The Five: Following Up On Old Stories

Anthony R. Miller checks in by revisiting old articles.

Hey guys, so this week’s article started as just another 5 random thoughts. But then I realized the five thoughts weren’t random at all, they all were directly related to previous articles I had written. So today we take a look back at the ol’ back catalogue and see how things changed since then. Think of it as one of those episodes of Unsolved Mysteries where they say “hey remember that one mystery we couldn’t solve? We solved it.” So let’s look at a few follow ups to older articles, as usual, I have five.

Sometimes It Just Works

For my most devoted readers (I.e., my parents.) You will recall how excited I was to see Tartuffe at Berkeley Rep. Without writing a review; suffice it to say I loved the ever-loving crap out of it. A major reason for that being it was the opposite of what I expected. When I think of Christopher Bayes and Steven Epp, I immediately think of the modern-day Commedia Del Arte’ style, over the top comedy of A Doctor In Spite Of Himself and last season’s Accidental Death of an Anarchist. Instead, I got a dark-as-fuck interpretation that walked a line between silly and dark and perverse. I never knew if I was supposed to laugh or be horrified and I loved it. I loved that they made big fat daring choice and took it to the hilt. However, a strange phenomenon has been happening as I describe the show to people, about the time when I talk about the obvious influence that movement based methods such Biomechanics and Viewpoints had on the staging, I realize, I should have hated this show. The choice to take a usually funny, edgy comedy and take it in such an experimental, art school-esqe direction, the high art-ness of it all should have made me pull chairs out of the floor, but it didn’t. On this particular day, it totally rocked my socks. The point being, sometimes, in spite of everything, you just really like something. Sometimes, it just works for you, and hey, good for you for liking things.

A.J. Kirsch is Brilliant

In my first article for T-Pub, I made my love for Hoodslam pretty clear. My favorite thing about Oakland is not the Lake, Or Chicken and Waffles at the Merritt Bakery not even the Grand Lake Theatre (although it’s a real close second.) It’s Hoodslam, Indie Wrestling’s “Accidental Phenomenon” performing at the Oakland Metro Opera house the First Friday of every month. As I said, my love for this show is well documented, but I specifically want to talk about someone, who I think is one of the best, most brilliant performers in the Bay Area. There is one guy who is on stage for three hours straight, acts as host, commentator and wrestler and puts on a consistently masterful, energetic and fun performance every time. That guy, is A.J. Kirsch, also known as “Broseph Joe Brody” , a former contestant on WWE Tough Enough (And most recently Vh1’s Dating Naked). It’s not just the obscene amount of energy and intensity he puts into every aspect of his performance that makes him special. It’s the sheer amount of roles he plays. As host, he holds a capacity crowd in the palm of his hand; he leads them in chants, drives them into a frenzy with announcement of every wrestler, he stands from the turnbuckle, leaning over the crowd as he basks in sea of middle fingers as the audience chants “Fuck you, Bro”. He is their hero and villain all at once. Every wrestler has what is known as a “Gimmick”, it’s the core of your character, your costume, your entrance music, and your move set. Kirsch’s “Broseph” character is an obnoxious meathead who wears muscle tees with tacky phrases and carries a giant can of Axe body spray, in other words; he is everything the audience hates, a dirty douchebag bro. The audience loves to hate him, and hates to love him. Because of his humor, presence and natural charisma, he is the first ironic heel (Bad Guy), which makes him a Babyface (Good guy) for the smart-fan indie wrestling audience. This is a perfect example of Hoodslam’s Meta nature. Everyone is in on the joke. And Kirsch is their Ringleader.

Wrestlemania Was Probably the Coolest Thing to Ever Happen In San Jose

At some point last year, I made a list of theatrical events I was super excited for, Wrestlemania was one of them. At the time, wild horses could not have stopped me. Not only was it freakin’ Wrestlemania, but it was in my Hometown of San Jose (And Santa Clara, but whatever.). But the cruel realities of $250 Tickets, lame responsibilities and just poor planning led to me watching at home, luckily I have a pretty sweet TV. But the part I enjoyed the most was watching all of the events put on by the WWE that weren’t Wrestlemania. As a former resident of Downtown San Jose, it was crazy to see footage of Fan Access at the San Jose McHenry Convention Center, NXT did a show at SJSU Event Center, Some of my favorite wrestlers went to bars I used to hang out in. So many things that I was a huge fan of were all happening in my lame hometown. And it was all happening blocks away from my old apartment. It was the first time in forever I thought “Aw man, finally something super cool is happening in San Jose and I’m not there.” Wrestlemania was a huge success, which isn’t surprising; Downtown San Jose is designed for conventions. The word is San Jose and Santa Clara want the “Showcase of the Immortals” back sooner than later. Events in Downtown San Jose usually involve cars, concerts with very old bands or cover bands that play very old songs, or Christmas in the Park. So this was easily the coolest thing to ever happen in Downtown San Jose, so when it does come back, I won’t miss it this time, probably.

If Some Dude Doing An All-Pug Production of Hamlet is the Only Good Thing to Come From The Potato Salad Kickstarter, Then It Was Totally Worth It.

Oh the Potato Salad Kickstarter, remember that? The first Crowd-funding Meme, the joke that became a worldwide phenomenon, the Kickstarter Campaign that destroyed relationships, divided friends, and became either the funniest thing ever or proof the human race was doomed (Depending on your point of view.) But suffice it to say, Shit got real. At the time, there was a glut of theatrical crowdsourcing campaigns in the Bay, so I wrote two articles on it. It seemed every dream project, theater renovation, and fledgling theatre company with an ambitious new season, (Not to mention Reading Friggin Rainbow) needed your money. It got crazy, lots of folks didn’t make goal. People, who always made goal, didn’t make goal. And the fact people were more willing to give a dollar to be part of a ridiculous joke instead of ones theatrical endeavor created some very real tension. But a week later, the Facebook news Cycle had moved on and people were mad/outraged/excited about something else. But a lot of folks took the Potato Salad Kickstarter as a sign. A sign that said, you can do a campaign for any stupid idea you have, and people will reward you for how clever your stupid idea is. Enter Kevin Broccoli, an Actor from Providence, Rhode Island. Kevin saw the Potato Salad Kickstarter and said “Hey, I’ve got a stupid idea too!” and his campaign to stage Hamlet with a cast of Pugs was born. What started as joke became very real as the donations poured in; eventually he hit his goal of $5000 and will now stage the show. Think about that, $5000 for Pugs, on stage, dressed in Shakespearean Costumes. So for all the strife that kooky Potato Salad Kickstarter caused, it also begat a bunch of pugs in funny costumes, like a flower that rose from shit.

OMG A MUSICAL VERSION OF ‘GROUNDHOG DAY’!!!

Quite Recently, I wrote about a few silly ideas for musicals (I kept the gems for myself). But what I did not anticipate was real life Broadway one-upping me. Recently it was announced the classic Bill Murray film Groundhog Day would be adapted into a Broadway musical. Is this a good thing or a bad thing? I’m not sure, but they better do a huge dance number to “Pennsylvania Polka”. Will the Groundhog have a number? The show is written by Tim Minchin and Danny Rubin who wrote the Musical Adaptation of Matilda. This would mean something if I saw Matilda, but it got nominated for a Tony, that still means something, right? (Right?) One day our entire childhoods will be re-created in musical form, hopefully all the actors will be pugs, pugs dressed as pro wrestlers.

Anthony R. Miller is a Writer, Director and Producer. His new play “Christian Teen Dolphin-Sex Beach Party” will premiere at this years SFF Olympians Festival and his other new play “Sexy Vampire Academy” will get it’s first reading as part of “TERROR-RAMA 2:PROM NIGHT”, this October. Keep up with all of it at www.awesometheatre.org

The Real World, Theater Edition: A Playwright’s Guide to Grad School, Part One

Barbara Jwanouskos won’t be going back to school this fall, but she’s got some advice for all you playwrighting grad students out there.

Summer’s coming to a close and many are headed back to school. You may be toying with the idea of going back to school to get a degree in a theater-related field. If you’re a playwright, you may be looking at grad schools and thinking about applying. Well, as a recent graduate, I can give you some of what I’ve learned not only in the process of applying, but also what my experience was like while in it. I’m putting together at least a two part guide to the schools to look at, things to consider (for instance, is there a need to go back to school all together? SPOILER ALERT: No, but we’ll get to that), and ideas on where you might want to focus your attention while wandering through application land.

So, you wanna go to grad school… The first thing to consider is the reason (or reasons) why you want to go back. I will tell you right now, even if you end up being accepted into a program that pays for you, you will end up spending a lot of money in order to do this. Perhaps this does not seem daunting to you… but, trust me, when you get the bill, it will settle in. It also ends up meaning putting a hold on other theatrical pursuits while you’re there. It can often mean a big move. And, if nothing else, even if you have just recently graduated from undergrad, it can be a huge learning curve to be in a new environment with new demands placed on you.

To help you on this quest, here is my handy dandy check list of things to consider before making the decision to go back to schools:

• Write out your goals as a theater artist. Is there a field that you are most attracted to? What kinds of plays/performances do you want to be involved in? What kinds of audiences do you want to have? Do you want to get paid to write, or do you not care? Why do you do theater? What kinds of theater are you interested in? Where do you want to be five years from now in your playwriting career?

Honestly answering all these questions and more will help you figure out what you truly value. And even before we get to the question “why grad school now”? I would look at all the possible alternatives. Make sure to literally write this all out because 1) you’ll be writing a lot in school, so start getting used to it 2) when you write something out, you’re engaging other parts of your brain so that you are very thoughtfully considering this decision from lots of different angles 3) if you do ultimately decide to apply to schools almost every program asks what your goals are as an artist (and even if not here, you usually get asked what they are in the interviews), so it’s worth it to feel very solid with what you want to achieve.

• Ask yourself, if you can possibly make any of these goals happen in other ways. If you think you would be happier without making the sacrifices (financial, social, geographical, etc.) that are required to be a part of an MFA program, you should seriously reconsider the decision to go back to school. Or, at least, start reevaluating your goals and seeing if you can be more specific.

For instance, if one of your goals is to continue to hone your craft and add to your tool kit, there are a variety of resources out there that aren’t always free, but are more financially viable (and fun!) than a graduate program can be. In the Bay Area, the Playwrights Foundation in San Francisco, in addition to a variety of other organizations, offers classes to community members that are reasonably priced and taught by master playwrights. Theatre Bay Area offers the ATLAS program to playwrights and other theater artists to develop their career maps and goals. PlayGround has a Monday night writers’ pool for members of the community to share their work.

In other parts of the country, you have the Playwright’s Center and well-respected regional theaters that offer master classes, developmental opportunities, and writer’s groups to the public. These are great ways to continue to polish your skills, develop your voice, and network with other playwrights (incidentally, these are also some of the goals that could have been on your list!). The other thing to consider are some of the playwriting retreats (the one at La Mama Umbria is a fantastic one) where you can take a week or two to learn under an experienced playwriting instructor in the company of other writers, and often in a beautiful locale.

Another common goal is to have more development opportunities, which is often a part of an MFA playwriting program. Keep in mind, however, that not every program offers the same types of resources (some DO NOT offer development opportunities) and that by connecting with your theater community, you may be able to go through the development and production process quicker than you are able to in school. The added benefits are that you will have more experience putting your plays on their feet and meet new friends/colleagues!

• Make these things happen! The reality is that such a small number of people get accepted to graduate programs across the country every year. You can’t wait until you get into a program to make things happen with your writing. If you see a class in your home town, take it. If you have a couple friends who will read your work, do it. Don’t be precious about your writing or your goals. Now’s the time to make sure other people know what you’re working towards. You have to be unapologetic about being a writer or artist of any kind. And if you’re doing it to make money, just stop now and start looking into other processions where you can be creative, but are more lucrative. A career in playwriting will never be enough to live off of completely. I repeat, you will make little to no money doing this (and a lot of times, you will spend money so that you can participate in something you think is worth your time as an artist). This may not be the case for screenwriting or TV writing, but it certainly is for playwriting. YOU’VE BEEN WARNED.

If you’re still on the graduate school path, you still need to be active in the theater scene. As previously mentioned, these programs are highly competitive and often times only take a handful of playwrights each year. Your experience in theater is going to help you. So, if someone offers to do a staged reading of your play, do it! Write that play! Volunteer at a festival (speaking of which, the San Francisco Fringe Festival is coming up…)!

• Do your research. Again, even before you make the decision to apply, look through the various programs out there. They come in all shapes and sizes. You’ll want to find the ones that most align with your aesthetic, your learning style, and your financial resources. The Playwrights’ Center has a fantastic list of the playwriting programs offered across the nation, here. In the second part of my series I will go into more depth about what to look for in these programs, but make sure you are hunting for information on who the head of the program is, what plays they’ve written (read or see them!), how much it will cost, how many people they accept, what the curriculum is like, and where it is (at the bare minimum). More on this in the next column.

• Make a plan of attack. After you’ve considered why school and why now and have still remained active in the theater scene and have done your research, now’s the time to plan ahead. What will it truly take for you to go back to school? Look into all the ancillary things that come with being involved in a program. Talk to people in programs if you know anyone. Reach out to the school and see if you can talk to a current student, if you don’t know someone. Make a list of the deadlines for each school and what they require (they don’t all require the same things) and put them into some calendar, to do list, or organization mechanism. Plan ahead if any want you to take the GRE, since that is a whole other beast. Visit the schools if you can. And look ahead to the deadline time to see what your life will be like around then. Try to minimize the amount of activities you’re involved in around that time. The most important thing is your writing sample (keep in mind, some programs ask for two full length plays), but don’t discount the other materials needed, for instance your letters of recommendation (ask three to four people who know you and your work) and your personal statement. You should be about one to two months ahead of the deadline with prepping all these materials. Start with the letters of recommendation because you DO NOT want to ask your champions at the last minute. Ask them at least two months before the deadline. They are probably being asked by a lot of people.

• Read, see, and write plays. Above all, immerse yourself in theater. Read the classics you haven’t gotten to and the new playwrights that are being talked about. Read the plays by the heads of programs you’re thinking of applying to. Read up on theater news and opinions. Go to see performances regularly. Even if (especially if) it’s not your cup of tea because you will be exposed to a lot of things you love and hate while in school. Find ways to appreciate and respectfully talk about performances you didn’t care for. I know a lot of folks will disagree with this, but my reasoning is that you will see so much theater done by your friends while in and out of school, that it’s a good thing to open your mind to new forms and even try new things yourself. And if nothing else, to learn how to talk about what you connected/didn’t connect to in a way that maintains a working relationship with the colleague that’s responsible for the performance. It’s fine to have your opinions and tastes, but there’s nothing wrong with moving outside of your comfort zone every now and again. If nothing else, at least you may be able to articulate more clearly why it’s not your thing.

And make sure to continue to play with your writing! There’s a fantastic playwriting challenge going on to write 31 plays over the span of August (Check out 31 Plays in 31 Days). It’s a great way to produce a lot of writing without judgment. And writing something on the page is the absolute first step in writing a new play.