Stroke Me, Stroke Me

Lately I've been thinking about the development and collaborative process of bringing a new play to life. Since I am in the thick of that process, it is natural that I am consumed by these thoughts. I often wonder how the heavy hitters do it and what could be learned from them. What is typical and expected during the development process? What is deemed unacceptable? What could I have done better? Who could have helped me to improve the process? Some of the answers are coming to me yet others elude me. I know, in the grand scheme of things, I am small potatoes. However, I am eager to learn and willing to work to perfect my craft so that one day my small potatoes will become something substantial like a potatoes dauphinoise or, at the very least, loaded potato skins. (Odd metaphor. Maybe I'm just craving potatoes.)

One thing that I have learned in the 30+ years I've been involved in this art form is that theater artists have an innate need to be praised. This generally ends up being a problem for me at some point. When working on a show, I tend to shift into writer/producer/director mode and find myself focusing on the tasks of getting a quality production up on the boards. If things are going well, I don't tend to be overly effusive about it. If things need attention, I can be pretty vocal. Invariably, with every production, I have an actor or designer approach me and ask me specifically if they are doing a good job. Then I feel like a shit because I haven't told them how well they are doing.

I have had a lot of people ask me how the development of A Gift of Undetermined Value is going. Generally speaking, my response is, "It's been really hard." Depending on who I'm talking to, I might provide a little more detail about why. Thankfully, I have a lot of friends who are writers and/or professional theater artists and they talk me down from the ledge, dispelling my ever-growing notion that I am insane to think I can do this. During those conversations I've come to realize why this particular journey has been so tough. Nobody is telling me when I am doing something well. People have been quick to criticize, complain or snicker but they aren't so quick to be complimentary. That is a tough and bitter pill to swallow and, perhaps, it is one that I need to take. It is also a lesson learned - everyone deserves praise from time to time and a good, positive stroke can go a long way.

You put your right hand out and give a firm handshake

Talk to me about that one big break

Spread your ear pollution both far and wide

Keep your contributions by your side

And stroke me, stroke me

Look I Made A Hat! But Should I Wear It?

I have directed many shows in my lifetime. I've also written a couple, including one currently under a first-class Broadway option. I like to think I am fairly good at both directing and writing. However, I've never been in the position of directing a script I've written. Until now. I know it can be done and done well. I mean, look at Woody Allen, Cameron Crowe, Quentin Terantino and Nora Ephron. Even red hot zygote Lena Dunham has a handful of statues lauding her for how well she wears multiple hats.

But guess what? Directing your own work is really hard. Now I understand why most people don't do it.

The project I am currently working on is A Gift of Undetermined Value, a play that explores the bioethical issues of organ donation by prison inmates. It also examines the strain that trying events can put on the important relationships in our lives. It is not a light script and it was/is very difficult to write. Even more challenging, however, is the rehearsal process where the demand for me to sit in the director's chair trumps the time I need to spend in the metaphorical writer's room (a.k.a. my bedroom). However, when we are discussing a less-than-perfect scene and an actor says, "That scene sucked!," I find it very hard not to go scurrying back to my bedroom, filled with self-doubt and the fervent desire to fix the scene.

This play is still in development and I definitely see a life beyond the March workshop production at The Brookfield Theatre for the Arts. I am confident that I have it in me to one day be a middle-aged Lena Dunham. However, in order for that to happen, something's gotta give and now is not the time to be giving up the paying job or my family responsibilities.

Until then, I am currently looking for someone to keep my director's chair warm. Applications being accepted at alicia.dempster@me.com.

I'm not kidding.

There's A Good Reason Some Talent Remains Undiscovered

Every aspect of our lives has the potential to generate drama. This holds especially true for anyone who has been involved in theatre. People with a flair for the dramatic are an interesting breed.

I love theatre. It have often found it to be my lifeline and I devote virtually every spare thought and moment to it. I was, quite literally, raised in the theatre and, through the years, have been involved in nearly every aspect of bringing a show to life. I studied the craft in school, continued to dabble in it as I started a family and a career and now I am taking that passion I've lived with for so long and am taking the leap from suburbia to Broadway.

I'm still waiting for Guffman. And this is my story.