TheatreFace
For the last couple of weeks, I've been at the Orchard Project as part of the Core Company. If you aren't familiar with either, check 'em out--they're amazing programs where lots of outstanding artists and theater companies get to come, create, experiment, risk, and mix and meet other amazing artists. I've learned so much apprenticing for outstanding artists, and also have gotten lots of time to develop my own new plays and projects--all in the tiny town of Hunter, NY, which is just absolutely picturesque and gorgeous.
Example: a picture from a performance piece I did the first week here--
That is literally in our backyard. Walk out the door, walk across the grassy lawn, walk down into the creek.
While I've been here, one of the artists I got to meet was Adam Szymkowicz, an amazing playwright. He has an incredible body of plays which have been produced in numerous countries by numerous amazing companies all around the world. One of the most memorable nights for me at the Orchard Project so far was getting to hear a reading of one of Adam's plays he's still working on.
In addition to his playwriting, Adam also writes a blog in which he interviews fellow playwrights.
It's pretty awesome and a great way to "meet" and hear about some amazing playwrights and the work they're doing. It's also a great resource for aspiring playwrights.
Adam was kind enough to answer a few questions I had for him. He also was interviewed for his 100th interview with playwrights on his blog, which you can find here.
The questions!
Your blog includes interviews with 465 468 playwrights. That's a big number! What got you started?
I started interviewing my friends, not really sure how many I would do. I think I thought 50 would be a good number. And then I tried to stop at 100 but then Theresa Rebeck got back to me with her answers so I felt like I should go past 101. Now, I don’t know when or if it will stop. Surely I can’t interview all 10,000 or so U.S. playwrights, right?
You mention in your "advice for playwrights starting out" post that people should consider living in New York as you can see more theater there. Would you say New York is the top choice city for aspiring playwrights?
I would say that. But I’ve never lived in Chicago, which is a thriving theater scene. New York is where the media is and therefore you have the possibility of getting the attention of the larger theater community, although it might take a long time to do so. New York is also an incredibly expensive place to live. I think there are advantages to being in a small city, living cheaply and making your own opportunities, but living in NYC, I can tell you from a practicality standpoint the powers that be in NYC don’t care what you did outside of NYC. I’m not saying it should be that way, but that’s how it is. The reason to live in New York is to meet all the movers and shakers of the theater industry and see the theater they make. I’m not saying they are all there all of the time, but more of them are there than anywhere else.
You also talk about having work that allows you to write, yet will still help pay the bills. Have you or playwrights you've interviewed had any "survival" jobs that were terrible, or really ideal, along the way?
Jobs I have had:
I worked in a video store.
I took inventories in stores and warehouses using large calculators and electronic balances.
I tutored reading and writing.
I worked as a deck hand on a tour boat scooting up and down the Connecticut River. where my job duties including bartending, lugging trash and steering the boat.
I was a tour guide at Gillette Castle.
For three weeks I worked in a copy store.
I was Asst Manager and then Manager of various video stores in a chain in MA.
I sold wholesale fence to fence contractors.
I worked in shipping and receiving for a 3D artist whose work is in all the windows in times square.
I was a set builder at Columbia University.
I worked for 2 agents, 1 theatre, and 1 producer, largely in a lit capacity.
I was Development Asst at the Journalism School where I photocopied proofread and wrote thank you letters and please give us money letters.
I taught playwriting.
I have done a lot of painting of houses and other construction or demolition. A couple roofs, some siding.
I wrote for an African American sitcom.
Did you self-produce your work when you started out? Any memorable stories (best/worst/good/bad/ugly)?
In undergrad, I directed and produced a play I wrote. It was a lot of fun but I’m not a good director and I’m also a bad producer. I have only produced myself a couple more times and I always had help. Most of my nightmare stories are with other people producing my work. Fortunately, they are few and far between. When you go to a strange city to see a show of yours, you never really have an idea of what you’re in for. It could be great or it could be terrible. Sometimes there are indications it will go one way or the other but you really won’t know unless you show up.
What qualities in directors draw you to wanting to work more with them? Actors? What do you look for from actors in readings? Directors?
For my work, it’s hard to teach the tone. Either actors and directors get it or they don’t. Some people I just can’t work with even though they are very talented because they don’t live in the right world tonally for my sometimes stylized usually comedic sometimes language heavy work.
Do you have a set way you write and start into a play?
I usually make lots of notes and when I know enough, I start writing it.
Favorite color?
I like the color blue.
What are some submission opportunities that you find exciting / important for young playwrights to know about?
Things are constantly changing. Join the Dramatists Guild and they’ll send you a yearly submission guide, but also look at places online like En Avant.
When do you know a play is "done" (when do you stop editing)?
When I like it.
And of course, I stole a few questions that Adam himself often asks in his interviews. :-)
What excites you in theater today?
The sheer number and variety of theater out there, not just in NYC but all over the world.
What is something you would change in theater today?
I would be able to make a living at it.
What are you working on right now?
Two plays a novel and two screenplays.
Plugs, please.
UBU closes June 16 in NYC
After that, look out for Hearts Like Fists in LA starting late July
Then in Sept in NYC, The Why Overhead
In Nov or Dec, Hearts Like Fists in New York
In March or Feb, Clown Bar in NYC.
In the spring, Fat Cat Killers also in NYC.
And look out for my new web series, Compulsive Love. Should be out any month now.
Thanks again to Adam for taking the time to answer questions. Be sure to check out Adam's blog for great interviews with many other amazing playwrights--464 468 of them, in fact! *EDIT: Adam sneakily went and interviewed 4 more since I had the chance to interview him. Prolific!
John Patrick Bray
I follow Adam's blog! I'm glad someone finally turned the tables on him :) Great read!
All the best,
JpB
Jun 25, 2012
M. Yichao
Thanks John! :)
Jun 25, 2012