Love & Lightning in Baraboo, Wisconsin this weekend

The folks at Sauk Prairie Theatre Guild are producing an evening of one-acts in Baraboo, Wisconsin this weekend: In The Way of Love, which will include my one-act play, Love & Lightning.  This is a play that I wrote quite a few years ago, as a radio play, back when I lived in Colorado. I wrote a grant for funding to record a set of four half hour shows and sold a couple of them to NPR, and they were aired on NPR Playhouse. This was back in the early 90s.

It’s exciting that this play still lives on (now as a stage version). I just wish that I could be there to see it. I hope they have a blast with it!

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Beatrix Potter Must Die! opens in Orlando January 19

My comedy Beatrix Potter Must Die! opens  this week in Orlando in a production from the Playwrights’ Round Table. These same folks did an excellent job with Santa Doesn’t Live Here Anymore last year, and I’m thrilled for them to produce this revised version (new and improved) that has traveled the world a bit (New Zealand, South Korea, and the Philippines).  The whole evening sounds like a blast, so if you’re in the area, I hope you’ll check it out.  I just wish that I could fly down there to see it!


(If you’re on the New Play Exchange, you can read the play here: )

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Chore Monkeys opens in Charleston in one week!

One of my newest plays, Chore Monkeys, will open January 24 at the College of Charleston.  The production, directed by Joy Vandervort-Cobb, will run through February 3rd.

The college flew me out to Charleston last week, so I could be involved in some rehearsals.  I got to stay in an historic home/inn right on campus, the King George IV. (I adore Charleston.)  In my jam-packed two days in town I got to attend two rehearsals, a bunch of meetings, and visited four undergraduate classes as a guest artist. The play is coming along very nicely, and I can’t wait to back next week for the opening.

If you’re in the area, I hope you’ll come check out the production. It’s a play that will certainly raise some serious discussion about white privilege and race relations, and there are some laughs along the way.

(If you’re on the New Play Exchange, you can read the script here:


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Writing by the Numbers 2017 (over in WritingLifex3)

In case you’re interested, I just posted my annual year-end for 2017.  I detail my number of productions, submissions, income/expenses, and hours spent. Great for playwrights and numbers geeks out there.

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Santa Doesn’t Live Here Anymore opens in Miami tonight!

My short play Santa Doesn’t Live Here Anymore at the City Theatre in Miami. I’m thrilled for this play to be included in a festival that will include short plays by terrific and prolific writers from across the country. City Theatre has made a name for itself by specializing in the professional production of short plays–they have a big Summer Shorts festival that has been going on for years. I just wish that I could be there to see the show!  The show runs December 7-23rd.


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Listen to Interesting Theatre Makers (and me) on Some Small Magic Podcast

Fletcher Pierson is a Chicago-based theatre artist who decided he wanted to talk with fellow artists around the country about how and why they create their work. And he decided to share those conversations with the rest of the world in his podcast, Some Small Magic. He did a pass through Boston a while back, and talked with people like Lee Mikeska Gardener, artistic director of The Nora Theatre in Cambridge, and also Bonnie Duncan an amazing performer and dancer, and playwright Alan Brody, and playwright Walt McGough, oh, and me. You can listen to them for free on iTunes, or lots of other places, including Pod Paradise.  Fletcher and I talked about a whole range of stuff, including a lot about Blood on the Snow and creating site-specific work.  If you’re feeling the need for artistic inspiration, give a listen to any of these interviews–you won’t be disappointed.

My interview is here:

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Cool New Gig: Artist-in-Residence at Mt. Auburn Cemetery

So last week, I got some amazing good news:  I have been selected to be the next artist-in-residence at Mt. Auburn Cemetery in Cambridge, MA! This will be for 2018 and 2019.

You might ask yourself: “what kind of cemetery has an artist-in-residence?”

An awesome one. Mt. Auburn was founded in 1831 as “a sacred place of remembrance, a place to mourn those we have loved, a place to seek inspiration and solace, and a place to celebrate life.” It’s a powerful site, rich with beauty and history. And for the next two years, it’s going to be my job to get to know it and write some site-specific plays that will be staged there. My goal is to create work that will be reflective of the spirit of the place and the people who are buried there, and those who visit and work there.

It feels like a big challenge, but one that I am eager to embrace. The two previous artists-in-residence are Robert Mighty, a filmmaker, and Mary Bichner, a composer. Big footsteps in which to follow, but I’m excited to try. This project fits in perfectly with the string of historical and site-specific projects that I’ve been creating over the past few years.

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Talking about Robert Smalls at Royall House and Slave Quarters, November 15

I’ll be giving a talk about Robert Smalls and his adventures during the Civil War on Wednesday, November 15th at the Royall House and Slave Quarters in Medford at 7:30pm. I’m so excited to have a chance to share the story of one of my favorite American heroes, and at a site that works hard at explaining and illustrating the role of slavery in New England.  And this site is the same town where I live!

Come check it out!  (Admission to the site and the talk is $10.)

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Brother Thomas Fellowship!

The assembled 2017 Brother Thomas Fellows

I’m pleased to announce that I’m one of 14 2017 Brother Thomas Fellows!

(I’ll let the Fund explain what it is:)

“The Brother Thomas Fund was established at the Boston Foundation in 2007 to honor the legacy of Brother Thomas Bezanson, a Benedictine monk and world-renowned ceramic artist, who wanted the sale of his work to help other artists, as his friends had helped him.

The goal of the biennial Brother Thomas Fellowship program is to support and celebrate a diverse group of Greater Boston artists working at a high level of excellence in a range of disciplines—the visual, performing, literary, media and craft arts—and to enhance their ability to thrive and create new work. The Boston Foundation also hopes that fellowship winners will have greater access to a variety of markets, including galleries, residencies and commissions, and that the importance of artists to the vitality of Boston will be more broadly recognized.

Each Brother Thomas Fellow receives an unrestricted award of $15,000. Fellowships— given without stipulation as to how the funds are spent—match the needs of artists as well as the wishes of the donor.”

The awards are given out every other year, and usually to 4-6 artists. This year was an especially large cohort. I feel quite humbled to be in the company of such a talented and diverse group of artists.  They are poets and musicians and photographers and ceramics artists and choreographers, and all sorts of other things. I’m the only playwright (the award is infrequently given to playwrights—I’m only the third since the awards began).

The awards ceremony was in the Pucker Gallery on Newbury Street in Boston—it was a thrill to share the space not only with these energetic fellow artists, but also to be in the company of so many works created by Brother Thomas himself. Their beauty and artistry makes it clear why he was able to fund this powerful artistic and social legacy. I’m eager to go back and spend more time with his creations.  (Mr. Pucker spoke to the assembled crowd, and told us that Brother Thomas used to make 1,200 pots a year. And he’d smash 1,100 of them. Only a fraction were good enough to survive.)

I am so grateful to have received this award and will do my best to reward the confidence shown in me by the judges and the Boston Foundation.  Though the grant is unrestricted, we are asked for our intentions. I’m hoping to use the funds to travel to productions of my plays outside New England and build connections there (ones that I hope will benefit playwrights around my region), and also to create a small theatre company that is dedicated to working with museums and historic sites to create new site-specific plays. I’ll report back as my plans start to come together.

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Blinders opens in Korea Oct 26

On Friday, October 26th, my play Blinders will open in South Korea.  I love this poster! This production, by Theater Troupe Cheongnyeondan, is directed by Sae-Rom Min, who did a brilliant job directing my short play, Eden in Chains, at the short play festival in Incheon last year that featured of my short plays. This production marks the first time one of my full-length plays has been fully produced outside the United States.

This is a script that I wrote almost 20 years ago, and it has oddly become more and more politically relevant as the years have gone by. During the most recent presidential election, it played in Boston, and it seemed eerily prescient about the rise of Donald Trump.

Sadly, I won’t get to see this production, but I’m so curious to know how Korean audiences will respond to this political satire about celebrity, fake news, and the public’s willingness to swallow blatant lies in the media.

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