Tag Archives: playwriting

The Monthly Wash Issue II

Welcome to Issue II of THE MONTHLY WASH.  If you thought February was full wait until you see March!  We’ve got world premieres, we’ve reached out across multiple states, some old favorites and of course a LOT of new work.  Hope you’re hungry cause we’re excited to share what we’ve got cookin’.

FROM MARIAH MACCARTHY  | BABY MAMA | ENSEMBLE STUDIO THEATRE

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Mariah MacCarthy shines in this raunchy, hilarious and heartbreaking one-woman performance based on her own experience as a birth mother.

Tickets are just $20 (best twenty bucks you’ll ever spend) HERE!

Tuesdays from February 17 to March 10 | Ensemble Studio Theatre 549 W. 52nd Street


FROM GINA FEMIA | A WORKSHOP SHOWING OF, FOR THE LOVE OF (OR THE ROLLER DERBY PLAY) | SARAH LAWRENCE COLLEGE THEATRE DEPARTMENT

Our newest members might just be our busiest as Gina Femia is at it again with another a exciting new piece.

Michelle and Joy are a couple who love roller derby. But when Joy gets on the Brooklyn Scallywags and meets the star, Lizzie Lightning, they find their lives turned upside down. For The Love Of (or The Roller Derby Play) asks how much you’re willing to sacrifice – or lose – in order to follow your heart.

Tickets are free but seating is limited so please e-mail ginafemia@gmail.com to reserve seats

March 5 & 6 | The Wright Theatre at Sarah Lawrence College, 1 Meade Way, Bronxville NY


 

 FROM MATT BARBOT | BEG, BORROW, STEAL | COLUMBIA UNIVERSITY

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We’re only a little jealous that new member Matt Barbot is playing with his other playwright friends in this collection of new works.

8 playwrights. 10 minutes each. 1 show you don’t want to miss! Beg, Borrow, Steal consists of 8 short plays created by 8 talented Columbia MFA playwrights: Matt Barbot, Stephen Foglia, Aeneas Sagar Hemphill, Becca Plunkett, Alix Sobler, Ellen Steves, Callan Stout, and Alexandra Viteri Arturo.

Tickets are FREE! Reserve your spot via BegBorrowStealRSVP@gmail.com

March 5, 6, at  8PM, March 7 at 3PM and 8PM | Schapiro Theatre (615 W 115th Street, NY NY)

 

 

 

 


 

FROM JEN BROWNE AND LAUREN FEREBEE | YOUNEED GOSEARCH | OUT OF THE LOOP FRINGE FESTIVALout of the loop

 

Jen Browne and Lauren Ferebee are at it again and this time they’re heading to Dallas for the Out of the Loop Fringe Festival with new piece YouNeed GoSearch.  Created with Timothy Giles and Montgomery Sutton You Need Go Search is an off-kilter hero’s journey following four people in unusual clothes whose lives are lit by flashlights and dime-store lanterns, anchored by broken stuff and communicated via bubbles. The show is rich, magical, theatrical and fun, that’s four good reasons right there to buy your ticket to Dallas and YouNeed GoSearch.

For More info visit: OUT OF THE LOOP


FROM ISAAC RATHBONE | THE GNOME | BARTER THEATRE

the gnome

We could not be more excited for Isaac and the world premiere of the The Gnome at Barter Theatre in Virginia.  

A story of family, wishes, greed, magic, snow and department stores. Barry works at All-Mart and lives with his brother, the cop, and secretly desires his brother’s wife, Yvonne. Needless to say, things are not going well for Barry. Suddenly appearing from the melting snow of winter is a magical Gnome, whose powers transform everyone’s life, but not without consequences.

Get some insight into the piece with this awesome interview with Mr. Rathbone himself: Playwright Interview

Tickets and more info about the show and Barter Theatre can be found HERE!

March 13th-May 16th | Barter Theatre Stage II Abingdon, VA


FROM TIM DUNCHEON | STAGE SPIES, OR: THE DESIGNS OF BENJAMIN FRANKLIN

All you need to know is that Tim Duncheon wrote this play, the same Tim Duncheon that brought us the most amazing pirate musical ever made.

It’s the Revolutionary War, and British-occupied Philadelphia is no picnic! Newspaper printer Jacob Palmer thinks his financial troubles are over when he agrees to print British propaganda and advertise the British Army’s new play. But when Benjamin Franklin arrives on a secret mission, Jacob finds himself caught in a dangerous game, committing treason against both sides. Worse, Jacob’s family begins to declare independence—and not from Britain, but from him. Very loosely based on a true story, this satirical farce turns our American origin myth upside down to find that words like “freedom” and “truth” are dangerously—but hilariously—fickle.

The reading will be directed by Kyle Metzger and followed by a reception with light refreshments!

Thursday, March 19th at 4 p.m. | Ripley-Grier Studios (520 8th Avenue), Room 17H

 


THINGS TO COME!!

That’s right we always have more exciting things in the works including our very own Lather, Rinse, Repeat #podcast! Keep your eyes and ears open for the unveiling of this very exciting new endeavor!  That’s it for March we’ll see you in April with our next round of shout outs in The Monthly Wash Issue III

#Selfie First Flight w/ Tim Errickson and Boomerang Theatre Company

Good news world,  got to chat with Tim Errickson about First Flight, Boomerang Theatre Company’s annual festival of new plays.  It’s this week so read up and then get out there and check out some AMAZING PLAYS!!

 

Jen Browne: So something that is super great about Lather Rinse Repeat  is that a lot of playwrights in the group are so much more than playwrights, they’re very often writing, producing, directing, everything and you my friend might be king of the all-arounds working with Boomerang Theatre Company.  Can you tell me a little about where this all began for you and maybe how you’ve seen the company grow over the years?

Tim Errickson: Hardly the king, if you look around our little group. It began for me about 20 years ago when I began my first theatre company after college. I love making theatre, I love the audiences and the work. And I love validating work and encouraging playwrights by producing new plays. For the last 16 years, Boomerang Theatre Company has been my passion project. We’ve produced 55 plays and over 60 new play development readings and workshops. We began like all do, poor and not knowing how to do this work. But we learned and grew and gathered like-minded people.

 

JB: Boomerang breaks its season into three sections or so your website tells me, the third being First Flight, a reading series for new work.  Can you speak to the company’s relationship to new plays and playwrights?

TE: It’s funny, as I think it’s changing. Originally, we did all classics, and then began programming new plays to run along with classics in tandem. As we’ve gotten more established (and maybe as I’ve gotten older too), I love new plays more and more. I think that mystery of producing the new play, the unknown audience response, the unforeseen change in rehearsal, is just so exciting. I really love getting new plays off the page, out of readings and in front of people. And the writer is a huge component of that, because really we are supporting their idea of story and theme. We want them there as much as they can be, and we want them to feel like they have a place to bring work and make it better.

 

JB: Can you break down the details for this year’s festival?

TE: The 2014 First Flight New Play Festival consists of public readings of six new plays in various states of development. We kick off on Wednesday Nov 19th at 7pm and go through Monday Nov 24th at 7pm. All of our readings are at ART/NY, 520 Eighth Avenue, 3rd floor. Readings are always free, but if you’ve got $5 burning a hole in your pocket, we’ll take it and put it to good use.

 

JB: Producing new work can be risky business why is the risk worth it for you?

TE: Yeah, it’s a funny thing…what’s the risk? If you believe in the work, and it expresses your heart and mind, something important and passionate, it’s always going to work on some level. And it can be done expensively or cheaply depending on what you’ve got to work with. So I’m all in. More New Plays!

 

JB: How has producing new work influenced the development of your company and your place in the New York theater landscape?

TE: I think on some level we put our own stamp on things. I hope that people see a play and recognize that it’s a Boomerang play, that it has substance, intelligence, daring use of language, and fearlessness. We apply that to all our projects, but I think it is more obvious in the new plays we choose to develop.

 

JB: Any other tidbits we should know about this year’s Fest or future Boomerang programs?

TE: We just keep trying to grow the festival all the time. Constantly improving it to make it more helpful to the writers, so that their needs are served. We’re excited about this year’s lineup, and hope you’ll come check them out.

This year’s First Flight Festival includes work by Vincent Sessa, Johnna Adams, Michael Aguirre, Adam Kraar, Tim Errickson, Shelley McPherson.   Dates and times for all readings can be found HERE!

selfie #8: tim e. (with questions by mila g.)

The awesome Tim E. brought in FIREBIRD this go-round, a gritty and beautiful slice of life play about Brooklyn. Mila, a native Brooklynite herself, questioned him closely in this week’s episode of SELFIES.

#selfies are an ongoing interview series where Lather, Rinse, Repeat playwrights interview one another. They have free reign over the questions. The interviewee must then post an actual selfie, for the sake of being meta.

MILA G. As an original Tim, what is your opinion on all other Tims? Tiny Tim? Tim The Tool Man Taylor?  Tim D.?

TIM E. I love all the other Tims. Tim Curry, Tim Olyphant, Tim Tebow, Tim McGraw, Tim Burton, Tim Robbins, Tim Conway, Tim Duncan, the late Tim Russert, Tim Gunn, and especially Tim D, fellow playwright and scribe of Pirate Musicals. My faves are probably Olyphant, Conway and Tim D. But like the Highlander…there can be only one. So I accept the mantle respectfully.

MILA G. In addition to writing you also direct. What’s transitioning between the two like? When do you take the director’s hat off and when do you leave it on? What does your director’s hat look like?

TIM E.  It’s an interesting thing for me. I trained as a director, and have been directing plays for 20 years. I had done some writing early on and been successful with it, but for some reason it took a backseat to directing and producing. I’ve now found the discipline (hardly a word I associate with myself, but for the context of this idea) to finish writing something, to write the whole play instead of the outline only or the first scene only. In terms of the writing itself, I think I can visualize things as I write them, almost direct them as I write them, which helps me. I also have a network of director peers that I like and trust, and I can hand plays off to them knowing they will be taken care of, as I would when I direct. And for you, my director hat can be a fez or maybe a sombrero, you can choose. I have a distrust of people who wear non-functional hats.

MILA G. Speaking of clothing, I’ve noticed an ongoing fashion motif in many of your plays. From dress shirts and guinea tees to missing shoes, what’s the connective thread?

TIM E. You love this question, Mila. You were the one who mentioned this, and now when I write something or hear something out loud and there’s a clothing item mentioned, I do think “Mila’s going to tell me I’m a fashionista!” Now that you’ve brought it to my attention, I know when I feel like I look nice, or I’m dressed well that I have confidence, and so I think I apply that to my characters too. Clothing both as an outward symbol of how a person thinks of themselves (Flannel Shirts vs. Silk Shirts in my play MEGA) or as a detail that reminds them of a moment (wearing the black guinea tee while not being able to rest with a new lover in The Firebird), I find it all interesting. Not to mention clothes as pieces of art.

MILA G. Your last play examined the impact of returning home to the place you grew up. What made you write that story at this point in your life? Where are you from? Where are you going next?

TIM E. I was thinking about this recently. We had a moment during our last retreat in Greenpoint, and I was just spitballing ideas and I came to the thought that all of my plays are about freedom. Which was really funny, because so much of my directing work is about loss (Boy gets girl, boy loses girl, how do Boy and girl handle it). But the writing, while still dipped in the waters of loss, has this idea of freedom…from parents, from societal norms and politenesses, from geographic places like neighborhoods, from relationships. So I think I’m always going to be the guy who wants to shed everything and begin new. Just a car,  the road, no maps and no destinations. It’s one of the reasons long term travel interests me so much and why marriage to this point has not (but that’s changing rapidly). I grew up in southern New Jersey, which was a great place to grow up although we didn’t know it at the time. Very iconic American safe neighborhoods and working families and farms. So many of my friends wanted to either get out of there for cities and excitement, or embrace it and become small town cornerstones. I got away, and now find myself recognizing the immense impression that small town life had and still has on me. And so I still look for a way to be “big town” and “small town” and free at the same time. And I think that conflict comes thru in my work.

MILA G. You’ve been doing this theater thing for quite a few years now.  How has theater changed since you started in this kooky business? What does the future hold?

TIM E. I came to New York in the late 1990s, probably before Tim D was born. And the entire nature of Indie Theatre has changed, mostly for the better. Much more of a community feeling, started by people like Martin and Rochelle Denton, and continuing thru the various festivals like Fringe and Frigid and onto places like ESPA and to the New York Innovative Theatre Awards. Stringberg has the quote “Prospects, brilliant; Situation, desperate as usual” and I always think of the majority of theater in NYC like that. And while I’d love more money and security for my art and for my friends, I like the idea of the risk of taking on a production. Will we have the money? Will people come? Will anyone review it at all? Maybe the situation should always be a little desperate and uncomfortable.

For me personally, I am directing a production of Shaw’s CANDIDA for my own theatre company Boomerang Theatre Company opening on Sept 15th, as part of our 15th Anniversay season. I’m also producing three other plays in Boomerang’s season as well as our new play festival in November. You, lovely Mila, can find more details about these things at www.boomerangtheatre.org. I’m following that up with new drafts of The Firebird and MEGA and beginning my new play.

 tim

selfie #7: mila g. (with questions by jeremy w.)

The brilliant Mila G. brought her new play A GOOD GIRL’S GUIDE TO CORPORATE SABOTAGE, to the LRR gathering last week, a superhuman feat given that she was also about to open NOVAYA ZEMLYA OR A STRANGE NEW LAND at FringeNYC.  She and Jeremy even managed to find some time to put this little interview together.

#selfies are an ongoing interview series where Lather, Rinse, Repeat playwrights interview one another. They have free reign over the questions. The interviewee must then post an actual selfie, for the sake of being meta.

JEREMY W. I’m just getting to know your work and I’m wild about it.  First pirates squabbling in hyper-piratese over a manipulative mermaid, now a verse satire of an ad agency where the upper side of the glass ceiling is possibly worse than below.  How did this very contemporary play shape up like 119 perverse haikus?

MILA G. Before playwriting, I had an unsuccessful turn at spoken word. I quickly realized I loathed being on stage, performing for others and the sound of my own voice. However, I did enjoy short sentences, poetic turns of phrase and words that sound different then they read. This play utilizes some of those devices. Also, as a play about advertising, it seemed a natural fit for people to speak in taglines, catchphrase and jargon, rather than espousing deep thoughts.

As for the perverseness, corporate drudgery just asks for highly inappropriate behavior under conference room tables.

JEREMY W. You’ve said you write plays about people warped by technology.  What are you watching happen right now in the tech world?

MILA G. I think technology fundamentally changes the way we interact with others, often for the worse. For example, in a given day you’ll tweet your lunch to thousands of followers, ‘like’ the status of a near stranger, snapchat with god knows who while googling an ex, check into somewhere you think is cool, and then Instagram the one moment in the night that makes you look care-free or physically appealing, all be it with the aid of a flattering filter. It’s an extremely self-conscious way to live.  So much so, that when having one-on-one human interactions in real life you’re still eye-balling your iPhone. And that’s just the regular every day tech, not getting into drones, cyberattacks, supercomputers, genetically engineered robobabies and those highly disturbing Google glasses enthusiasts.

JEREMY W. Whatever the opposite of pretentious is, I think you and your work are it.  Where do you get that sensibility?

MILA G. As someone with no formal theater education, other then the catch up reading I do on my own time, I often don’t know enough to say pretentious things. I could say my plays are Chekhovian, Brechtian commentaries on the state of modern society with a hint of Pinteresque dialogue, blah blah blah early Shakespeare, but I wouldn’t even know what any of that means.

JEREMY W. What makes a hero heroic?

MILA G. I’ve always been a bit of an antihero girl myself. Since I was a child, the bad guys always intrigued me more than the good guys. I found their backstories murkier, their ticks fascinating. As a generally anxious, occasionally self-loathing individual, I find people who are unabashedly selfish with no care for public scrutiny or outward approval oddly sexy. Lex Luther is my superman.

JEREMY W. To the untrained eye, you don’t seem like the scented candle type.  Explain.

MILA G. Not big on scented candles and Barry White during sexy time, but I must admit candlelight is universally flattering. Also, scented candle makes me feel psuedo French. As does eating large loafs of breads daintily, buying fresh flowers from farmer markets and wearing twirly patterned skirts.

JEREMY W. Do you depend upon a writing routine to work creatively?

MILA W. Last night, my fiancé told me that he imagines my mind as a cavernous netherworld filled with endless staircases that just turn into other staircases, keeping me from sticking to any one direction or thought for more then two minutes.

Hence, the idea of a daily routine with allotted schedules and goals is pretty impossible. I do try to write in the mornings rather then night, which is a time I reserve for gorging myself on bad reality tv and complex carbohydrates.

JEREMY W. Is there one dream opportunity in the theatre you have in mind?  A certain theatre produces your work, residency, fellowship, or award?

MILA G. I think I’m still discovering my aesthetic and where I belong in this crazy industry, so it’s hard to pinpoint a theater or award. In a dream scenario, I’d be a resident playwright within a like-minded collective of talented actors and directors, all available on a whim to play around with a new work. A producer with deep pockets to fund all this rampant experimentation would be nice too.

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