”
best plays come from when you’re writing “your stuff”
wrote from a feeling he had (sister marry ignatious) had no idea it would be successful

how long can you not produce before people forget about you: agent: 2 years (laugh)
mother was dying of cancer
the actor’s nightmare… (another play)

don’t hold on to just one play… be prolific…

question: self-censorship (sister mary)
wasn’t mad when he wrote it
did he ever not want to put some stuff in the play–want to hold back
thought everyone would agree with him
rules didn’t make sense to him
no idea people would find it funny
adults performing something children wrote (as funny)
especially with their understanding of the story
jesus crucified, but for children replacing it with a blonde-haired doll, etc.

sex and longing was tough for him because it was so badly received
hasn’t even read the reviews yet
difficult because he couldn’t fix it.

difficulty getting into expository writing classes at Harvard
was having a difficult time at that point in his life
didn’t feel brave enough to go to NY on his own
teacher encouragement was very important

write intuitively, spur of the moment, and when he feels like it/enjoys it

found it important to schedule time and force himself to write and stick with stuff even when he didn’t want to

business of life and laziness keep him from writing…

daniel goldfarb in his class…

betty’s summer vacation
writes improvisationally–so a serial killer appears…

friendliest plays–beyond therapy
best received

depressed to discover that the things he learned in Catholic school weren’t true (part of his depression)
cognitive therapy — positive frame of mind will generate positivity, etc.