Debbie Lamedman is a sad playwright who sometimes cannot distinguish the difference between being sad or being depressed. What’s the difference? Perhaps it is the gloominess of the weather in the Pacific Northwest. Though she finds the grey days cozy and often conducive to writing, she remains sad. She writes many plays dealing with current social issues which would make anyone sad. Her attempts at writing comedy are often thwarted by dark thoughts of having to pay rent and eating.
Meron Langsner lives and writes in existential despair. And also in NYC. He was one of three playwrights in the US selected for the pilot year of the National New Play Network Emerging Writer Residencies.
His work has been performed around the country and overseas, and developed at the Lark, the Last Frontier Theatre Conference (which made the mistake of inviting him back as a featured artist) and KC/ACTF. Some of the publishers that have exhibited the poor judgement of including his work include Bloomsbury, Smith & Kraus, Applause, Indie Theater Now, and YouthPLAYS.
Meron is also a fight director and theatre/performance scholar. He actually defended his doctoral dissertation with a katana. For real. He has beaten up actors for money at venues that include the ART, Merrimack Rep, Arts Emerson, and Incubator Arts.
He has numerous fancy degrees from such places as NYU’s Tisch School of the Arts, Brandeis, and Tufts University. One of them even says “Doctor” on it. As if that means anything.
I am a sad playwright because even though I’ve always lived in Canada and winter shouldn’t surprise me, I’m always surprised by winter. One second it’s a lovely crisp leaves changing fall. The next it’s snow and ice as far as the eye can see. Everything about winter makes you want to curl up under a blanket and not write. I should live in a country that consistently has winter on a yearly basis so that it wouldn’t surprise me. Oh wait. I do.
Tim Prasil writes both audio and stage plays. His six-play audio anthology, Marvellous Boxes, was produced and posted online by Toronto’s Decoder Ring Theatre. Two of these productions were then aired on the Australian Broadcasting Corporation’s Top of the Pods programme. Another audio play, “The Crasher,” was chosen for an onstage “radio” production by Boston’s Post-Meridian Players. Prasil is embarking on a series of interlinked 15-minute stage plays set in a bus depot. Of these, “Genie in a Depot” has been produced and “Meds: the Musical” is about half-written. Prasil also composes music — much of which is melancholy — for stage productions and to express his tormented soul. It’s available for free on his blog.
Jeffrey James Ircink’splays have been produced in Dayton, Milwaukee, Los Angeles, Miami, Seattle, Belfast, Sydney, and Greendale, Wisconsin.
He veers toward “dark comedies”, but writes some happy crap too. He’s also not a half-sad (I mean “bad”) actor. Two shorts have been adapted to short films (which is sad ‘cause he hasn’t made any money yet).
A Journalism major who never had aspirations to become a journalist, Jeff enjoys gardening, making maple syrup, bowhunting, primitive collecting and Celtic music.
Jeff’s day job is something he has in common with Abe Lincoln, Rod Stewart & Joe Strummer. He lives in a “backward” house in Greendale, WI.
British Playwright Michael Starr lost control today following an unsuccessful pitch of his new play, MAN GETS PUNCHED THE GLOCKENSPIEL MUSICAL, to theater execs.
Michael Starr is a multi award winning British theatre playwright. His stage plays have been performed around the world, from North America to the Middle East, across Europe and back through to the United Kingdom.
LaDarrion Williams is an Alabama based playwright who gained inspiration for theatre at the age of 17. In high school he joined the drama club and excelled in all aspects of theatre such as: acting, singing and playwriting. In 2011 he wrote his first play “Concrete Rose” and submitted it to the Alabama State Thespian Conference where he won first place in the state for playwriting and now being performed by Newborn Theater in Canada this coming August . LaDarrion is currently studying Theatre/Writing at Lee University, where his college acting debut was in Lee Theatre’s “Big River.” LaDarrion also wrote a Choreopoem for Teens play called “Broken Memories” which was first performed at Minnesota’s Eat Street Players theater company in Summer 2012. It is now set to be published in Summer 2013. A playwright and actor, LaDarrion plans on writing plays and hope to one day inspire all and make it to Broadway.
His new play “Broken Memories” available at Amazon. Com/ broken memories
Jenny Seidelman’s plays have been produced in Chicago, New York and San Francisco. They have been rejected from theater companies in every major city in the U.S. and U.K. and some minor ones too. She likes to write about Irish gypsies, upwardly mobile Asians and others that are not usually represented on stage. When she is not busy being a sad playwright, she likes to listen to The Smiths, read Emily Dickinson and drink lots of coffee, all of which make her even more sad for some reason. www.jennyseidelman.com
This photo is of me on my couch being sad with a puppet friend who looks more demonic than sad. I am sad because I used to go to Bennington College in Vermont where everyone was happy and played the ukelele and told my writing was feminist and “in yo face.” Now I am in NYC and am told I am too young to be a playwright and my writing sounds drunk. I am also sad because people think I am trying to be Lena Dunham because I look jew friendly and want to be a writer; but I am not trying to be her, I am trying to be myself, which is probably not cool, which is sad.
Mfoniso Udofia is a New York based storyteller, actor, slam-poet and teaching artist. She attended Wellesley College for Political Science and obtained her MFA in Acting from San Francisco’s Tony award winning, American Conservatory Theater. During this stay in the Bay Area, Udofia pioneered a youth initiative, The Nia Project, which provided artistic outlets for youth residing in Bayview/Huntspoint. Some of Ms. Udofia’s plays include: The Grove, Sojourners, runboyrun, Lilyvine , hunger and Sherman: A Black Comedy.
Mfoniso is a 2013 Sundance Theatre Lab playwright, one of The New Black Fest’s 2012 Writing Fellows and she is a 2012-2013 Writing Fellow with both Playwrights Realm and Rising Circle’s INKTank. She has also been a semifinalist for the Eugene O’Neill National Playwright’s Conference. She received this distinction with her plays The Grove (2012) and Sojourners (2013). She has also been a semifinalist for the Page 73 Playwrights Development Programs and was a finalist for the 2013 Many Voices Fellowship. Please follow her at @mfudofia and check out her sitewww.mfonisoudofia.com for the latest news.
JODY CHRISTOPHERSON and MICHAEL DE ROOS Brooklyn, NY
We are a writing team based in New York and Amsterdam, our collaboration began in Brooklyn.
We are sad because we were torn apart by visa regulations in Dec 2012. So we decided to write a play over Skype ” THE SKYPE SHOW or SEE YOU IN AUGUST”. It’s premiereing in the FringeNYC Festival this August. So I suppose you could say we became playwrights because we are sad and couldn’t do anything else to get out of it.
Jody Christopherson is a performer, writer. Her work as an actress has been seen at: The Kitchen, Lincoln Center, Ensemble Studio Theater, the Public Theater, PS122, the Humana Festival, Classic Stage Company, the Bushwick Starr, Bowery Poetry Club, Philadelphia Shakespeare, Nebraska Rep, As a theater maker she has been awarded grants from Philadelphia Shakespeare, Bowery Arts and Sciences, commissions from Blue Box productions and the Exquisite Corpse Festival. Jody is a blogger for The Huffington Post and the editor and creator of New York Theatre Review, an indie media source for indie theater..
MICHAEL DE ROOS is an actor/musician from Holland. He studied at the Academy for Comedie (KoningstheaterAkademie) and at the Actors Studio Paul Dekker (Meisner) in Holland. Michael moved to New York to study with Maggie Flanigan at the Maggie Flanigan Studio (Meisner) and dance at Dance New Amsterdam. During his stay in the US he has performed Diganwhisky at Dixon Place, The Little Prinsinn at the Brooklyn Lyceum and performed several Sticky musicals and plays for BlueBox Productions by Libby Emmons, Alex Beech, Christian L. Starr and Christy Baugher. As a founding member of the band Greencard Wedding he sings, plays guitar, beatboxes and composes.
Greencard Wedding (Jody Christopherson and Michael de Roos) is an indie folk beatbox rock duo from Omaha Nebraska and Lieden, Netherlands that originated in Crown Heights Brooklyn, NY. The band plays original music in Dutch (with English subtitles) and in English (no subtitles). Their music is an eccentrically theatrical combination of Dutch beatbox, acoustic guitar and tight vocal harmonies. All performances include Wedding Cake, as well as other wedding party favors such a garters, bubbles and a set list t-shirt worn by one lucky audience member. Venues played include: Ella Lounge, Dixon Place, The LES Music Festival, INTAR Theater’s Roots and New Music Festival, The Parkside Lounge and more. Their first LP “Forced Co-habitation” was released in Sept 2012. EP “3 Hours in May” including music from THE SKYPE SHOW to be released Fall 2013. www.greencardwedding.com
DT Arcieri is a biologist, playwright, philosopher and bon vivant. The former two when he is sober. The latter two when he is drinking. On the whole, he thinks too much and writes too little. That makes him pretty *&%@# sad. Oh, and he’s lonely, too. So visit him at www.DTArcieri.com
I had 7 shows on last year while I finished my Masters in Playwriting This year, Absent Theatre Company are touring a full length original piece of mine called ‘On Beauty.’ It is in London, Sheffield and Avignon, France, which all sounds good doesn’t it? Go to the website to learn more:
I am entering competitions and submitting scripts, I am pitching for commissions and I even like my day-job. But with a pretentious artist’s temperament I am unhappy. - Or rather because I don’t own a camera and don’t have any sad photos of myself I’m gazing wistfully into the distance but still - I am sad. No one will ever pay me enough to live, and the BBC only employs writers if they want to work on Eastenders which is baffling, let me write for radio 4 I’ll be ridiculously good at it… and of course I have no life, the joys of being a playwright.
ARTISTIC DIRECTOR APOLOGIZES, CLOSES THEATRE AFTER PRODUCING A WONDERFUL PLAY
Opening night of STAGE & STUFF’s new American play LOOFAH was a surprise, not only for its audience, but for the artistic director and its staff. So much so, that Shar Berg De Lump, Artistic Director of Stage & Stuff has announced that not only will the play close immediately, but the theatre as well.
De Lump explains “I have no other choice but to close it. When I picked Loofah for this slot, I expected it to live up to its promise. I mean, it’s about a wet sponge and the people who share it. That’s the show I signed up for. That is not what I got. “
When pressed for specifics, De Lump added “Well, I won’t go into too many specifics, but tonight at the show, the dialogue was tight, the characters were vibrant and active. The connective tissue was elegantly woven throughout and the end was highly illuminating. I blame the playwright for this.”
The young up and coming playwright Jepson Shmeer, could not immediately be reached for comment.
Ruth Baluba, ardent theatre goer and longtime subscriber to Stage & Stuff recounts her experience of that fated opening night.
“My husband and I were in shock. It was unlike anything we’ve ever witnessed on this stage before. It was…good. And we go to everything. Productions, workshops, readings, even the ones in Queens. Our whole night was thrown off by the show.”
Ruth’s husband Stanley Baluba, gently took her hand as she struggled to fight back tears.
“I mean, first this play, then the people handing out those comedy flyers in Times Square, who normally harass us, decided not to. It’s as if they could sense we had just come from a place of quality. And then to top it off, all three of our trains showed up right on cue. Even the G train! The G train! I’m still confused by that.”
Indeed, it seemed the rest of the audience shared in Ruth Baluba’s confusion. House Manager Connie Greenberg pointed out “No one fell asleep. Even our season subscriber Two-Minute Tony. He’s called that because he’s lights out within the first two minutes of every play he attends here. But tonight, he sat straight up, alert, eyes darting side to side like a hunting beagle. During intermission, no one left to use the restroom, not even Cecil Peckinpaw, who has an excitable liver. After the play ended, the four people in our audience didn’t know what hit them. They were so confused, they didn’t even know how to exit the theater. This simply cannot happen again.”
Later at the opening night party, lamenting over a bowl of stale goldfish, Mr. De Lump offered up some insight into the process of developing Loofah. “Well, there was no process. Our dramaturg, after the first read through actually said to me ‘Shar, I’m no longer needed here. This play…it just makes sense.’ I knew right then our young Mr. Jepson had been secretly making revisions of the play. Reflecting back, yes, I would say the signs were pretty clear. I guess I just chose to ignore them.”
When asked how he would respond to the drastic turn of events at Stage & Stuff, Mr. De Lump had this to say. “It was always my dream to guide this theatre company into mediocrity. The promise of presenting tepid and unengaging work was one I thought I could easily fulfill. Today I have broken that promise. This fell under my watch. Therefore it is my responsibility…nay, duty to address this in a timely manner and offer my deepest apologies to all four of our subscribers. But an apology is not enough. It’s just words. It is not action. And I am a man of action. So immediately I will not only shut down this production but the theater as well. It’s clear after tonight, the theater is dead.” When asked to pinpoint the exact cause of De Lump’s theater’s demise, he uttered only three words: