April ends with a couple of interesting developments.
First, I have finally gotten an answer to the question, "National Poetry Month is here again, so where's my cut?" That answer came on April 20, when Portland writer and lit blogger Dave Jarecki selected for that day's poem my very own "Questions on Recruitment". This answer was punctuated by learning that my book-length manuscript The Killing Tree was a finalist for the New Criterion Poetry Prize, which was awarded to Ashley Anna McHugh.
Second, I am getting more and more of a Velveteen Rabbit feeling of being real as a playwright. I have sent in my final round of major revisions on my play "Dig," which is now listed on the "Coming Soon" page of London's Old Red Lion Theatre. Actors have been cast, lighting and design decisions are underway, and rehearsals begin on May 17. I won't be able to absorb the full magnitude of events, though, until my wife Paula Van Lare and I go to London during the week of June 21 and actually see a couple of performances for ourselves. I can't expect the audience to shout "Author! Author!" following the performance, but if it happens I won't be stopping anyone.
Showing posts with label Dig. Show all posts
Showing posts with label Dig. Show all posts
Wednesday, April 28, 2010
Friday, March 5, 2010
Dig: The Fundraiser
We are getting closer and closer to putting on a show.
On Thursday, March 4, CurvingRoad (a registered nonprofit in both the United States and the United Kingdom) held its fundraiser for the theatrical event entitled "The Next Curve: Two One-Act Plays" which will run from Tuesday, June 8 until Saturday, June 25 at The Old Red Lion Theatre in London (that London, yes). My play "Dig" and I will have the privilege of sharing the bill with Scottish playwright Michael Hart's "No More, Salvator."
According to CurvingRoad co-director Sue Guiney, the well-attended fundraiser was "fantastic," with drinks and nibbles. There were new supporters and, in her words, "People stayed late and there was a theatrical buzz."
And funds were indeed raised, as the reception brought in about £3,000. So far, so good.
But as Sue explains here, there is a long way to go. The total expenses of the production are estimated at some £20,000, which in U.S. dollars is, well, a lot.
With this in mind, I would urge the financially able to make a tax-deductible donation to CurvingRoad here by way of PayPal or credit card. To quote Sue again, "You’d be amazed at how those $25 gifts add up."
I would be willing to be amazed.
If I haven't yet persuaded you, I will leave you with my message of gratitude to those in attendance at the 1901 Arts Club, which was read on my behalf by playwright and actor Leo Richardson:
I want to begin by saying that I truly and deeply regret not being able to join you this evening. My reasons are in part purely selfish. As this event is taking place, I am at my day job in Washington, DC, editing texts of uncertain quality and interest. I also trust that your food, drink and entertainment will be far superior to anything that I experience in the course of a day’s work.
More importantly, I regret not being to thank you in person for your support. Altruism, especially in the form of generosity to a stranger, represents one of the happier mysteries of existence, and those of us who are beneficiaries of such generosity can virtually never expect or demand it, let alone feel entitled to it. This is particularly true in the arts, where so many individuals, projects and programs ask for support. I am therefore amazed as well as grateful that you are willing to offer your support and join us in this adventure, with all its risks as well as its rewards.
Working with the directors and affiliates of CurvingRoad, I hope to honor your gifts of time and resources by doing everything in my power to ensure that the development of my play “Dig” culminates in a high-quality production that will contribute to a memorable evening of theater. I should also note that my experience with CurvingRoad has given me the confidence to revisit other projects that I have left aside for far too long.
At this point I do not wish to take much more of your time. You have already been generous in a variety of ways. I hope you are having a lovely time, and with luck I will meet some of you in June at the Old Red Lion.
Again, thank you.
On Thursday, March 4, CurvingRoad (a registered nonprofit in both the United States and the United Kingdom) held its fundraiser for the theatrical event entitled "The Next Curve: Two One-Act Plays" which will run from Tuesday, June 8 until Saturday, June 25 at The Old Red Lion Theatre in London (that London, yes). My play "Dig" and I will have the privilege of sharing the bill with Scottish playwright Michael Hart's "No More, Salvator."
According to CurvingRoad co-director Sue Guiney, the well-attended fundraiser was "fantastic," with drinks and nibbles. There were new supporters and, in her words, "People stayed late and there was a theatrical buzz."
And funds were indeed raised, as the reception brought in about £3,000. So far, so good.
But as Sue explains here, there is a long way to go. The total expenses of the production are estimated at some £20,000, which in U.S. dollars is, well, a lot.
With this in mind, I would urge the financially able to make a tax-deductible donation to CurvingRoad here by way of PayPal or credit card. To quote Sue again, "You’d be amazed at how those $25 gifts add up."
I would be willing to be amazed.
If I haven't yet persuaded you, I will leave you with my message of gratitude to those in attendance at the 1901 Arts Club, which was read on my behalf by playwright and actor Leo Richardson:
I want to begin by saying that I truly and deeply regret not being able to join you this evening. My reasons are in part purely selfish. As this event is taking place, I am at my day job in Washington, DC, editing texts of uncertain quality and interest. I also trust that your food, drink and entertainment will be far superior to anything that I experience in the course of a day’s work.
More importantly, I regret not being to thank you in person for your support. Altruism, especially in the form of generosity to a stranger, represents one of the happier mysteries of existence, and those of us who are beneficiaries of such generosity can virtually never expect or demand it, let alone feel entitled to it. This is particularly true in the arts, where so many individuals, projects and programs ask for support. I am therefore amazed as well as grateful that you are willing to offer your support and join us in this adventure, with all its risks as well as its rewards.
Working with the directors and affiliates of CurvingRoad, I hope to honor your gifts of time and resources by doing everything in my power to ensure that the development of my play “Dig” culminates in a high-quality production that will contribute to a memorable evening of theater. I should also note that my experience with CurvingRoad has given me the confidence to revisit other projects that I have left aside for far too long.
At this point I do not wish to take much more of your time. You have already been generous in a variety of ways. I hope you are having a lovely time, and with luck I will meet some of you in June at the Old Red Lion.
Again, thank you.
Tuesday, February 16, 2010
"Dig" Has Found a Home
The truth can now be told.
As noted here, "Dig" will be presented as half of a CurvingRoad program entitled "The Next Curve: Two One-Act Plays" from June 8 to June 23 at The Old Red Lion Theatre in London, which is well known and highly regarded as both a performance venue and a place to raise a pint. In fact, productions at The Old Red Lion Theatre are reviewed in publications such as Time Out London and The Guardian.
As noted in the post immediately below, there will be a fundraiser for the event on Thursday, March 4 from 6:30 to 8:30 p.m. at the 1901 Arts Club. Scottish playwright Michael Hart and I will be preparing statements to read at the fundraiser.
If you don't happen to find yourself in London on that point (or even if you do and can't attend), you can also make a tax-deductible donation through the very convenient PayPal button found on this page. Any amount is welcome in these trying times.
Fundraising is something at which I don't have a great deal of experience, but CurvingRoad co-director Sue Guiney tells me that this is something done by everyone in theater who is any kind of player, and now I apparently am one.
I'm always the last to know.
As noted here, "Dig" will be presented as half of a CurvingRoad program entitled "The Next Curve: Two One-Act Plays" from June 8 to June 23 at The Old Red Lion Theatre in London, which is well known and highly regarded as both a performance venue and a place to raise a pint. In fact, productions at The Old Red Lion Theatre are reviewed in publications such as Time Out London and The Guardian.
As noted in the post immediately below, there will be a fundraiser for the event on Thursday, March 4 from 6:30 to 8:30 p.m. at the 1901 Arts Club. Scottish playwright Michael Hart and I will be preparing statements to read at the fundraiser.
If you don't happen to find yourself in London on that point (or even if you do and can't attend), you can also make a tax-deductible donation through the very convenient PayPal button found on this page. Any amount is welcome in these trying times.
Fundraising is something at which I don't have a great deal of experience, but CurvingRoad co-director Sue Guiney tells me that this is something done by everyone in theater who is any kind of player, and now I apparently am one.
I'm always the last to know.
Monday, February 1, 2010
Dig: Workshop and Fundraiser
The development of my one-act play "Dig" continues. I have completed one round of revisions that have clearly improved the script. It's always a treat when people ask you to add rather than take away.
On Thursday, February 10 CurvingRoad director Ellie Joseph will put the new version through its paces at a workshop reading to see what further changes are needed. Bit by bit the play will reach its final form. Since I have never taken a class in dramatic writing, I am getting a valuable education in how theater is done.
In case you find yourself in or near London shortly, I should also note that CurvingRoad will have a fundraiser for "Dig" and "No More, Salvator" by Scottish playwright Michael Hart on Thursday, March 4 from 6:30 to 8:30 p.m. at the 1901 Arts Club, located at 7 Exton Street, London SE1 8UE. Directions, including Tube and bus route information, can be found here.
I don't anticipate being able to make the event myself, but I may prepare a statement or place a trans-Atlantic call during the event.
The reality is setting in.
On Thursday, February 10 CurvingRoad director Ellie Joseph will put the new version through its paces at a workshop reading to see what further changes are needed. Bit by bit the play will reach its final form. Since I have never taken a class in dramatic writing, I am getting a valuable education in how theater is done.
In case you find yourself in or near London shortly, I should also note that CurvingRoad will have a fundraiser for "Dig" and "No More, Salvator" by Scottish playwright Michael Hart on Thursday, March 4 from 6:30 to 8:30 p.m. at the 1901 Arts Club, located at 7 Exton Street, London SE1 8UE. Directions, including Tube and bus route information, can be found here.
I don't anticipate being able to make the event myself, but I may prepare a statement or place a trans-Atlantic call during the event.
The reality is setting in.
Monday, October 19, 2009
London Calling
This post is more than just an opportunity to invoke one of the best-known songs by The Clash.
I have a truly dramatic announcement.
To wit, my one-act play "Dig" will be getting its first fully mounted professional production in London, with a scheduled opening night some time in the spring. First published in Rockhurst Review in 1997, "Dig" will be produced thanks to the efforts of Curving Road, a nonprofit registered in both the United Kingdom and the United States. Much of their work involves launching the artistic careers of disadvantaged youth who might not have access to valuable training and connections. In case you wonder about the name, more information is available here.
In this instance, Curving Road placed a call for one-act play submissions from writers over the age of 40 who had never had a play professionally produced. After the inevitable period of waiting that follows any submission, I have learned that my play, along with "Nearly Man" by Scottish playwright Michael Hart, will make up the program.
The Curving Road web site summarizes my play as follows:
" 'Dig' explores through dark humour the power struggle between prey and victim, centering on the dialogue between an executioner and a victim who refuses to dig his own grave."
As you have no doubt already surmised, this is not for children.
Now a whole new sequence of events begins. I am willing to call it a new stage of my education.
I hope to take the lessons learned from this production to the plays I plan to write in the years ahead.
At the moment I have ideas for at least two full-length plays.
I have a truly dramatic announcement.
To wit, my one-act play "Dig" will be getting its first fully mounted professional production in London, with a scheduled opening night some time in the spring. First published in Rockhurst Review in 1997, "Dig" will be produced thanks to the efforts of Curving Road, a nonprofit registered in both the United Kingdom and the United States. Much of their work involves launching the artistic careers of disadvantaged youth who might not have access to valuable training and connections. In case you wonder about the name, more information is available here.
In this instance, Curving Road placed a call for one-act play submissions from writers over the age of 40 who had never had a play professionally produced. After the inevitable period of waiting that follows any submission, I have learned that my play, along with "Nearly Man" by Scottish playwright Michael Hart, will make up the program.
The Curving Road web site summarizes my play as follows:
" 'Dig' explores through dark humour the power struggle between prey and victim, centering on the dialogue between an executioner and a victim who refuses to dig his own grave."
As you have no doubt already surmised, this is not for children.
Now a whole new sequence of events begins. I am willing to call it a new stage of my education.
I hope to take the lessons learned from this production to the plays I plan to write in the years ahead.
At the moment I have ideas for at least two full-length plays.
Thursday, October 30, 2008
"Now I Don't Where to Begin"
Elvis Costello--quoted above--has a point.
I can start by saying that the world does not desperately need another blog. Who would disagree? I am reminded of Rilke's statement that the beauty of silence is such that one must have a good reason to break it. The same could be said for white space.
With this in mind, I won't be posting updates on what I had for lunch, nor will I be posting rants on my political, social and environmental views, of which I have plenty.
This blog will be about what I write, or try to write, what I manage to publish, and where I'm reading or where my work is getting reviewed. I'll try to be succinct about all of these topics.
I write poetry, essays and reviews, crime fiction and literary fiction, and more recently work for children. My one-act play "Dig" has been published and produced, and there will be more news on that as time goes on. My second collection of poetry, Settling for Beauty, was published in 2005, and my first children's book, The Best Mariachi in the World/El Mejor Mariachi del Mundo, was published on October 1. The reviews so far have been good.
There will be more when there's more to say. Thanks for taking a look.
I can start by saying that the world does not desperately need another blog. Who would disagree? I am reminded of Rilke's statement that the beauty of silence is such that one must have a good reason to break it. The same could be said for white space.
With this in mind, I won't be posting updates on what I had for lunch, nor will I be posting rants on my political, social and environmental views, of which I have plenty.
This blog will be about what I write, or try to write, what I manage to publish, and where I'm reading or where my work is getting reviewed. I'll try to be succinct about all of these topics.
I write poetry, essays and reviews, crime fiction and literary fiction, and more recently work for children. My one-act play "Dig" has been published and produced, and there will be more news on that as time goes on. My second collection of poetry, Settling for Beauty, was published in 2005, and my first children's book, The Best Mariachi in the World/El Mejor Mariachi del Mundo, was published on October 1. The reviews so far have been good.
There will be more when there's more to say. Thanks for taking a look.
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