Photo By Mel Yonzon

How did you first become involved with writing?

I’ve been writing since I can remember. When I was little, I had a little “Ying and Yang” notebook where I wrote stories about wizards and space travel. I started writing for theater when I was a sophomore in high school. I loved everything that theater brought to my life, and I wanted to experience all the different areas of theater. I fell in love doing it.

How did you come up with the idea for your script?

I started writing Hallowed in a math class at Scripps Ranch High School. I had recently read Edward Albee’s Three Tall Women and was amazed at the way he explored the different stages of one character’s life. I thought about what kind of a conversation  an elderly man near the end of his life would have with a young boy who has never lost anyone before. The rest came from there.

What themes are involved in your piece?

Life and death are major themes in Hallowed. There is a man waiting to die peacefully who finds himself in conversations with people who all have their own ideas about what death means to them. It also touches on regret, love, and happiness.

What is the message you hope the audience takes away with them?

I hope the audience can walk away with a new understanding on what it means to be alive and the possibilities simply being alive allows. Hopefully they can relate not only to the Old Man, but also to every person he talks to, and after hearing all they have to say, be able to decide for themselves how they feel about the themes being discussed.

Do you plan to continue writing?

Absolutely. I don’t think I’ll ever stop.

What do you want to be when you grow up?

I know when I get older I’ll be working in as many realms of the theater as possible. Writing, directing, acting, and whatever else there is to do, I will be doing it. I love the theater and all the values that keep it alive. I can’t wait for the next step in my life!

To purchase tickets to Plays by Young Writers visit the Lyceum Theatre!

How did you first become involved with writing?

I’ve always written a little. I took a Playwrights Project Recollections class taught by Deborah Salzer. It was my introduction to playwriting. It was a bit challenging in that Deborah had us writing a small piece a week. How to generate ideas? Where to find the right words? Well, necessity did it. I wrote a new piece each week, one of which was Wahoo, in a shorter version. Constant revision produced what the audience will see. It all seems amazing to me.

How did you come up with the idea for your script?

Wahoo is my father so this is a “reflection” piece. It is based on actual events. The tavern, drinking, Christmas Tree store, and World War II are real memories. There’s some embellishment to make it more attractive to the audience.

What themes are involved in your piece?

Several background stories exist in Wahoo.  First, Wahoo, as a child, lived with a foster family and only went to school up to 5th grade.  He left school to go to work.  He was a dreamer and an optimist.  Eventually, he became an alcoholic and that, too, is reflected in this play.  Topper (that’s me) is Wahoo’s son, and together, with my mother and brothers and sisters, lived with Wahoo’s dreams, optimism, and alcoholism, which had a very negative side.  This is the story of a flawed father-son relationship.  Finally, it is set to the backdrop of the depression and World War II.  It reflects that important time in our history.  There is a theme of shared sacrifice during the war and the hardships it brought as well as the future economic promise.

What is the message you hope the audience takes away with them?

The bitter sweet complexities of life. The importance of hope and a shared, interdependent, life . The man who provided Wahoo with the coupons necessary to buy rationed goods was also suffering, but he wanted to help his friend with so many children. The difficult World War II period subsequently produced unprecedented prosperity in the United States, which continues into this decade, although the nation now faces new economic challenges.

Do you plan to continue writing?

I write, virtually, every day. I plan to expand the one act Wahoo into a full length play entitled, “Wahoo and Casey Stengel.” I’m writing a play about death, revival, and birth titled “The Colored Musicians Club.” It’s about, among other themes, racial history in the United States, the birth of Dixieland music, New Orleans, and an elderly Negro musician in an old folks home. There are many other projects beyond these, including short stories and novels.

What advice do you have for young playwrights?

Write. Write as frequently as you can. Then, rewrite and rewrite. Read and reread. Attend plays. Study them. Don’t give up. Keep writing, you have something valuable to share with us. I’m waiting for it.

M was selected for Playwrights Project’s recent round of Play by Play, a program that pairs emerging playwrights with dramaturgs and culminates in a workshop reading of the selected play.  Playwrights Project recently joined forces with New Village Arts Theatre, which is producing a workshop production of the Play by Play selections.   Karen Li’s play, M, will be presented this weekend, January 20-22, 2012. Order tickets here!

Karen Li

What attracted you to further developing your script, M, in Play by Play?

I was so happy to hear from Playwrights Project, especially since I had submitted this piece so long ago. I was even more excited when Chelsea Whitmore told me that there would be a full staging as well as a reading. At its heart, M is a play that celebrates the human body in motion. I’ve heard the play read before this, but I love that I’ll be able to see it on its feet for the first time.

What aspect(s) of Play by Play have you valued the most?

I could not thank my dramaturg enough for all of her support during this process. Sonia has been a godsend and an absolute pleasure to work with. This is my first attempt at writing a full-length play, and her expertise has been invaluable to the development of this piece. It is always wonderfully bizarre to see my work analyzed and memorized in rehearsal, but Sonia has approached my work with such tenderness and insight that I am still completely blown away. It has truly been a blessing to have her by my side, and I thank Playwrights Project from the bottom of my heart for bringing us together.

What are your future plans for M?

I’m in the process of applying for a grant that will take this play to London. If it pans out, I will be working with students at the University of Roehampton, and we will most likely turn M into a full-fledged dance piece.

Are you working on another script? If so, what is it about?

I’m always working on other scripts, but there is nothing big at the moment. I’ve been drawn to the image of Guy Fawkes in T.S. Eliot’s, “The Hollow Men,” lately, so maybe something will come of that.

What have you learned about yourself as a playwright since taking part in this program?

I have learned to be brave in the face of writer’s block, and soldier on through time crunches and lapses in judgment. The answers I’ve been looking for will invariably appear when I let go of where I think the play has to go, or what I think the characters have to do.

Below is an interview with Rob Novak, a current playwright taking part in Play by Play.  His script, Lost Apollonia is a mystery and a noir love story. Tangled in between is the history of the movies, the melding of stagecraft and magic, and unique energy of life in Los Angeles. Lost Apollonia will be performed in a workshop production this weekend, directed by Chelsea Whitmore. Order tickets here!

What attracted you to further developing your script (LA: Lost Apollonia) in Play by Play?

I had been working on this play for almost two years, but hadn’t done anything with it for a couple of months. I realized that with the type of guidance I had received on an earlier Play-by-Play project, Weekend in Iowa, I might actually be able to get the thing finished. When I heard that there would additionally be a workshop production, it was a huge motivational factor in actually finishing the play. The only thing that helps more than hearing your play read, is seeing it performed.

What aspect(s) of Play by Play have you valued the most?

Anytime a writer gets support for something they are working on, it’s like fuel on a fire. To know that someone is going to be reading what you are doing, helps to motivate; to know that someone is going to have to memorize it and translate it to an audience is even more inspiring. To be given the space and time to write is a blessing that can be hard to come by. Playwrights Project helps you fill up your writer’s toolbox.

What are your future plans for LA: Lost Apollonia?

I’ll be submitting the play to a number of small theatres around the country- there a lot of wonderful festivals and new play series out there. I want to see how some of the stage directions/magic tricks/special effects turn out, to see if some of this stuff is even possible to do on stage, and then try to do it again.

Are you working on another script? If so, what is it about?

There are usually a few projects going on at any given time. I’ve been going back to a play for young adults called Coyote Bluebird. It deals with border issues, and the story weaves in lots of Native American legends.

What have you learned about yourself as a playwright since taking part in this program?

That you can keep writing, even if you aren’t in school, even if you aren’t currently “working” on something. You can always develop your ideas, and put them out there, and you never know who is going to want to help.

Is there anything else that you would like to impart to the readers of our blog?

Keep coming to Playwrights Project events. Theatre is an important way of telling stories, and teaching people how to tell stories is an important way of teaching them how to communicate. Playwrights Project does that, for older writers, sure, but especially for the kids in the classrooms. Keep helping them fill up those toolboxes.

Karen Ladner

Karen Ladner, Board Member Emeritus and Husband Todd Stone

I attend many Playwrights Project functions, have taken a playwriting workshop, and am a donor. I’m also a board member emeritus.

Playwrights fulfills a great mission for kids – increasing literacy through drama based activities. It has changed the lives of foster kids by allowing them to tell their stories in a safe, creative, encouraging environment. Playwrights also allows older people to express themselves through playwriting, which not only engenders creativity but keeps their memories alive for others. My mother commissioned a play of my grandfather, who was then 98 years old. He was interviewed several times and the play was written based on his stories, by a professional playwright. It was then performed by professional actors on his 99^th, and last, birthday. It was fabulous!

Playwrights is also one of the best run non-profits with which I’ve been involved, both fiscally and strategically.

Karen Cebreros

Karen Cebreros, Community Volunteer and Co-Founder of Track The Impact

I was introduced to Playwrights by Ann von Gal when I was in High School in LA. I was part of a project that took my class all three years to see plays and that changed my life forever. The most exciting thing one can do is see a wonderful show from San Diego to New York. My best friend is a playwright and she has won the Kleban Award and best musical in LA……she continues to change lives with her plays.

I have seen Playwrights Project shows for 5 years. I was mesmerized by the cast. I can tell these young writers are destined for greatness.

This year I was delighted to donate by selling  gold that no longer was functioning. I hosted a  “gold party” with my friends and family.  A diamond store on Midway authenticated, weighed, and purchased our unwanted gold items. I gladly donated the $1,000 proceeds to Playwrights Project.

Thank you for keeping young people involved in the arts. Thank you for preserving culture in San Diego.

Ann von Gal

Ann von Gal, Partner, Olmstead von Gal Associates

Many years ago my dear friend and neighbor Mary Harrison invited me to join her to see a performance of plays written by school age children. Mary and I are dear friends so I said yes, but in the back of my mind the thought of sitting through some “kid” plays was something I was not looking forward to. That evening was my introduction to Playwrights Project. “40 Miles from Tel Aviv” hooked me. And I have been involved with Playwrights Project ever since.

 Playwrights Project helps not just one part of our community but makes a significant difference in the arts, education, seniors, foster youth, children, literacy, writing, speech — the list goes on and on. It is because of this outreach I feel my donations are making more of an impact, a bigger difference.  And because of this extensive outreach, the Playwrights Project budget is larger than one may expect. As all non profits are vying for grant monies and donations, Playwrights Project’s remarkable staff of 4 stretch every dollar to its limits to provide value and excellence with, of course, creativity, while keeping Playwrights Project on budget.

My favorite memory with Playwrights Project was that first night as a member of the audience. It completely turned  my Bah Humbug attitude around.  

Playwright Project is truly the gift that keeps on giving.

Jerry Hoffmeister, Recent Chair of The San Diego Foundation

 Jerry Hoffmeister

 What is your personal connection to Playwrights Project?

I really enjoy attending the play readings. They remind me of my days before TV when I listened to radio programs. In some ways, I prefer to visualize the set or scene in my mind versus on a stage.

 

Why do you donate to Playwrights Project?

My wife & I feel strongly about supporting the creative process of play writing for people of all ages.   Everyone needs to explore their creative side to build self esteem & good health.

 

How have you witnessed Playwrights Project changing the lives of others?

My wife gets a real “high” writing plays, especially about her family.

 

What is your favorite memory with Playwrights Project?

It’s always the play readings I attend.

 

What drew you to the project?

The Telling Stories: Giving Voice to Former Foster Youth program, being featured in CSUSM’s New Play Festival, is a representation of everything I love about working at Playwrights Project.  This show not only brings new works to the stage, but in doing so it nurtures new young actors, creates collaborations with seasoned professionals and emerging artists, and furthers awareness in the community about the stories and strength of foster youth.

As the director, and as someone interested in working in the academic field, the opportunity to work with Dr. Judy Bauerlin was priceless.  It was the best kind of collaboration in that we were able to feed off each other’s ideas, and I was able to benefit from her insight and experience.

Ever since my Playwrights Project residency at San Pasqual Academy, I have jumped at any chance to work with foster youth. I have personal experience with the foster care system, and my husband and I hope to be foster parents someday. 

What intrigues you about the scripts?

Most intriguing was the clear message of the value each individual life holds. I was also intrigued by the scripts that focused on how important it is, as an adult, to do a better job fostering each child’s potential.

You can hear statistics about the foster care system until you are blue in the face, but there is nothing like seeing their stories on stage to help you understand the challenges these kids face. Rita Naranjo, one of the storytellers, uses the term “parentless kids.” The scripts offer such a varied view of what it means to be “parentless kids.” They show what it is like to grow up without consistency, without someone advocating for you. But there is also a redemptive outlook that each of these scripts has. They highlight the power people can have when they are willing to take the time to be a role model. There is a great emphasis on the value of the compassion from the mentors who stick with the kids, and the humanity of the main characters, who represent these real life storytellers. All the stories highlight the fact that these are four incredible individuals who have an amazing amount of inner strength and resolve.

What is it like working with college students and storytellers?

Working with the student actors in this show has been amazing. One student in particular came into audition for another role, but ended up as the lead character.  Her experiences as an ACE Scholar and former foster youth brought so much truth to the character in the play. I watched my actors grow in their empathy for each other. One of the greatest experiences was having the storytellers come in and talk to the actors at rehearsal. As a director it is a rare experience to work with the subject of the piece you are directing. Participating in the discussions between the storytellers and the actors was remarkable. I watched the actors begin to realize the impact of the work they are doing. I have such affection for all the cast, faculty, and staff I have worked with at CSUSM and Playwrights Project, and I hope we were able to honor our amazing storytellers with this production.

How can readers help?

We will be putting out a bin from Promises2Kids each night for toy donations for current foster youth. Guests can bring a toy (or gift card for older teens) to the show and it will go to a local foster youth.

Plays will be performed by student in CSUSM’s Theatre Department: Arts 101 Building, 333 South Twin Oaks Road, San Marcos, CA 92069.

Performance Dates:

December 1^st, 7PM, Suggested donation $2

December 3^rd, 7PM, Suggested donation $2

December 4^th, 2PM, Suggested donation $2

December 6^th, 7PM, Sponsored by Arts and Lectures, FREE

December 7^th, 7:30PM, Suggested donation $2

NO RESERVATIONS REQUIRED. SHOW UP EARLY. SPACE IS LIMITED.

June Gottleib and Savannah Sincoff

Photos by Chelsea Whitmore

In Recollections, participants reflect on their past experiences and learn playwriting techniques to transform key moments from their lives into dramatic vignettes. It’s a bit like journal writing, except that the writers take creative liberties in combining their past experiences with their current wisdom to reveal these moments through dialogue and action. The resulting scripts are performed by professional actors at the end of the workshop.   

Hear from Past Participants!

The Ink Spot at ArtCenter Lofts

710 13th Street, Studio 210

San Diego, CA 92101

Professional Actors Fred Harlow and Wendy Waddell in June Gottleib's Changing Roles

Playwrights Project thanks The James Irvine Foundation, the San Diego Commission for Arts & Culture and Writers Ink for their support of this program.

Justin Lang has been  involved in the arts in San Diego for over 10 years. He works with Playwrights Project on numerous levels ~ working backstage at our Plays by Young Writers festival, performing scripts written in our playwriting programs, and writing evaluation letters for our California Young Playwrights Contest.

Justin is currently  the Education Coordinator with the New Village Arts Theatre in Carlsbad, and can be seen in their Season 11: The Ensemble Project.

Below, Justin shares his insights about writing evaluation letters for our Contest entrants.

What do you look for when reading the Contest  scripts?

One of the first things I look for is creativity and originality.  As an artist, I am always trying to dig deeper  and make more expansive discoveries.  When a play is creative, I find myself  getting lost in the world where the play is taking me – for a brief moment I am transported to another world…

How do you think your feedback benefits the  young playwrights?

As a professional artist, I have a wonderful opportunity to  represent the theatre arts community and lend my experiences and perspective to aspiring artists.  I am  encouraged that so many young people are interested in the arts. This will  surely better the expansion of the arts in San Diego.

What do you value about Playwrights Project’s California Young Playwrights Contest?

Playwrights Project gives young artists opportunities to use their  voice in ways those young artists never thought possible. Some writers reflect on the condition of the times; others are more focused on the human conditions of their particular age.  The true value of Playwrights Project is that it fosters a way for young people to come together and understand one another.

Please describe a particularly memorable contest script from the past and why it intrigued you.

I once read a script about a fish who was swimming in the ocean and it was very cold.  The fish met a  whale and explained his problem with the water temperature.  The whale kindly offered to have surgery to remove blubber and give it to the fish who was very cold.  The fish and whale located a penguin doctor for the operation.  The penguin successfully removed some blubber from the whale and gave it to the fish.  The whale and fish then became best friends for life.

This grabbed me because this is an instance where you learn everything about life in kindergarten. And here it is in a script, reminding me as an adult that simplicity is best. Look out for one another and we will make it–Brilliant!

In your opinion, what makes a script better  suited for the stage vs. screen?

Fewer scenes make great plays!  If a play has a lot of scenes, chances are the writer was thinking of the story as a movie.  A great play is about what happens with the story, characters, and audience interacting with the energy that is transmitted from one to the other.  Fewer scenes allow for more in-depth character study and force the writer to become more creative with their storytelling.

What advice do you have for young playwrights?

• William Shakespeare is the representative for the English language. How amazing is that?!  A playwright is the representative for the human condition.
• Write everything, nothing is wrong.
• This is art, life imitates art…write your thoughts and observations and watch how you change the world!  Miles Davis once stated, “The only reason to write a new song is because you’re tired of the old ones.”

Winners of the 2011 California Young Playwrights Contest will be publicly announced at our Lights Up! event on November 5 at the Neurosciences Institute. More details to come!

Playwrights Project was recently awarded a grant from students at McPhatter School in San Diego, who took part in a program with Main Street Philanthropy.   Read on below for details on this amazing and unique process!

What is Main Street Philanthropy?

Main Street Philanthropy was founded by Ryan Ponsford, a wealth management professional who helps families with philanthropy.  He spoke with his friend Scott Kreinberg, a teacher at McPhatter School, who thought his students could benefit from learning more about philanthropy–specifically the process leading up to, and the actual act of giving donations to local non-profit organizations.  The Main Street Philanthropy Challenge is a six week program that brings the lessons learned through philanthropy from the ultra wealthy to the students and families of Main Street.

What was the philanthropy process?

Over six weeks, students worked in groups to research non-profit organizations that shared their values and addresssed areas where students would like to see change (personal values, issues, and social concerns).  After reporting their findings, students would agree on organizations to further research.  They were guided in performing both Qualitative Analysis (through volunteering and individual interviews) and Quantitative Analysis (through a review of the non-profits’ IRS Form 990).  Students would then meet and agree on how to distribute their funds from Main Street Philanthropy (funded by Giving Hope Worldwide Foundation).

Students met with Playwrights Project’s Executive Director Cecelia Kouma.  They had a worksheet of 23 questions to ask a non-profit before donating, which included questions on the Mission and history of the organization, programs and services offered by the organization, board and volunteer information, and financial history.  Students also looked through our IRS Form 990 to find more information on expenses, fundraising and other revenue to determine the financial sustainability.  Organizations that received funding from the McPhatter students were San Diego Humane Society, Father Joe’s Village, Becky’s House, PLNU Health Promotion Clinic, ARTS (A Reason to Survive), & Playwrights Project.

How can the students benefit from this type of project?

Students benefitted from the Challenge in several unique ways: increased trust and communication among participants, expansion of preparedness and understanding of financial concepts, an appreciation for the need and purpose of philanthropy in our society, and for many, increased self-esteem and confidence by being on the giving side of philanthropy.

More information on McPhatter School:

McPhatter School is part of the Juvenile Court & Community Schools system with the San Diego County Office of Education.  McPhatter acts as a placement site for students who are on a long-term suspension, expulsion or zero tolerance from San Diego Unified.  They are often referred by the Juvenile Probation Department, the Department of Social Services, or the Juvenile Court.  A large number of the students are homeless or in the foster care system, many of which are living with friends or family other than their biological parents.  Of those enrolled, 85% of students are from socio-economically disadvantaged situations; 34% are considered “English Learners.”  The goal of McPhatter is to build student self-esteem, increase course completions, and return students to a traditional school district.  Students live at home and attend school during the day.  The average stay for a student enrolled in McPhatter is 6 months or longer.

What is the history between Playwrights Project and McPhatter School?

Playwrights Project has brought in-school playwriting residencies to McPhatter for the past two years, and students have also attended the Plays by Young Writers festival. Mr. Kreinberg’s class attended a performance of Switch by Lisa Kirazina (from the Telling Stories: Giving Voice to Foster Youth program) during last year’s play festival.

We are honored to have been selected by the McPhatter students to receive their donation, and agree that this unique giving challenge was an amazing experience for both the students and our organization!  Thank you to McPhatter and Main Street Philanthropy!!

For more information on Main Street Philanthropy, visit http://www.mainstreetphilanthropy.blogspot.com/.