March Newsletter and Meeting Notice

Our next meeting will be Monday,  March 11th , at 7 PM at the Lowell Center, 610 Langdon Street, Madison. Check kiosk for room.

Parking: Lowell parking is for guests of the hotel and staff only. Nearest parking is the Lake Street Ramp, one block south (you can also enter from Frances Street). Street parking is free after 6 P.M. (try east on Langdon up around the curve). Tavern of choice for apres-reading beer: Porta Bella on Frances between State and University.

City of Madison Parking Website:  www.cityofmadison.com/transportation/parking.cfm

~.~.~.~.~.~.~.~.~.~.~.~.~.~.~. ~.~.~.~.~.~.~.~.~.~.~.~

Starting around 7:10 we will read :

Gardening with Yoda …………………..  by Deb Meyer       3 min.

Gertie Gets a Rose ……………………..  by Deb Meyer       2 min.

Gertie & All Knowing Al ………………..  by Deb Meyer       2 min.

Arbor Vitae …………………….…………  by Bob Curry       50 min.

Bob Curry could use actors. It is a fairly large cast, so any actors kicking around on Monday with nothing to do, please come. and read. Men and women, boys and girls. Thanks. 

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

***21st Anniversary Coming of Age Show Request***: Phil Heckman is writing grant applications for our summer show and has asked me to put out a request for copies of any reviews or articles we might have about old shows – the summer shorts shows from 1999-2003 probably, or any shows that individual members of the group have had produced. The Madison Arts Commission grant he is currently working on is due on March 15th, so anything you can come up with would be appreciated. You may bring anything to the meeting on Monday evening and he’ll copy it. Thanks.

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

In February we read:

Dead Cakes …………………………………………………………….. by Coleman

Seder ………………………………………………………………………. by Russ Tomar

Doty vs. Dodge (scene) …………………………………………… by Sandra Reynolds

Reversal of Fortune ………………………………………………… by Brendon Smith

Queen Elizabeth (scenes) ………………………………………. by Nick Schweitzer

Readers were: Jane Leahy, Sandra Reynolds, Naomi Nielsen, Sam Gutierez, Coleman, Mark Lajiness, Russ Tomar, Brendaon Smith, Alan Gold, George Farah, Jack Guzman, Nick Schweitzer, Bob Curry.

~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~

Playwrights Ink is now on  Facebook * Friend Us

~.~.~.~.~.~.~.~.~.~.~.~.~.~.~. ~.~.~.~.~.~.~

I say farce deliberately, in the hope of covering up for you. That’s what our best authors do, they call

their most serious works farces, in case no one is prepared to take them seriously.
Eleuthéria, Samuel Beckett

~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~

ANNOUNCEMENTS:

This Thursday, March 7th,  7pm : The Madison College Writer’s Life Series–Drama Writing  at MATC Downtown Room 240  (Not 8 PM as you may have read elsewhere).

Four local playwrights will discuss their own writing careers and strategies at the upcoming Madison College Writer’s Life Lecture series. The event will be held at 7 p.m. on March 7 (Thursday) in Room 240 of the college’s Downtown campus, 211 N. Carroll Street.
Playwrights Kurt McGinnis Brown, Christian Neuhaus, Catherine Capellaro, and Andrew Rohn will describe their drama writing careers and techniques as part of a panel discussion.
McGinnis Brown’s “Broken and Entered” and “Not the Artist” have appeared on stages across the nation. In addition to his theatrical work, Brown’s award-winning fiction has been featured in national journals and e-zines. His play “Not the Artist” plays for one more weekend at Broomstreet Theater.
Christian Neuhaus’s short comic plays have been onstage since the late 1990’s. His play “You’ve Ruined a Perfectly Good Mystery” was voted Favorite Theater Production of 2011-2012 by the Isthmus newspaper. Neuhaus also writes about Madison-area theater productions for Dane101.com.
Catherine Capellaro and Andrew Rohn, a husband-and-wife duo of playwrights, developed the musical “Walmartopia” which has been performed in New York and will soon premier in the United Kingdom. The couple has worked on other projects, such as “Temp Slave” (1997); “Attack of the Mini-Musicals” (2002); and “Blasphemy” and “In the Beginning” (2009).
The presenters’ discussions about their writing experiences and careers will be followed by a question-and-answer period involving audience members.
The public is invited free of charge.
The Madison College “Writer’s Life” Lecture series is sponsored by the college’s Yahara Journal and The Clarion publications.
It would be great if Playwrights Ink had a big turnout to support playwriting in Madison.

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

Playwriting Workshop

On June 1, 2013, Kathleen Allison Johnson and Gail Sterkel will be offering a workshop titled “Enter Laughing (Or Crying):  Write theater plays that will entrance audiences” at All Writers’ Workplace and Workshop in Waukesha, Wisconsin, as part of the Celebrity Saturdays line-up.  Kathy and Gail’s full-length sci fi play, Ten Thousand Moons from Here will be performed at the Bartell Theatre beginning June 13, 2013, produced by KRASS (Kathie Rasmussen Women’s Theatre), in cooperation with the Madison Theatre Guild.

The All Writers’ workshop will focus on crafting 10-minute plays, learning the rules, and then learning how to break the rules. The workshop will run from 9 a.m. – 2 p.m.  The cost is $85.  Gail Sterkel has recently joined the distinguished faculty at All Writers.
For more information regarding All Writers and the one-day workshop in Waukesha: http://www.allwriters.org/seminars.aspx

~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~

MEMBER NEWS :

Not the Artist

by Kurt Mc Ginnis Brown Directed by Heather Renken

February 15th- March 9th

When Livia Hart becomes famous overnight for painting a giant sex scene on a building that houses an abortion clinic, her agent has a brilliant plan to capitalize on the sudden fame. She urges Livia to sign dozens of other paintings—which happen to have been painted by Ruley Jones, another starving artist and Livia’s lover. Can they pull off the scheme without artistic integrity (make that jealousy) causing damage to themselves and the paintings? This serious comedy examines the relationship of artist to art, and of artist to other artists.>

Not the Artist is Kurt Mc Ginnis Brown’s first production at Broom Street Theater. Kate Boomsma, Manny Jones, Adam Williams, Joe Lutz and Don Dexter make up the talented ensemble that bring this serious comedy to life.

Not the Artist opens February 15th and runs until March 9th. Performances every Thursday Friday and Saturday at 8pm. Tickets are $11 payable at the door. Reservations can be left on our voice mail at (608) 244-8338.

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

A reading of Betty Diamond’s play in progress, Lavinia

Friday, April 12th, at 7 p.m., there will be a reading of Lavinia, the play Betty has been working on. She would love it if you could come.  There will be a talkback after the reading when audience members can give their impressions of the play.  These readings and talkbacks are an invaluable part of the playwriting process, and will help her continue the rewriting that will inevitably occur before the play’s premiere in March 2014.

The reading will take place in the Supreme Court Hearing Room in the Capitol building.  Chief Justice Shirley Abrahamson will be the M.C.  It’s possible that Tammy Baldwin will also be in attendance.

Since the Capitol is typically closed in the evening, special arrangements will be made for letting you in.  As the time approaches, Betty will let you know the specific details.

The project: In 2012, the Director of State Courts Office and the Office of the Chief Justice won a grant from the Wisconsin Humanities Council to develop an original play based upon the life of Lavinia Goodell, Wisconsin’s first woman lawyer.   Lavinia’s portrait has hung in the Wisconsin Supreme Court chambers for many years, not far from the marble bust of her nemesis, Chief Justice Edward Ryan.  Both of these complicated individuals have stories that open a fascinating window on the social issues that Wisconsin grappled with in the late 1800s.

The script is currently in development, in the capable hands of award-winning playwright Betty Diamond.  The very first public reading of the work-in-progress will take place at the Janesville Performing Arts Center on Friday, March 8 at 6 p.m.  The second pubic reading will be on Friday, April 12th at 7 p.m. in the Supreme Court Hearing Room in the State Capitol Building.  Lavinia’s role will be played by Sarah Day, the celebrated American Players Theatre actress and daughter of former Wisconsin Supreme Court Chief Justice Roland B. Day.  The master of ceremonies for both events will be Chief Justice Shirley S. Abrahamson.  A talk-back and critique session will follow both readings.

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

Nick Schweitzer has made arrangements with the Madison Theatre Guild (MTG) to present concert readings of one or more short plays from Playwrights Ink on a dark night whenever MTG is staging a play at the Bartell.  MTG’s next show is “The Road to Mecca”, which runs from Feb. 22nd through March 9, meaning that a reading might be held on Feb. 25 or 26 or March 4 or 5.  The play(s) must have been read at a P.I. meeting and must be ready for public viewing.  No admission is charged, but donations may be accepted and split between the Bartell and a local charity.  Nick will act as producer and he will work with the playwright, who will be expected to cast and direct the reading.

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

Coleman’s novel  Kidnapping Henry Kissinger   is available at Amazon.com

http://www.amazon.com/ Kidnapping-Henry-Kissinger- ebook/dp/B0078PWPDA/ref=sr_1_ 1?ie=UTF8&qid=1331048524&sr=8- 1

~.~.~.~.~.~.~.~.~.~.~.~.~.~.~. ~.~.~.~.~.~.~

OPPORTUNITIES & ANNOUNCEMENTS:

Submission Calendar:

http://www.submissioncalendar.com/

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

The Call for Entries for the 2013 VSA Playwright Discovery Program will open in November, 2012. To request these documents in an alternate format, please contact us at  (202) 416-8898 (voice) or  vsainfo@kennedy-center.org.

VSA has an innovative and  Free  Resource Guide for Teachers to help guide teachers and students  through the playwriting process.

The VSA Playwright Discovery Program invites middle and high school students to take a closer look at the world around them, examine how disability affects their lives and the lives of others, and express their views through the art of playwriting. Playwrights may write from their own experience or about an experience in the life of another person or a fictional character. Scripts can be comedies, dramas, or even musicals–be creative! Young playwrights with and without disabilities are encouraged to submit a script. Entries may be the work of an individual student or a collaboration by a group of up to five students.

A distinguished jury of theater professionals selects up to five scripts as recipients of the 28th Annual VSA Playwright Discovery Award. The selected playwrights receive a $1,000 cash award and a trip to Washington, D.C. over Labor Day weekend to participate in workshops and view a reading of their work on stage at the John F. Kennedy Center for the Performing Arts.

http://www.kennedy-center.org/education/vsa/programs/playwright_discovery.cfm

~.~.~.~.~.~.~.~.~.~.~.~.~.~.~. ~.~.~.~.~.~.~.~.~.~.~.~

Articles and Reviews:

Staging a Sisterhood

By PATRICK HEALY

Published: January 31, 2013

The old boys’ club of New York theater, for decades defined by the chummy relationships of producers and directors, is changing with the rise of female directors who are in demand by veteran playwrights as well as hot young writers. … to continue reading:

http://theater.nytimes.com/2013/02/03/theater/female-directors-more-prominent-in-new-york.html?hpw&_r=0

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *
Play by a recent grad of Juilliard’s playwriting program:

Just One Sale Away From Redemption

‘Bethany,’ With America Ferrera, at City Center

By CHARLES ISHERWOOD

Published: January 20, 2013

A bright, encouraging smile almost never leaves the face of Crystal, the embattled heroine of the fine new drama “Bethany,” by Laura Marks, which opened on Sunday night at City Center. Portrayed by America Ferrera (“Ugly Betty”) with a warm poise that smoothly masks profound anxiety, Crystal cannot really afford to let doubt or vulnerability cloud her features. She’s a saleswoman, after all, and the key to selling is keeping up a shiny veneer of confidence, even when there’s a silent screech of desperation threatening to leap into your throat.

http://theater.nytimes.com/2013/01/21/theater/reviews/bethany-with-america-ferrera-at-city-center.html

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

First Winners of Kennedy Playwriting Prize Announced

By PATRICK HEALY

Two plays, Dan O’Brien’s “Body of an American” and Robert Schenkkan’s “All the Way,” are the inaugural winners of the Edward M. Kennedy Prize for Drama Inspired by American History, Columbia University and one of the late senator’s sisters, Jean Kennedy Smith, will announce on Friday. The two writers will each receive $50,000 and collaborate with Columbia librarians to create Web sites featuring scholarly articles and discussion relating to the content of the plays. To continue reading:

http://artsbeat.blogs.nytimes.com/2013/02/22/first-winners-of-kennedy-playwriting-prize-announced/

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

Universities Join Artists to Conjure the Civil War

By FELICIA R. LEE

Published: February 27, 2013

The National Civil War Project is commemorating the 150th anniversary of the war (1861-65) by developing 12 new theatrical works about, or inspired by, the conflict, as well as scholarly and public presentations and student projects. To continue reading:

http://theater.nytimes.com/2013/02/28/theater/national-civil-war-project-to-yield-commemorative-work.html

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

An Extended Family, Sharing Extended Pain

‘Water by the Spoonful,’ at the Second Stage Theater

By CHARLES ISHERWOOD

Published: January 8, 2013

Trouble comes in surging waves for the men and women in “Water by the Spoonful,” the Pulitzer Prize-winning play by Quiara Alegría Hudes that is making its New York premiere at the Second Stage Theater. Almost all the characters in this moving collage of lives in crisis have a grim history — and maybe a grimmer future — of substance abuse. Often their addictions have cost them dearly, leading to poverty, isolation and unbridgeable chasms between once-loving parents and children. To continue Reading:

http://theater.nytimes.com/2013/01/09/theater/reviews/water-by-the-spoonful-at-the-second-stage-theater.html?ref=theater

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

New Funds Help Revive a Theater in St. Paul

By FELICIA R. LEE

Published: January 7, 2013

The Penumbra Theater Company in St. Paul, a leading African-American theatrical organization whose financial woes forced the cancellation of shows and the trimming of staff last year, has raised enough money to resume programming on a limited basis, Penumbra officials announced Monday.To continue Reading:

http://theater.nytimes.com/2013/01/08/theater/penumbra-theater-to-resume-programs-after-fund-raising.html?ref=theater

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

Behind a Flop, a Play(wright) Within a Play

By PATRICK HEALY

Published: December 5, 2012

A stroll down West 45th Street in the theater district is all it takes to understand the contradictory fortunes facing David Mamet,for years the heavyweight of bare-knuckled American playwrights, as well as the producers who believe that loyalty to the writer makes good business sense. To continue Reading:

http://theater.nytimes.com/2012/12/06/theater/david-mamet-has-flop-and-hit-on-one-broadway-block.html?ref=arts

* * * * * *      * * * * *      * * * * *       * * * * *       * * * * * *

December 5, 2012

Ben Brantley Answers Readers’ Questions

Interview with NYTimes Theater Critic

http://artsbeat.blogs.nytimes.com/2012/12/05/ben-brantley-answers-readers-questions/

http://artsbeat.blogs.nytimes.com/2012/12/06/ben-brantley-answers-readers-questions-part-2/?ref=arts

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * *

How to Find Opening Lines That Electrify

Published: October 25, 2012

CALL me Ishmael. It was the best of times, it was the worst of times. Throw in Tolstoy’s uniquely unhappy families, Orwell’s 13-striking clocks and Nabokov’s loin-firing Lolita, and literature is packed with gangbuster first lines. To read on:

http://theater.nytimes.com/2012/10/28/theater/how-to-craft-an-opening-line-to-electrify-a-theater-audience.html?smid=fb-share

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

Specializing in Secrets and Their Dear Cost

By  PATRICK HEALY

Published: October 4, 2012, NY Times

THE Off Broadway play “Harper Regan,” a 2008 British drama about a woman swamped by family problems, was first going to be called “Seth Regan,” after Harper’s troubled husband. The title change was hardly superficial for the playwright, Simon Stephens. Like Tennessee Williams, who wrote several versions of (and titles for) “A Streetcar Named Desire” before realizing that his real subject was Blanche DuBois, Mr. Stephens goes down as many rabbit holes as necessary to discover the ideal wonderland in which to set his stories and characters.

http://www.nytimes.com/2012/10/07/theater/specializing-in-secrets-and-their-dear-cost.html?ref=theater

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

THEATER; Neil Simon’s Pinball Rules for Playwriting

By NEIL SIMON;

Published: March 22, 1992

WINSTON-SALEM, N.C.—  “How long did it take you to write the play?” the young college student queried. I was stumped. I didn’t know. I had no recollection.

Does it start from the moment you put pen to paper? (I don’t type. I write in long, narrow-ruled notebooks that I seem to find only in England, and even there they appear to be fast disappearing. I like to see as much as I can in one glance at a sheet of paper to get a sense of the rhythm and tempo of the words.)

http://www.nytimes.com/1992/03/22/theater/theater-neil-simon-s-pinball-rules-for-playwriting.html

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

Shock Value 

Critics’ Forum: The Shocking Power of Great Art

Four critics for The New York Times — Roberta Smith, Ben Brantley, A.O. Scott and Alastair Macaulay — are chatting about the role of shock in art: how it works, how it has changed and why it’s still necessary. Jennifer Schuessler moderates. Does art retain the power to shock? Must artists contrive to provoke? Join the discussion with critics, artists and readers.

http://www.nytimes.com/interactive/arts/art-shock.html#/critics6#critics6

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

THEATER REVIEW from the NY Times,

Broadway Royals, Out at the Summer Palace

‘Ten Chimneys,’ About Lunts, at Theater at St. Clement’s

By  CHARLES ISHERWOOD

Published: October 4, 2012

Hard though it may be to fathom, one of America’s most glamorous locales during the middle decades of the last century was a small town in Wisconsin with the homey name of Genesee Depot. There Alfred Lunt and Lynn Fontanne, the first couple of the Broadway stage, spent their summers, gathering around them luminaries like Noël Coward, Alexander Woollcott and Edna Ferber, who would descend on rural Wisconsin like so many brightly colored, exotic birds settling on a cornfield. To read more:

http://theater.nytimes.com/2012/10/05/theater/reviews/ten-chimneys-about-lunts-at-theater-at-st-clements.html?ref=arts

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

October 4, 2012

Theater Talkback: Hold the Applause

By  BEN BRANTLEY

Ah, the sweet, sweet sound of applause – music to any actor’s ears. But is it always? I’m referring specifically to entrance applause, that instant and seemingly spontaneous ovation that greets the arrival of a celebrated actor onstage.

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

THEATER REVIEW

‘Tender Napalm’   by Philip Ridley  at 59E59 Theaters

Fighting to Have the Last Word

September 3, 2012

Who’s telling this story anyway? You’ve heard that question, uttered impatiently or perhaps even furiously, by one half of a couple to the other in midanecdote. We all mythologize our lives, and most of us fight to ensure our version stands as the official one, even — no, make that especially — when the alternative view comes from the person who’s closest to us.

http://theater.nytimes.com/2012/08/30/theater/reviews/tender-napalm-by-philip-ridley-at-59e59-theaters.html?ref=theater

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

David Lindsay-Abaire and Naomi Wallace Receive Horton Foote Prize

By  ERIK PIEPENBURG

The playwrights David Lindsay-Abaire and Naomi Wallace have been named the 2012 recipients of the Horton Foote Prize, a biennial award named for the playwright and screenwriter  who died in 2009 at 92. Mr. Lindsay-Abaire’s “Good People” was chosen as the outstanding new American play, and “The Liquid Plain” by Ms. Wallace received the award for promising new American play. Each winner will receive $15,000 and a photograph of Mr. Foote.

http://artsbeat.blogs.nytimes.com/2012/09/03/david-lindsay-abaire-and-naomi-wallace-receive-horton-foote-prize/?ref=theater

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

Adaptation of Jonathan Franzen Essay Heads to Stage

By  JOHN WILLIAMS

August 30, 2012

Daniel Fish adapted the essay and will direct the show. Mr. Fish’s last production,  “A (radically condensed and expanded) SUPPOSEDLY FUN THING I’LL NEVER DO AGAIN (after David Foster Wallace),” featured performers listening to Wallace’s voice through headphones and reciting what they

heard. http://artsbeat.blogs.nytimes.com/2012/08/30/adaptation-of-jonathan-franzen-essay-heads-to-stage/

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

A good piece about the ingredients of your characters’ inner lives.

Things to Fear and Loathe By  PATRICIA PEARSON

A friend recently told me about a new app for the treatment of phobias. You stare at pictures of dental drills, snakes or airplane interiors, depending on your affliction, and these totems of menace  — interspersed with reassuring images of teddy bears  — gradually cease to provoke you.

Does it work? We can’t know. My friend has a phobia of stuffed animals. It’s something, he says, about the soulless glass eyes.

http://opinionator.blogs.nytimes.com/2012/03/03/things-to-fear-and-loathe/?scp=1&sq=Patricia+Pearson&st=cse

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

Lost and Found:

Treasure Trove of Playwright Interviews

“Mostly what you’re listening to is a give-and-take from what constituted the playwriting community in New York and, by extension, in the United States,” Mr. Weidman said.

http://cityroom.blogs.nytimes.com/2011/12/08/in-a-dusty-drawer-a-trove-of-theatrical-voices/?hp

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

The National New Play Network   is an alliance of leading nonprofit theaters that champion the development,  production and continued life of new plays. NNPN strives to pioneer, implement and disseminate ideas and programs that  revolutionize the way theaters collaborate to support new plays and playwrights.

http://www.nnpn.org/ about_mission.php

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

E-Plays available for download from Sam French

http://www.samuelfrench.com/store/ebooks.php

~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~

Resources :

Winning Writers  Website: More for fiction and poetry writers, but all kinds of good, well-paying contests.

http://campaign.r20.constantcontact.com/render?llr=6k8iurbab&v=001MtBt-olyudnAJRTyZetznSYZZMBf07h4HU0k8vhyK94xDMC5J1XGpiczQXHsitCcUHrQoiygEOh6581-tibiMYCzAcGcSXTwIgGT8vIoH4PLz5V6MqrZ1g%3D%3D

* * * * * *      * * * * * *      * * * * * *      * * * * * *      * * * * * *

The Dramatists Guild of America   was established over eighty years ago, and is the only professional association which advances the interests of playwrights, composers, lyricists and librettists writing for the living stage. The Guild has over 6,000 members nationwide, from beginning writers to the most prominent authors represented on Broadway, Off-Broadway and in regional theaters.

The Guild is governed by a Board of Directors elected from its membership, and which currently includes such writers as Stephen Sondheim ( West Side Story, Gypsy, Into the Woods ), Edward Albee ( Who’s Afraid of Virginia Woolf, A Delicate Balance ), Marsha Norman (‘ night, mother ), Tony Kushner ( Angels In America ), John Patrick Shanley ( Doubt ), John Guare ( Six Degrees of Separation ), Lynn Nottage ( Intimate Apparel ) and Rebecca Gilman ( Spinning Into Butter ). The current president of the Guild is Stephen Schwartz ( Wicked, Pippin, Godspell ). Past presidents have included Richard Rodgers, Oscar Hammerstein, Moss Hart, Alan Jay Lerner, Robert Sherwood, Robert Anderson, Frank Gilroy, and Peter Stone. Past Guild members have included Eugene O’Neill, George S. Kaufman, Arthur Miller, Lillian Hellman, Frank Loesser, Frederick Loewe, and Tennessee Williams.

The Dramatists Guild of America was established for the purpose of aiding dramatists in protecting both the artistic and economic integrity of their work. The Guild believes that a vibrant, vital and provocative theater is an essential element of the ongoing cultural debate which informs the citizens of a free society. The Guild believes that if such a theater is to survive, the unique, idiosyncratic voices of both men and women who write for it must be cultivated and protected.

To that end, the Guild maintains model contracts for all levels of productions, (including Broadway, regional and smaller theaters) and encourages its members to use these contracts when negotiating with producers. These contracts embody the Guild’s over­arching objectives of protecting the dramatist’s control over the content of his work, and ensuring that the dramatist is compensated for each use of his work in a way which will encourage him to continue writing for the living stage.

In addition to its contract services, the Guild acts as an aggressive public advocate for dramatists’ interests and assists dramatists in developing both their artistic and business skills through its publications, which are distributed nationally, and the educational programs which it sponsors around the country.

Advertisements