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Not too long ago, “live stage reading” would be redundant. But I had a virtual reading of this script a few years ago, and while that one was also well produced and performed, I could not hear the audience. Oh. Does it make a difference to hear them.
Under the outstanding and thoughtful direction of Katherine Nash, actors Jeannine Gaskin and Diwe Augustin-Glave were tremendous as Moms and Dots, as we returned to the quarantine (for the moment) to address isolation, anxiety, and the modern generation gap.
And what did I hear? A lot of laughs, and also groans, sympathetic sounds, and one very audible FUCK during a tense silence right before one of the characters also says, “Fuck.” I took that as a win.
I also didn’t hear a laugh that I had expected, which falls shortly after one of the most upsetting moments in the piece. I was surprised, but I shouldn’t have been. I should be grateful. It means people cared. I learned so much, from everyone. There will be changes, but now I know it comes together.
I’m working on a new script, an adaptation, for which I created a synopsis of the novel upon which it will be based. And it occurs to me that I could take that synopsis, feed it into any so-called “artificial intelligence” plagiarism machine and have created to my specifications a new (you couldn’t call it original) two act play, in moments. Just knowing that is demoralizing.
However, I often re-read my own work – for pleasure. I can surprise myself, I make myself laugh. And on those occasions when they are produced for an audience, and they laugh. Or, you know, suddenly blurt, “FUCK.” Well, I’d like to see the billionaires try to take that from me.
Many additional and deeply felt thanks to project producer Michael Glavan, and SOTP artistic director Craig Joseph.
