Midnight Sun

Home. Sweet.

Before I give any final thoughts I MUST, MUST, convey how grateful, thankful, blessed, and just damn lucky I am to be married to Tony Pender. A simple statement last summer that I might like to go to this conference for few days IF we could afford it turned into the most incredible experience of my life. He does not "complete me;" he gives me the ability to see that, despite my quirks (!) I am already complete and whole just as I am. I struggled with what to bring him back as a souvenier, and my friend Gail made me realize that I didn't have to bring him anything, that coming back how I am now and with what I feel now is all he wants for me. He's awesome. (I did get him a tee-shirt, though. :))))


Okay... what will my final thoughts be? Don't know if there will be "final" thoughts or if there can be. What I learned from the conference about writing, about myself, about focus and vision will be thought about forever. There was a little switch in my head before Valdez that put just enough doubt in my head to thwart me at the worst times, and the best times. There was just enough fear to stop mefrom writing and blaming it on a block. That's not to say writers don't get writer's block. For me, it usually comes I don't know how craft wise to fix what's not working, or when I'm afraid to write what's coming because I know it will challenge me, or frighten me. That switch was flipped in Valdez. It wasn't anything specific that anyone said or did, but I don't seem to have that fear anymore, and frankly am looking forward to writing and facing head on what's coming.

Rita was there. I didn't actually see her, but felt her presence many times. Several of the college staff who remembered her came to me many times to make sure I was having a good experience. And there was Gail. Gail's husband also died last year, soon after he came back from Valdez, so she and I bonded in a very special way. Her quest was to find out what transformed her husband; he came back different, just like Rita did. Just like me. I think she found that answer, and she found out many things about herself, too.

The staff of the Prince William Sound Community College is wonderful. They have such enthusiasm, and every crisis was met with calmness and cheerful resolution. You KNOW that they were sick of us by the time we left, but never once did they show it. There could have been more writing workshops, and perhaps fewer plays (100 short plays is just too many, I think). Consecutive Master Classes would be better than concurent, so that I wouldn't have to choose between the Marian Seldes acting class and the Edward Albee writing class (would have LOVED to go to her class, but Edward....) One long play a day would be better than 2, for us and for the panelists. One night free from activity would have been appreciated just so everyone could catch their breath and absorb some during the conference. All of these things will go in a letter to the staff.

All the writer's notes have already been posted, and I don't think anything major happened outside what I wrote that would be worth noting. I never got confirmation that any of the big playwrights would take/read scripts, but I don't think I would have done that anyway. That's not what they were there for and I think it would have been rude. I'm sure some people tried even so. I had fun with John Guare, we always laughed and joked when I spoke to him. We even joked once about leaving our spouses for each other, he'd be great to just sit and have a beer with. Romulus Linney is more reserved but very friendly and I ended up walking with him for about 10 minutes downtown and we talked about one of his plays that I'd picked up at the conference. So smart, very direct, but approachable. A glass of wine and a nice conversation would be great with him. Albee was on a different plane, no one ever really approached him without something to sign, or unless he was talking to someone else and you happened to be around and could join in. Very dry sense of humor, but very aware of his place and expects you to be aware of it, too. Lloyd Richards. Legened. What else is there to say? So sweet and unassuming, and his mind is like a steel trap, he misses nothing. And Tony Kushner was amazing. Every speech was funny and irreverent and powerful and passionate, just as you'd imagine. Speaking to him one-on-one you forget who he is, he immediately puts you at ease. He always grabbed and held my hand when we talked.

I was on the last plane out of Valdez yesterday and so most all the big guys were on the same plane; Kushner, Linney, Guare, Marian Seldes, Patricia Neal, Joel Vig (from Hairspray), Lawrence Saccharow (Director), Mel Gussow from the NY Times. So as we're all landing in Anchorage getting our connecting information, Tony is talking to (?)someone, and I'm talking to an actor I met at the conference. Tony's conversation ends, and he walks up to ME to say goodbye. Again, Un-real. He had made a statement the day before (can't remember if I posted this) when asked about the lack of women on the panel of judges, saying that wasn't the problem for him. The lack of minorities, of African-Americans or ANY minority was the travesty. (And among attendees, too. African Americans broke down to 5 female playwrights, 1 male playwright, 2 female and one male actor.) So at the airport I thanked him for what he said. I said, "I know that isn't your cause but thank you for the attention you'll bring to it." He said it was his cause, that every cause should be everyone's cause. I said, "yes, but you can only bring so much attention to it. It has to be my cause, African American writers, Asian writers, Hispanic writers have to write with the same passion you do, whether it's political or not, and break down those barriers." I told him again that I'd like to send him an email through the college and he said absolutely, so we'll see. Then he hugged me and left.

So I left the land of the Midnight Sun. That's my favorite song of all time. Ella Fitzgerald, from the Johnny Mercer Songbook. Lovely. And I had my martini at the airport bar. And I took my Xanax. And I had my Bloody Mary on the plane. And I slept the whole flight. And came home. Sweet.

And, In The End, The Love You Take...

... Is equal to the love you make. Beatles in my head all day.

Saturday, June 26

Didn't get to talk to Tony K, exactly. He and John Guare ducked out of the last play and panel discussion to go rafting. Which I understand completely, but find rude in a way to that last playwright who's work was read today. Everyone's tired and drained, but that's what we're here for. So they toughed it out all week but on the last day we decide to blow the play off? Not cool.

Yesterday's play panel discussion was brutal to the playwright, and it left everyone with a lot of frayed nerves. There was discussion of the play, and then discussion ABOUT the discussion, and then discussion about that. They were unnecessarily harsh.

Today's last play wasn't bad, but it was more of a sitcom which several of us commented on at intermission even before the panel said it. Albee made a point of saying that criticism isn't meant to be personal or against the playwright, but they DO need to be honest and say what they feel, as the critics most certainly will. He said it in a way that was clearly meant to calm everyone down from yesterday, and I think that the panel discussion from yesterday contributed to Tony and John not coming today. Anyway, plays are over.

Final Gala was tonight. Champagne reception before, with certificates to the playwrights. Nice. Good champagne. 3 glasses. 4? Standard banquet chicken for dinner, but in a nice sauce so it wasn't dry. :) Bottles of wine on each table. 2 glasses with dinner. 3? Speakers, short film on Tony. Tony speaks. Patricia Neal sings, "Send in the Clowns." Cheesy musical tribute after that. Water show on the harbor afterwards with cash bar. Martini. 2? I've still got it, baby! :)

That's it. Over and Done. Today was a day to wind down, start saying goodbye to some who left early. It's strange, wonderful, miraculous, scary, how when you're at things like this you meet certain people and get in your clicks, and they are exactly who/what you need at that time. I've been so lucky to have hooked up with 6 women within the first day and I learned something from each of them. Rebeccca from Australia ("you know darling.... you move like a dancer...), Janice the Prof. from Nebraska, Brenna from Alaska (an amazing actress who read my play and Janice's), Michele from Alaska, Alison from Philadelphia (teaches at Drexel), and Gail. Gail. Can't remember if I mentioned Gail earlier. Her husband died this past year also, so she and I had other agendas besides just plays. This trip was a catharsis for her, she came looking for answers (she said he had a premonition of his death here last year), and I think/hope a few of us helped her find them. The group was great in that we didn't necessarily hang together every day; one day it was just me and Rebecca, one day it would be 2-3 of us, one day it was all 6 all day. We'd usually meet up at some point, and touch base which was nice. I was challenged by each of them in some way and I'll never forget them.

Since I didn't get to meet with Tony today, I approached him after dinner and reminded him of our conversation (he gets so many I'm sure he forgot). He says yeah, yeah, I say, "do you mind if I email you through Dawson or Jody at the college in a few weeks and ask you some questions about the project?" Sure, absolutely. Nice. So, we'll see what happens.

I'm still processing everything, and will have a final wrap up to post tomorrow. Then home. Home.

I Wish

Friday, June 25

This is the 3rd time I've woken up, so why fight it? Might as well get a quick message out while I can.

Last night's show was the featured playwrights reading from their works. Romulus Linney, Tony Kushner, John Guare, and Edward Albee. Powerful and emotional experience. A friend (an actress AND a playwright) commented that actors would have ruined each of those pieces last night, too much over acting or under acting. :) Each piece was perfectly paced, the language was wonderful. I closed my eyes during a lot of plays and I know it looks like I'm sleeping but if the language and words are flowing it's like music and I just want to hear it and make my own images. Romulus read from "Goodbye, Oscar" about Oscar Wilde. Tony read from "Homebody/Kabul" with amazing power. John Guare read from "Lake Hollywood." And Albee read from a new play! His first major success was a play called "Zoo Story," and this new play is a prequel on one of the characters and what happened to them just before "Zoo Story" started. Brutal.

What did Kushner say, that Shakespeare was the big "Why Bother?" After those performances... well, after the show, my friend and I looked at each other and said "why are we here?" But strangely, after everything settles in, it gives you more resolve to be better. Maybe my/your niche will be different but just as strong.

I wish all playwrights could be here.

Tony K

Part 2. Just checking the schedule for tomorrow and I don't know if I'll be able to post so I'd better do this now.

So the Albee class is over, and I'm trying to absorb. I stumble into the next thing, A Conversation with Tony Kushner. It's moderated, and he discusses general play stuff. Just a few notes:

Brecht was the reason he became a playwright. Gave him a template for combining theatre and activism.

Shakespeare. Only go near him when you absolutely have to; he's so perfect, he's the big "Why Bother?"

Plays should make the familiar strange and the strange familiar.

He talkes about other plays he's working on, including one about slavery, a play on Benjamin Cardozo, and others. A bell goes off in my head when I hear the play about slavery. Not sure what doesn't sit right. So the discussion is over and there are a few people around him and I make my move again. I get to him and ask, "is there anything that you as a playwright can't or shouldn't write? I'm not talking about the craft/structure itself, but topic, or subject matter?" He: What do you mean? Me: Specifically the play you mentioned about slavery. He said that George C. Wolfe (Director of the Public Theatre in NYC, and African-American for those who might not know) approached him and asked him to write it. He: Do you mean that as a white male, CAN I write a play about slavery? Me: Well, yeah, I'm curious about IF it's possible and HOW he would go about it, etc. He said there had been some discussion about that, and then it was time for the next play to set up. He says to me, "this is a serious topic; let's set up a little time in the next day or so and I'd like to talk to you about it."

Huh?

"...let's set up a little time in the next day or so and I'd like to talk to you about it."

Unreal. Un. Real.

Tomorrow is his Master Class, so I'll see if I can meet with him either just before it starts or just after. I can't believe I typed that.

Bed. Brain fried. Processing....

Edward A.

Thursday, June 24

! ! ! ! ! ! !

Missed the morning plays today, I just couldn't get going. I took my time, and treated myself to a real breakfast at the Sea Moor Landing, with an omlette, hash browns. Decided to be brave and had some reindeer sausage. If they hadn't told me it was reindeer I wouldn't have known, it tasted like regular smoked sausage. But, at least I can say I had some.

Got to the convention center for the master classes starting at 11:00. Acting with Marian Seldes, Playwrighting with Edward Albee. I picked Albee of course. So what does he open with? "It's 1961, the first day of the the first rehearsal of 'Who's Afraid of Virginia Woolfe, and ...'" Surreal. Just surreal. The story is that he walks into the hall and thinks there will be the cast, director, TD, and himself there, and he's shocked to discover 75 people sitting around waiting for him. All of those people were there for only one reason; he wrote a play. Playwrights are NOT small cogs in the wheel. 75 people are working because of something he did. It's a huge responsibility and we'd better live up to it.

Other notes:

Times have changed. Original production of Virgina Woolfe cost $40,000. The revival planned for next year will cost over $1.5 million.

Dramatists Guild. Join, Join, Join. They are our protection (he's on the guild board so...)

Don't give in to pressure of a theatre just because you want a production. If they are not serving the play, pull it. Period. And no one can change a word of your play without your consent. Not one.

There are normally only 3 1/2 to 4 weeks from 1st rehearsal to 1st audience; plays must be performance ready. Don't come expecting to iron out during rehearsal process. All re-writes that take place during rehearsals are usually destructive to the play.

Plays must exist on the page as completely as they do on the stage. You must be able to "see it" without the intrusion of a director/actors. It should read as wonderfully as the production you want to see.

You must ask yourself, "am I really a playwright?" Not a novelist or poet or short story writer who thinks writing a play would be a good idea. But really a playwright. We are always better at one of them, the others suffer. (Don't know if I buy that one, I know of a few hyphens who are good at everything... BLUE!)

He mentioned that while he loves "The Glass Menagerie" it would be a much better play without Tom. Wow, I never thought of that. It's been a while since I read it, so I'll have to dig it out.

Any play that is good needs to be challenging, to change people. You are there to make them different than when they came in the theatre.

We are not writing to be approved of.

Every play you write should be as if it's the first play you've ever written. You never lose the magic that way. And, Every Play should be as if it's the first PLAY that's ever been written anywhere. Make each one a brand new invention.

Inevitability. Do whatever you want in a play as long as the end is inevitable.

Read, Read, Read, Read. It's your responsibility to know as much as posslbe. See plays, study, educate yourself. Spontaniety comes from knowledge, not ignorance.

Any play that can't be performed with just 2 chairs and a light bulb on an empty stage shouldn't be done. Understand and use technology if you want, but your play should not rely on it to complete it or make it's point.

Conclusion of class.

So I sit there, and a few people go up to get an autograph. I refuse to just go up and say, "duh, sign my book" so I always have a question for the person I'm getting a signature from. Suddenly, I have my thought and take a deep breath and approach. "Hello Mr. Albee, I'm Adrienne from North Carolina, blah, blah... You mentioned that No one can change a word of a play without consent yet you also said you would cut Tom completely out of Glass Menagerie. Isn't that a contradiction?" Clever. Tee hee.... :) So he says if he were directing he couldn't cut Tom and wouldn't, he just wishes he could. So then I mentioned the contract issue, and told him the story of how TIP initially didn't want to pay me because I was a local playwright. I told them no, that they would pay any other playwright and they should pay me, too. Albee: And did you get the production? Me: Yes, sir. Albee: And did they pay you? Me: Yes, Sir! Albee: Excellent! He signes my copy of his play, 3 Tall Women. He shakes my hand and walks away.

Relax, Relate, Release.

More happened today, but it'll have to be in a separate post. My brain is full.

Put Your Hand in the Hand of The Man

Wednesday, June 23

Summer Solstice, 22.5 hours of daylight in Alaska. Thank God for my eye mask!

Slept in a little today and didn't make it to the convention center until 9:30. Last night was late (and so was tonight) and by the time I posted and relaxed a bit it was after midnight Valdez, 4 AM EDT. Wiped out, but worth it.

Today's class was with John Guare, who had the whole hour to himself (no Courtney in sight). Great talk about writing craft. Notes:

The lessons we learn from one project don't necessarily apply to the next, i.e. don't expect every to write/feel/understand every play like your others. Each can have a different process and it's okay. Therefore...

Are playwrighting books worth it? If that works for you, use it. Do what the play needs.

Don't edit as you write (which I do a lot). That inner critic is what "writer's block" is. That's what silences you, keeps you from writing.

Try to ask yourself the proper questions as you write; if you ask the right questions the story will answer them. His example was in The House of Blue Leaves. One character is not in Act 1 but is in Act 2 and some of the other characters have to explain to her what happened in Act One. He never could successfully transition that or have it make sense until he thought to ask the question "why WOULD they have to explain it to her?" Is she deaf? YES. Once he made the character deaf it changed the whole dynamic of Act 2. This process took him 4 years, kids, so no more worrying about how long it takes for a project to be finished (if you ever believe it is)!

Write about what drive you crazy or about what you don't know. Writing about what you know is no challenge to you, unless you write about it in a way that's outside your comfort zone.

There was a documentary shown after lunch, which several of us skipped. Went down to the coffee shop in town, called Bad Ass Coffee. Pretty good coffee and a tasty piece of cherry cobbler, we headed back for the afternoon long plays. These two were not bad, each had some good points and some bad points. The 8 finalist long plays are all works in development, but even though I know that, it still seems like there could be better choices. Some of the plays in the Short Play lab have been better than the long plays.

During the break between shows, saw my moment and jumped in. Tony Kushner and John Guare were talking, so I grabbed my copies of Angels and House of Blue Leaves and asked for signatures. But silly me, I handed Tony The House of Blue Leaves and John the Angels in America. I played it off and we had a nice laugh. I had spoken to Mr. Guare yesterday, so he turned to speak to someone else and I was left standing alone with The Man, Tony Kushner. Was there anyone else around? I asked him how hard it was, knowing how much he hates being in the spotlight, to be the honoree at an event like this. He seems to still be in shock that he is "famous" even to this day which was nice because it made having a conversation with him very easy. I asked him how hard it was to sit through a reading and critique it immediately after, and don't think he cares for the concept at all. There should be a break and time to absorb what we've seen before any comments are made and he totally agreed. Then you have to be careful about the playwright, and you can have a bad situation like yesterday where the play needed serious work (I'm trying to be nice) and all the panel laid into it, which we both agreed was brutal. The playwright kept composed but could have handled it better. Tony said that was unfair to the both the playwright and the panel, which makes me wonder if he'd do another one of these conferences again. His comments have been honest but not in a hurtful way, unlike Albee who just dives right in and starts out with, "the first thing that bothered me with your play was XYZ..." Ouch! Anyway, it was time for the next play, so we wrapped up and he gave me a little hug. And where was my camera?????? Tomorrow. Tomorrow is HIS Master Class and I will be right there. Still haven't found the right moment to approach Albee, but I will before I leave.

It's 12:30 and the street lights have just come on. It gets dark enough for street lights, about like 7:30-ish in east, and this is the darkest it will get all night. Luckily with the mountains there is no direct sun in any windows but the sky is always Carolina Blue. :)) Thanks and Blessings for Ambien!!!

Now that hump day is over, and home is on the horizon it's time to think about winding down and returning to the normal world. I will not go back the same person.

A.

Thankyoufalettinmebemicelfagain

Tuesday, June 22

Valdez is in the middle of a heat wave. This is the 4th day of record breaking temps in Alaska, and while it's not hot by North Carolina standards (hazy, hot, humid, blah blah) the 78 here is pretty bad. Again, there is no AC in Alaska, windows are cranked and fans are a-blowin. Mosquitos are thicker, but I still haven't been bitten yet.

Valdez Harbor looks like a typical New England town, with a dock and boats in the middle of downtown. It so strange because I'm used to seeing those towns against a backdrop of an ocean expanse, and to see this sleepy little inlet at the base of a huge mountain is mind blowing. It's very calm here, and everyone is pleasant. The hotel I'm staying at is okay; I've stayed at better, but I've not stayed at a place with a nicer staff. They're great, but will probably be sick of me by the end of the week.

Today there were 2 classes, 2 lectures, and of course plays, plays, plays. I skipped the Directing class since I went yesterday; the acting class was led by Courtney B. Vance, from Law & Order, The Hunt for Red October, and of course the original stage production of Six Degrees of Separation. He's great, very down to earth, and teaches at a very relatable level. I got to meet him after the class (I have not been timid about meeting the biggies so far, except for Kushner and Albee) but didn't have my camera so will get a picture tomorrow. They added another class with him tomorrow since this class was so good. John Guare, the author of Six Degrees, and Courtney were supposed to do a lecture after Marian's about Six Degrees and how they play came about, but it turned into John just asking Courtney about his training, and by the time they got through chatting the hour was up. They were hilarious together, like a comedy team. I really wanted to hear them talk about that play, it's one of the greats, but didn't feel cheated watching them just talk for the hour. Hopefully they'll find a way to fit it in later in the week.

Next was the lecture, which was from Marian Seldes. I think most people would recognize her if they saw her. Most recently she was in Mona Lisa Smile. I knew her after seeing her picture. She was a founding teacher of the drama school at Julliard, and taught there for 25 yesrs. Being in her presence is amazing. She floats into a room. She glows, her skin is luminous. She commands attention without commanding attention, and when you speak to her there are beautiful lights in her eyes. She hugs everyone and kisses you when you say goodbye. She spoke for an hour about acting, working with great directors and playwrights, balancing real life and theatre life, and then answered questions. Just amazing. I got a picture with her, and when I saw her later in the lobby she said "hello, Adrienne." Not that I have any delusion that I made an impression, but her memory is wonderful.

Evening performances from Patricial Neal and Joel Vig. Ms. Neal was not feeling well, and had her arm in a sling, but she was fabulous. She was very frail, but her voice was strong. Someone said they could listen to her read the phone book. I know Rita had a great experience meeting her last year, but I think because of her health she didn't mingle after the show. I hope to have a chance later this week if she's around.

Had another chat with Mr. Richards today, and am drafting in his wake.

Heard from a little bird that it IS possible to approach the big guys about your play, i.e. give them your script. They might not read it at the conference, but they would take it with them and read later. That's huge. Think I'll verify that one, but... I did just happen to bring a copy of Stone Face with me... it could fit either Edward A or Tony K, I think, it's got enough politics in it. Hmmmm.... maybe I'll make a run to the library tomorrow, make an extra copy, and give it them both. Go BIG, right? One small step for man... .

Kisses, Darlings.

Violently Happy

Monday, June 21

Thanks for the messages, and Shout Outs to Frank (Thanks for the Partridge Family voice mail!!!) Nicole, Flo, Kiki Newtonkl, Nicki (Hey Gurl!), Ira, Mom and Dad and of course the girls (Webster and Sy) Love you All!


Slept in a little today, and got to the convention center in time to see one play before the Master Classes started. The schedule is Short Plays in the morning, Master Classes and Concurrent Sessions at 11:00, then lunch, then the long Play Labs in the Afternoon. Break around 5:30 until 7:30 for the evening performances, then a reception after, then for the night owls the Fringe Festival with open mike play readings (short plays of course!) poems, or whatever. Today's Master Classes are playwrighting with Romulus Linney and Directing with Lloyd Richards. I picked the Directing class because I'd been in a writing workshop with Romulus over the weekend, and well, Mr. Richards is a LEGEND.

Notes... keep in mind these are from a professional director and you playwrights out there KNOW that not eveyone does these things.... :)

Playwright and director and TD/set designer should meet first thing and make sure they are all on the same page with the same vision.

Directing is problem solving. Don't negate any good ideas - accept a thought and transform it constructively into the play.

Directing is not about telling people what to do, right from wrong, but understanding their process, why they make their choices, and working within THEIR process to bring out the vision.

Mr. Richards told a great story about playwrights and critics. He had arranged for a meeting with himself, a playwright and several critics, but told the playwright not to speak to the critics before he got there. When he arrived, he found the meeting had already started and as he walked into the room the playwright (who was in a wheelchair) was facing the critics with a briefcase in his lap and the critics were all seated in front of him, totally silent. The playwright had the briefcase open, and there was a pistol inside (which the critics could see) and he was sitting there, patiently waiting for his comments. Excellent, and we all want to shoot critics, don't we????? He was wonderful. I met him after the class and we had a nice chat (he's at least 82) and I got a photo with him.

I'm working up the nerve to approach Albee and Kushner. They're wandering the halls now. Go BIG, right??? One Bigwig a day. I'm still feeling the Richards aura.

Ciao for now.

Love Connection

Hey Kids!

Thanks to some persistence and a crack IT team, I found a way to hook up from my hotel, so now I can post as often as I want. It's dial-up, but who cares???

Okay, Sunday, June 20. Plays in the morning, plays in the evening... ain't we got fun? More comments on the play, seeing the plays of new friends and acquaintances. Marveling at the scenery. We were discussing at dinner how over used the term "awesome" is in every day life, because we are now surrounded by truly AWESOME scenery and the word seems ordinary. I'm literally looking at a mountain right outside my room which still has pockets of snow and ice. Valdez is experiencing a heat wave right now, it's 78. I said to someone, why don't they turn on the air conditioning and then realized the stupidity of my statement... they don't have air conditioning in Alaska! :)

First sightings of Mr. Albee (Ed, to us. :)) the wonderful actress Marian Seldes, and Lloyd Richards, probably the greatest director ever, and The Man, Tony Kushner, at the play Sunday night. We sat through a play that, well... I personally didn't buy the set up and so that made the inconsistancies more noticeable. The end was strong, though, so I'm not sure how I felt about it. I'm curious what they thought.

On to another play and reception tonight, but I can post when I come back. Yippy!!

A Walk Across the Rooftops

June 19. I found a coffee shop that has free internet for customers. Hurray! Still has a time limit, though, but hey. I'll take what I can get.

The Reading.

This is a short play called "The Murder of Love." It follows the progression of a marriage and each scene uses the exact same dialog and blocking. It's only the changes in punctuation, inflection, and tone from the actors that we see how the couple destroy their relationship. I had 2 really good actors who had played with it very well, which is what I wanted. I was fortunate to have the reading early and on the first day because people are excited to be there, not tired or burned out yet, and so their comments were constructive. Everyone loved it... (!!!) Several people came up to me in the afternoon and told me that if they were awarding Best Play I should get it. Sweet. It's the first day, though, and there are 85 more plays being read.

Mosquitos are everywhere, more than I've ever seen. I haven't been bitten once yet, though. Maybe my smooth chocolate princess skin is too rich for them. HAAA!

They're glaring at me in the cafe so I've gotta go. BIG, of course.

Smooches!

The Stars All Seem to Weep

Greetings All!

Sorry for the delay in posting, but there just isn't another way to access the internet except through the library computer, which of course is only open in the day during festival hours. I'll do what I can....

Okay, June 18, Friday.

I am the first person at the regisration desk. Not excited at all, am I? I meet Dawson Moore, the conference coordinator who I'd been corresponding with for months, and hug him just because. He and the staff are wonderful, call you by name, and truly make you feel welcome. So I get my conference materials (NICE BAG! Large, roomy, and can hold lots of stuff like... the books they sell of the featured playwrights, etc.) I walk through the lobby and notice a photo collage of past conferences. I wasn't even paying attention really, just glancing over the photos, and there is Rita, smiling at me. They have a photo of Rita from the last day's cruise in the collage, and I look at it for a moment and then loose it right there in the lobby. I felt her here but I had so not expected to see her. I found Dawson and asked about the photo, and he put me in touch with the conference photographer. They have given me an 8 x 10 copy of that photo, which I'm sending to Rita's mother, along with a copy of the conference program, which has a little memorial section to Rita and another playwright from last year who passed away. Seeing her smile was a nice little affirmation for me, like a "yeah gurl! Live it!"


Pre-Conference Writer's Workshop

Okay, tech stuff now. GREAT exercises in the workshop. I don't usually do writing exercises like these because I don't normally force myself to abide by the rules when I'm alone. But with someone breathing down your neck saying, "okay, now write!" well it's amazing what you can come up with. Example:

1. Write a monologe that starts with the following sentence: "One thing I really can't stand is..." 5 minutes; START.

2. Next; write a monologue in response to the first one. It can be a counter argument, it can agree, whatever. 5 minutes; START.

3. Combine the 2 monologues into a dialog. Read the first sentence from the first, and then the first sentence from the second; then the second sentences back to back, then the third sentences, etc. And see where it takes you. Very interesting and effective.

The other exercise was the one that really floored me. That took longer but we ended up writing short plays. I'll have to put that in the next post because it's a worthwhile exercise and what came from it I will definitely develop further.

Not sure if the library is open tomorrow, and my half an hour is almost up. I'll see what I can do; there are computers at Prince William Sound College from what I hear, but it's a pain to get there; everything is walkable but that's still on the far end of town. Tonight starts the Fringe Festival/Open Mike parties, which will be every night after the receptions. There will be play readings, poetry and some live music, too. I've got my cigars ready... all I need is a martini and I'll be ready!!! :)

Next post will be about my play reading and the other writing exercise.

Ciao Darlings!