The Play’s the Thing--the Playwright Too : Stop Complaining and Take the Initiative

Anyone can tell you just how difficult it is to make things happen in this town. I know. I’ve worked professionally as an actress here and in New York for the past 16 years. For the last three of those years, I’ve also been a playwright. Which, after reading Barbara Isenberg’s story, qualifies me as a member of what she refers to as “L.A.’s endangered species.”

In my naivete, I’ve worked like crazy and am now happily anticipating the opening of a play I’ve written, premiering this May at a Los Angeles theater under Actors’ Equity 99-seat plan, which permits hiring of professional actors for token fees. I’m also acting in the play (“Addicted to George,” the Melrose Theater). I’m sure Isenberg is correct when she says that L.A. playwrights net a mere $125 a week on average. It’s fortunate for me that this article didn’t appear earlier and discourage my efforts.

My beef is with the playwrights in the article. They complained of the enormous difficulty in mounting productions in this town. They also whined about the lack of venues available to them in presenting their work. Did they neglect to notice the 138 present productions listed in the Calendar section alone? It seems like the only time these playwrights get up from behind their computers is to search for support groups to commiserate and agonize with them over their plights.

Instead, they should take the initiative to accumulate the nominal resources it takes to mount one of these productions. In New York, playwrights regularly back their own plays. We’re not talking about a substantial amount of money.

The playwrights in the article complained that small theaters were unwilling to back their productions. Why hit these small, struggling independent houses for financing at all? They’re barely making their mortgages as it is. Even a large establishment like Los Angeles Theatre Center went under.

Los Angeles is filled with valuable resources. These playwrights should be seeking altruistic individuals or independent businesses interested in balancing their corporate image with a touch of humanity of underwriting artistic ventures, or simply to get a tax write-off.

The article neglected to point out just how fortunate we playwrights are in this town. We have access to the highest caliber of professional actors and directors willing and interested in doing 99-seat theater for little or no money. Besides, not every play merits a production. I have seen top-notch actors make horrific plays bearable.

Also, the article seemed to disparage the connection between film and theater. I think it’s absolutely tremendous that in this town a small-theater play can become a theatrical film such as “Daddy’s Dyin’ . . . Who’s Got the Will?,” “Nuts” and “Casual Sex.” (My play should be so fortunate!)

Using Edison’s formula of 1% inspiration and 99% perspiration and adding a pinch of chutzpah , one can present one’s work in this town. “Addicted to George” is living proof.

See you in May.