Hey y’all! I am excited to share that a new play of mine will have a reading on Monday December 15, at 7pm, as part of the Women’s Histories Festival. The Great Divide follows the story of newly arrived immigrants who go to work at the ill-fated Triangle Shirtwaist Factory. If you are interested in coming to see the reading, please RSVP to firstname.lastname@example.org. The reading is taking place at IRT Theatre. IRT Theater is located on the third floor of the old Archive Building in Greenwich Village, NYC, 154 Christopher St., buzzer 3B. All the listings are not yet on the website, but they will be soon. Here is the site for more information: http://irttheater.org/ Hope to see some of you there!
I am so excited that The Secret Annex has been getting great response and great reviews. I will be keeping track of the reviews on my review page, but here are some links to them as well!
I am so excited that the Globe and Mail chose to write a feature about my new play, The Secret Annex which opens tomorrow at the Royal Manitoba Theatre Centre. I am so proud of this play and the production and very thrilled to share it with the world.
If you are Winnipeg, please come and see it! You can get tickets here.
If you are from elsewhere and would like to contact me about the play, you can reach me through my blog!
Here’s a crazy little thing that I woke up to this morning…The Winnipeg Free Press included me in a list of the most powerful people in Winnipeg. They have their list of Top 30 and then ten more who “caught their eye” which is where I show up. Kind of a funny idea to put an artist on a power list, but I will enjoy it while I can!
Originally posted on The Belle Jar:
Dear David Gilmour,
As a woman writer I’d like to say thank you.
No, honestly, thank you.
Thank you for being privileged enough, culturally tone-deaf enough, and even just plain stupid enough to say that you don’t love women writers enough to teach their works in your class. Thank you for saying what so many other male professors think but are afraid to admit. Thank you for opening up this huge fucking can of worms that most people are happy enough to pretend doesn’t even exist.
Seriously, thank you for reminding me that, as a writer who happens to be female, I will always be a woman first and a writer second.
Oh and thank you especially for throwing in that little racial comment about how you also don’t love Chinese writers, because you might as well shit all the beds while you’re at it, right?
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Hey, great news!
I am going to be a part of the Winnipeg Improv Festival, running October 1 – 5! There is an amazing group of performers from all over Canada and the United States gathering in town for this prestigious event, I am pretty sure you don’t want to miss it.
You should get all the details about the festival here.
Myself? I will be performing:
THE FESTIVAL SAMPLER PLATTER: Tuesday, October 1 at the King’s Head at 9pm
THE FRIDAY MAINSTAGE SHOW: Friday, October 4 at the Gas Station at 8 pm
THE SATURDAY MAINSTAGE SHOW: Saturday, October 5, at the Gas Station at 8 pm
See you there!
I am so excited that it is that time of year again…time for the Carol Shields Festival of New Works at the Prairie Theatre Exchange.
As a member of PTE’s Playwrights Unit, I will be hosting the Thursday Night Gala, and I am pleased to say my new short-shots, Agony & Ecstasy Parts I -V will also be a part of the evening’s proceedings.
But that is not why I am going to urge you to check out the Carol Shields Festival at PTE. It would be great to see tons of people there to see if my jokes are working, but I am really encouraging you to come check out the Gala and some of the readings because it is a unique and remarkable weekend that you should take advantage of. Also, there are a lot of us who need you there.
As playwrights, we work in quiet rooms by ourselves for very long periods of time. We engage in full conversations in our heads, characters fighting and laughing and loving each other pretty much non-stop. But for the most part is is a solitary endeavour, sometimes quite lonely. If you’re lucky, you have friends who will read your work, and if you are really lucky, you might get a workshop for it. If you have horseshoes shoved up your ass (read: extremely lucky) you might have a production of your play. But often there is a step missing, one that your play and audiences would benefit from greatly, and that is the staged reading.
I personally loved staged readings. In many ways they boil theatre down to its essence (I am referring to traditional, script-based, Western theatre in this post. Other forms of devised and collaborative theatre are mind-blowing and awesome too…). You’ve got the actors and the words and an audience. Brilliant. What a gift. You wouldn’t want it all the time of course. There is so much to be said for a gorgeous set, beautiful costumes, enthralling lights. When done right, those greatly enhance the theatre experience. But ultimately, if you are there to hear a story, the story is what is important, and everything else is there to serve that goal: tell them the story. Let it be known.
Actors and words are not hard to come by. Winnipeg is choc-full of incredible talent, and there are way too many gifted performers and writers for the slots available to them. But audiences…audiences are harder to come by, especially for the all-important staged reading.
But if you are not an actor or a writer, its the closest thing you can do to be a part of the actual writing process and it can be a very inspirational and uplifting experience. The work is usually far from perfect. But it’s part of the fun, hearing what is already great, ruminating on what still needs work. It’s like witnessing a birth. Or more like a small child taking her first steps. You know what she’s doing, but where will she end up?
The playwrights are pretty much guaranteed to be there, measuring your response, reading the crowd. And they are not sitting through an entire run and then revisiting it later. They are looking at these staged readings as a night of work, immediate bio-feedback. Many of them will be back at their computers the very next morning, taking your critique whether you knew you were giving it or not.
It’s like you are entering that small quiet little room with them, holding their hand and saying, “Thanks for writing this. Here’s what I think.” You’re opinion is so important. And you’re making the whole process a little less lonely. You’re experiencing theatre at it’s very core. Isn’t that something?