The State of the Stage is

Theatrical performances (plays) have always been a part of our communal gathering traditions down through the ages. Even the caveman, without the benefit of a thrust stage and lighting, carried on that oral tradition. Shakespeare created his dramas for the common man. Cole Porter did his for those seeking distraction from the Great Depression.

Before radio and television, that was how we did our storytelling. Then, over time, technology advanced ever further and new means of storytelling grew in popularity. Now with podcasts, blogs, and YouTube videos, almost anyone can have a voice in the mixed-up world of storytelling.

These technological advances have all made inroads into the storytelling appeal of plays. Counter-balance that with a whole new generation of playwrights eager to pass on their own messages of current times and tribulations to audiences, and therein lies a volatile mix of depleted audiences, newfound message bearers, financial challenges and social thoughts screaming for attention.

Then out of the blue, Covid-19 showed us we could be alone and that was okay. Working from home was possible and for many, it became an attractive alternative to the corporate office/campus. Media devices at home provided a cheaper, more convenient means of seeing plays, movies, etc. It all came down to a matter of control. The more control passed on to the consumer, the more the consumer had multiple options to choose from. Theater became just one of dozens of entertainment options available to them at their fingertips.

Another factor in this seismic shift was initiated by the “Dear White American Theater” letter posted in June of 2020. It was signed by theater practitioners from across the country. In it were a list of demands around racial representation and combating racism within the theater and safety.

Adding to the challenges; theaters were faced with a growing body of creatives who wanted their voices added to the mix. LGBT, BIPOC, and trans groups began to demand recognition and a platform in which to share their hopes and concerns that up until then hadn’t been well represented in a theatrical environment.

‘Being more relevant for today’s audiences’ is now the mantra for many theatrical directors. They want to explore themes that until just recently would only play on off-Broadway and select venues. And while they try to carve out a demographic that would appreciate their offerings, other theaters know their demographics and play it safe. Whatever it takes to fill the seats, make payroll, and stay alive.

As a newly minted playwright, I’m feeling the pressure from all these changes taking place in the theater. While it’s always been difficult to find a venue for one’s play, it’s gotten experientially harder now. Quite honestly, most of the time, I feel that straight old white guys are definitely out favor/flavor today. It’s never stated outright, but the feelings persists that we are: ‘out of the loop,’ ‘aren’t hip,’ and ‘have nothing to say of relevance to a younger generation.’ I guess the truth lies in the eyes of the accuser.

I don’t think creativity has necessarily taken a hit but rather it’s been molded into many different forms when presented as theatrical material.  I have to remind myself that there are now, more than ever, social trends, cultural pressures, financial concerns, and competition from sources that weren’t around even a couple of years ago.

I do understand that it is very difficult for theaters to take a chance on new unproven playwrights and in some instances new concepts, ideas, and approaches to story-telling. It’s always much safer to go with the tried and true; the sure thing; the play with a proven track record or easily recognized by the theater going public (think Neal Simon, anyone).

‘So, is playing it safe the same as playing it smart?’ I guess it’s all in the eye of the producer.

Certainly, financial and sociological challenges exist. I would argue they’ve always been there. It’s unlikely you’ll ever get a group of creatives together and find agreement on many items or issues. That’s part of the creative process. My task is to find my own path through this ‘brave new world.’ A journey I relish and dread at the same time.

It all comes down to good storytelling and may the best story win.

Best Season Ever

The long-revered Palm Springs winter season has gone by the wayside. The pandemic put a nail into the plethora of activities and gatherings that usually occurred each season. But even before that, the ‘usual winter season’ was changing. Twelve years ago, when Sharon and I first began coming out to the desert, it was always ‘4:00 in the afternoon’ someplace and outdoor activities kept us mixing and mingling most days.

It's been a slow recovery after COVID for a lot of folks; us included. This season was one of the rainiest, coldest and windiest seasons we’ve ever experienced here. We did a lot less entertaining. I’ve spent little time hiking mountain trails and even less time bike riding and swimming. Health issues prevented us from going to Florida for Sharon’s brother’s wedding reception in February.  On the other hand, we were so lucky to have the kids out here on several occasions.

Family and friends gathered here to celebrate my newest play ‘Widow’s Waltz’ which was performed last November.

Both families came out for Christmas. Several months later, Brian, Melanie and I celebrated my 80^th birthday with a spectacular road trip down the PSH from San Francisco to San Diego.

Then in April, Melanie and family came out here to celebrate spring break. So, the social part of our time spent in the desert was a mixed bag; family time was great, seeing lots of friends, not so much. Now on the flip side of that altered season, in terms of writing, it was a veritable bonanza. It was the most prolific writing season I’ve ever experienced.

When I began my new writing career, I had no idea where it would lead me. My first two books proved a very satisfying experience. I was off to the races and learning the craft of writing.

Then I experimented with playwriting. That also proved a worthwhile endeavor. So much so, that I’ve written eighteen plays thus far and have had five of them produced both in Minnesota and California.

Fast-forward almost fifteen years and my writing desk is overflowing with projects. It includes novels, novella’s, plays, children’s stories, blogs, poetry, screen-writing, a comic strip and still-stumbling songwriting. My writing is like a pinball bouncing off of one genre to the next.

After premiering ‘Widow’s Waltz’ in California last fall, I wrote a second play dealing with local issues relevant to the desert, some very complex characters and several intriguing plotlines all situated down ‘By the Salton Sea.’

‘Broken Down Palace’ is a new book of my poetry which will be published in the near future. I have over thirty photographs which my editor has stylized to add another layer of mystery to the poems.

A second book in the ‘Waleed, the Skinny Hippo’ children’s series has been written. The theme is ‘being afraid’ and I hope to have it illustrated soon. ‘Sweet Pea & the Gang’ has proven to be a real challenge. It needs to find an audience before it can advance.

‘Playground for the Devil’ is my latest novel which has been placed in several book stores with limited success. It needs better marketing and more hustle on my part. Juggling writing with marketing has always been a tough road for me to travel.

‘Agnes; Memories of First Love’ is my first novella on the Amazon Vella platform. Feedback has been very positive but it hasn’t broken through the other novellas piling up there yet.

Three of my plays, written during the pandemic, are still searching for the right venue to be performed. ‘Tangled Roots,’ ‘PTV’ and ‘Wake; the Musical’ all need musical accompaniment and more fine-tuning before they’re ready for the stage.

‘Frenchy’s Eats,’ was a very special play for me to write. It is a personal narrative of my parents' back story and my early childhood and its repercussions on me and my family today.

‘Habitat for Humility,’ is a new movie script in development. The storyline deals with a mutual attraction between a divorcee and the proverbial shooting star who has just crashed into reality. There is simmering sexual tension, conflicting class status, a jealous boyfriend, an abusive ex-husband and a scheming but well-intentioned sister. Writing the screenplay will be a piece of cake compared to the complexity I will have to face navigating the world of movie-making – if – it comes to that.

So overall, I’ve got enough on my plate to keep me writing and editing for a very long time. And the ideas keep bouncing around inside my head. Like I said, it was the worst of times but, boy, was it the best of times too.