I'd like to welcome you to join me at http://theplaywrightsite.com to have your first look at the site. I'm still working on getting the full terms of use and such items up and running, however, I will make announcements when those are updated. At this time, membership on the site is free, so poke around, ask questions, get a feel for things. Please let me know about any bugs that manifest themselves for you by emailing me at info@theplaywrightsite.com with a description of what you were doing and what the site spit back at you.
I look forward to your input as we get started!
Friday, May 23, 2008
Saturday, May 17, 2008
Prototype Launch
Well, it's official. I'm the worst blogger in the world. Never was able to keep up with this sort of thing reliably. I'm going to have to try to form the habit again.
It's also official that we'll be launching the prototype of the website very very soon. Likely within the week.
I had promised to talk more about some of the features that will distinguish this site. We started with the premise that we wanted to bypass the current systems that are in place that restrict the likelihood of a play being found by producers. The giant piles of unsolicited plays sent by playwrights isn't very efficient for producers and it certainly is a shot in the dark for playwrights. So my hope is to end the concept of the unsolicited play and replace it with one of the most comprehensive search systems for plays. This will give the playwright the power to make their play as searchable as possible by multiple dimensions, and it will allow the producer to find plays that match their needs by those dimensions.
Next, we wanted to give producers the power to communicate directly to the playwright community what it is they need, be it for a festival, an annual season, or just a single play. We're including a Call for Submissions system that will give playwrights a chance to submit samples or full plays as called for by the producers and put their best foot forward for commission work.
Finally, we felt it was crucial for the playwrights and producers to have more control over the terms of having a play produced. The Playwright Site will not be taking any sort of cut of the royalties, nor will it be dictating how much a play must be produced at. If a playwright just wants to see their work on stage and doesn't care to make any money, they can set their royalties to zero. If they want to receive an upfront fee and forego per-show royalties, that option is available. If they want to charge $40, $50, $100 per show, it's in your hands.
These are some of the biggest distinguishing concepts that will be helping both playwrights and producers. We're going to be adding more options as we continue to develop the site, some that we've already discussed and some that will come from your comments no doubt. But in a few more days, the chance to take more control over your writing career or how you find your next new hit will be in your hands.
It's also official that we'll be launching the prototype of the website very very soon. Likely within the week.
I had promised to talk more about some of the features that will distinguish this site. We started with the premise that we wanted to bypass the current systems that are in place that restrict the likelihood of a play being found by producers. The giant piles of unsolicited plays sent by playwrights isn't very efficient for producers and it certainly is a shot in the dark for playwrights. So my hope is to end the concept of the unsolicited play and replace it with one of the most comprehensive search systems for plays. This will give the playwright the power to make their play as searchable as possible by multiple dimensions, and it will allow the producer to find plays that match their needs by those dimensions.
Next, we wanted to give producers the power to communicate directly to the playwright community what it is they need, be it for a festival, an annual season, or just a single play. We're including a Call for Submissions system that will give playwrights a chance to submit samples or full plays as called for by the producers and put their best foot forward for commission work.
Finally, we felt it was crucial for the playwrights and producers to have more control over the terms of having a play produced. The Playwright Site will not be taking any sort of cut of the royalties, nor will it be dictating how much a play must be produced at. If a playwright just wants to see their work on stage and doesn't care to make any money, they can set their royalties to zero. If they want to receive an upfront fee and forego per-show royalties, that option is available. If they want to charge $40, $50, $100 per show, it's in your hands.
These are some of the biggest distinguishing concepts that will be helping both playwrights and producers. We're going to be adding more options as we continue to develop the site, some that we've already discussed and some that will come from your comments no doubt. But in a few more days, the chance to take more control over your writing career or how you find your next new hit will be in your hands.
Friday, April 25, 2008
Storytellers Theater Showcase
Many thanks go out to Mariangela Saavedra of Storytellers Theater for hosting a terrific new show showcase last night at Gorilla Tango Theater. This was an opportunity for three playwrights to show off parts of their works and hope to get picked up by a company. I look forward to working with Mariangela again in the future as well as other events like this.
Mariangela was kind enough to allow me to speak about the project a little before the showcase and the response of people wanting more information was incredible. I look forward to them poking their heads in as I start to talk more about the project in the next few weeks as we near launch of the prototype. If all goes well, we are aiming for things to go live by mid-May, which is incredibly exciting for me and I hope for you as well.
So starting in the next couple of days, I will start to talk more about the methodology we're using. The true test, of course, is whether the project has value to you, the playwrights and producers, so I will be encouraging as much feedback as possible throughout the project.
Next topic: The Playwright Interface
Mariangela was kind enough to allow me to speak about the project a little before the showcase and the response of people wanting more information was incredible. I look forward to them poking their heads in as I start to talk more about the project in the next few weeks as we near launch of the prototype. If all goes well, we are aiming for things to go live by mid-May, which is incredibly exciting for me and I hope for you as well.
So starting in the next couple of days, I will start to talk more about the methodology we're using. The true test, of course, is whether the project has value to you, the playwrights and producers, so I will be encouraging as much feedback as possible throughout the project.
Next topic: The Playwright Interface
Friday, April 11, 2008
The Best Is Yet To Come
For those of you that don't read comments, I was asked a very good question. Several of you are likely anxiously waiting for my "Big Project" to be unveiled and wondering if this is it.
This is not it.
I am as anxious as anyone to reveal the prototype of the site when it is ready. The design is done now, and my development team at the Center for Arts Management and Technology is busily putting together the code to run the back-end of the site. Even as just a prototype, I think there will be a ton of exciting features and processes that will be of incredible value to both playwrights and producers.
I'll be talking more about the details of what's to come as the launch approaches, but in the meantime, I wanted to start a dialogue with the people that will be the focus of the site. If there is something in particular you would like to know or talk about, please let me know. I'd rather this blog be useful until the site is up and useful on its own.
This is not it.
I am as anxious as anyone to reveal the prototype of the site when it is ready. The design is done now, and my development team at the Center for Arts Management and Technology is busily putting together the code to run the back-end of the site. Even as just a prototype, I think there will be a ton of exciting features and processes that will be of incredible value to both playwrights and producers.
I'll be talking more about the details of what's to come as the launch approaches, but in the meantime, I wanted to start a dialogue with the people that will be the focus of the site. If there is something in particular you would like to know or talk about, please let me know. I'd rather this blog be useful until the site is up and useful on its own.
Attracting Audiences
Even though I have been woefully bad in keeping up with the show, "How I Met Your Mother" on CBS is some of the most entertaining stuff on TV these days. Neil Patrick Harris, formerly of Doogie Howser fame, and Alyson Hannigan, who played Willow (and more importantly Evil Willow... mmm Evil Willow...) on Buffy the Vampire Slayer, were part of the reason that I picked up on this show. The other part being the raves I heard from my friends.
And here we find Neil Patrick Harris complaining about how the recent appearance of Britney Spears in a cameo role lowered the artistic integrity of the show. It feels a little ironic for me, but it's not that he doesn't have a point.
Now, noone will claim that Britney got the role because of her fantastic acting skills. She wasn't horrible in the role, but there are others that could have done better, no doubt. But she brought in a million extra viewers. A million more people watching the shows (and the commercials which keep the show on the air and so forth) is nothing to sneeze at.
So where is the line between artistic integrity and selling out? The ensemble cast of the show is fantastic, but more people now know just how fantastic they are because of Britney's brief appearance. Arguably, the show has a chance to last longer with a greater audience for its messages now. That's a whole lot of TV writers with greater job security.
If it were me calling the shots, I'd be happy to have guest appearances of popular people in my shows. I'd just want them to be better actors than Britney (ok, that's not saying much, but you get the idea). There's a happy medium in there somewhere.
And here we find Neil Patrick Harris complaining about how the recent appearance of Britney Spears in a cameo role lowered the artistic integrity of the show. It feels a little ironic for me, but it's not that he doesn't have a point.
Now, noone will claim that Britney got the role because of her fantastic acting skills. She wasn't horrible in the role, but there are others that could have done better, no doubt. But she brought in a million extra viewers. A million more people watching the shows (and the commercials which keep the show on the air and so forth) is nothing to sneeze at.
So where is the line between artistic integrity and selling out? The ensemble cast of the show is fantastic, but more people now know just how fantastic they are because of Britney's brief appearance. Arguably, the show has a chance to last longer with a greater audience for its messages now. That's a whole lot of TV writers with greater job security.
If it were me calling the shots, I'd be happy to have guest appearances of popular people in my shows. I'd just want them to be better actors than Britney (ok, that's not saying much, but you get the idea). There's a happy medium in there somewhere.
Wednesday, April 9, 2008
Four Places
I had the distinct pleasure of going to opening night this past Monday of Victory Gardens Theater's new world premiere, "Four Places," by resident playwright, Joel Drake Johnson. I found this play extremely provocative as it explored what it means to have "secret lives" and how we are effected when others are let into those "secret lives," often without welcome.
Victory Gardens made a name for itself while doing very intimate work in its formerly small space at what is now its Greenhouse, which still supports brilliant work by small companies that generally don't have their own space as well as one or two resident companies. It was wonderful to see them approach a piece that is traditionally right up their alley and be able to utilize their newfound high-class theater space in the refurbished Biograph Theater.
What I appreciate most about Victory Gardens is their commitment to only doing new works. Their playwrights ensemble certainly gives those playwrights an advantage in being part of that "established" circle that I spoke of last time, but they do not pull exclusively from that ensemble for their seasons. It is the daring and risk-taking of theater companies like Victory Gardens that helps me have faith that their are more than enough theater companies out there to keep playwrights from all parts working full-time if we can help connect playwrights to those producing companies in a more sensible way.
Victory Gardens made a name for itself while doing very intimate work in its formerly small space at what is now its Greenhouse, which still supports brilliant work by small companies that generally don't have their own space as well as one or two resident companies. It was wonderful to see them approach a piece that is traditionally right up their alley and be able to utilize their newfound high-class theater space in the refurbished Biograph Theater.
What I appreciate most about Victory Gardens is their commitment to only doing new works. Their playwrights ensemble certainly gives those playwrights an advantage in being part of that "established" circle that I spoke of last time, but they do not pull exclusively from that ensemble for their seasons. It is the daring and risk-taking of theater companies like Victory Gardens that helps me have faith that their are more than enough theater companies out there to keep playwrights from all parts working full-time if we can help connect playwrights to those producing companies in a more sensible way.
Friday, April 4, 2008
Familiarity
I've been having a fantastic conversation about the role of familiarity in overcoming barriers between people and cultures. Naturally, my thoughts turned to theatre as I mulled this over.
My friend defines familiarity as knowing someone so well that there is no longer a need to question who that person is. You simply accept them. As I look back over some of the greatest, most powerful characters that have walked the boards, this concept resonates well. We've all had heroes, villians, and, best of all, ordinary people that have come into our lives through the vehicle of the stage that have become familiar to us.
How do you feel about those characters? How do you feel about the people that they represent? Can spending an hour or two in the audience of a play allow us to accept those people when we walk into the real world?
My friend defines familiarity as knowing someone so well that there is no longer a need to question who that person is. You simply accept them. As I look back over some of the greatest, most powerful characters that have walked the boards, this concept resonates well. We've all had heroes, villians, and, best of all, ordinary people that have come into our lives through the vehicle of the stage that have become familiar to us.
How do you feel about those characters? How do you feel about the people that they represent? Can spending an hour or two in the audience of a play allow us to accept those people when we walk into the real world?
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