A mom who…

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Gratuitous photo of darling baby toes. Taken by his big sister.

There are a lot of gifts that accompany a show opening. Everything has come together and is soaring. It’s a celebratory time. The New Colossus has opened! The cast, the direction, the design, the stage management are all amazing. Hurrah!

For me, one of the gifts of TNC‘s opening weekend, is a more personal one. And I feel a little embarrassed admitting it. The opening of the play has given me the opportunity to talk about more than just my kids. It’s strange, but that’s a real gift for me. Like, I’ve got other things going on that make me a multi-dimensional person and that feels really nice.

I’m so much a MOM these days. I’m MOM-ing constantly and vigorously. Leading up to the opening of TNC, I was on antibiotics for mastitis (Again. Sigh.) Most nights, I was pulling ice packs out of my bra before entering rehearsal. And my usually chilled out baby had major sleep issues. He. Would. Not. Stay. Asleep. Argh. So I was even more sleep-deprived than usual. At the end of rehearsal (and now, after the show), I rushed home to get friendly with my breast pump. No one wants engorgement, nope. Then there’s the end of school year chaos and piano lessons, swim lessons, etc. etc. Anyway, you get the picture. I felt my MOM-ness very much, even though I had sweet pockets of time when I was in rehearsal and felt my creative-self assert herself, and my mom-self take a little rest. My mom-self needs a rest sometimes, you know?

Please don’t get me wrong, I am crazy-grateful for my family. I love my kids, and I love to talk about them. Go ahead, ask me, you won’t be twisting my arm. It’s easy and often necessary at this time in their lives to make them my everything. It’s very special to witness the growth of such wonderful spirits.  So, I’m in love with my life, but there’s not much space for me in it right now. I’m MOM before anything else. I’m a “A mom who….” — A mom who writes, A mom who works, A mom who acts, A mom who makes theatre, A mom who is always mom-ing.

But now! But now, the show is out there in the wider world and people are coming to see it and wonderfully, amazingly, they are talking about it. And this past weekend, for a few days anyway, I really felt like a writer first, an artist, “A writer who moms….” And it was cool to have that experience, and I’m grateful for it too. Honestly, I think it was a damn f-ing miracle that I was able to write TNC while I was pregnant and then continue to work on it with an infant. I’m really, really hoping for another miracle as I start work on the next project too. (Writing with a toddler and an 8-year old — hold onto your hats!) Since I don’t know if I’ll get that next miracle, I’m enjoying the ever-loving sh!t out of this one. I really am. I don’t feel my usual murky mix of anxiety and awkwardness about my art. I just feel grateful and present and happy.

Please come see The New Colossus if you can. I’d like to talk with you about it. After that, I’ll tell you a funny story about my kids. Hee.

*Speaking of children, this Thursday, May 26, is Red Nose Day for TNC. Come support this worthy cause and get yourself a ticket discount. If you attend wearing a red nose, pay just $6 (half-off regular price). Good for door sales only the night of the show. Read more about Red Nose Day.

**This post is the third in a short series of posts about TNC. Here’s the first one. Here’s the second one.

 

 

On the brink of taking flight

TNCThis is the second of a short series of posts about my upcoming play, The New Colossus. (Here’s the first.) In the spirit of gratitude and reflection,  I’m considering some of what it took to stage this sucker (from a playwright’s perspective). We open this week!

Generally, plays require an enormous amount of collaborative and collective work to put up — way more than you would guess unless you do it on a regular basis. As a world premiere, The New Colossus required an even larger than usual dollop of investment, commitment, and risk-taking from everyone involved. It’s a brand new beast.

The New Colossus (TNC) would not be opening this week without a theatre company willing to take the risk to cultivate the script over the last two years, then put in the time/money/energy to mount a production. Thank you, Little Green Pig Theatrical Concern. Thank you, Manbites Dog Theater, for access to the venue and support thru the Other Voices Series.

It often requires years of preparation to bring a new play to the stage. This was the case for TNC. Research, several drafts, then readings, rounds of feedback, and more drafts, and then more drafts after that. It’s a long-game approach. It was a gift to have a producing company, like Little Green Pig Theatrical Concern, that invested in TNC before we even entered the rehearsal room.

Even a script based on a beloved classic, like this one, is still untested. It’s untried and probably still a little unfinished. By the time most plays really pick up steam geographically, they’ve been workshopped and produced multiple times, so the first production is really the infant phase for a new play. And you know it takes a village to raise a child….

Dana Marks, the director of TNC, has been a superb detective, problem-solver and imagineer — reading the text closely, discovering moments I didn’t know were there, conducting the pacing, arc and emotional tone of the production, as well as folding in all the crazy technical elements written into the script. (Yikes, videos and live feed!) Dana, Jenn Evans and Erin Bell, our stage managers, and the cast have been upbeat, flexible and supportive as I made numerous script edits throughout the rehearsal process. We’ve been able to collaborate and brainstorm solutions for moments that didn’t quite work once we got the script “on its feet.” Bless the amazing cast who jumped in enthusiastically, and tried to make even the most awkward lines work.  They breathed life and dimension into their characters in surprising and wonderful ways. Together with the stellar designers, all of these folks created a world that I never anticipated.

And of course, in order for TNC to happen, I needed lots of support from my friends and family (hi, honey!) — from the people who read and discussed drafts with me, and the people who’ve worked with me in the past. Kevin Ewert and Jaybird O’Berski were crucial readers and script advisors. My friend, Cheryl Chamblee, and I wrote and produced a dozen plays together in the last 20 years; without those experience with her, I wouldn’t have been able to bring this play to life. Same thing goes for my work with Rachel Klem in Summer Sisters, and lots of other experiences with folks who have built new work in the theatre.

As a theatre-maker, new works are my jam. I love creating them. I love experiencing them. Happily, this community is rich with theatre companies who are commissioning and growing new work. Support them! Love them! They are laboring hard against the odds to bring you new art.  Here are a few examples: Little Green Pig Theatrical Concern, StreetSigns, Archipelago, Common Wealth Endeavors, The Performance Collective, DIDA, Haymaker, Manbites Dog Theater, Duke University Theater Studies,  The ArtsCenter Carrboro, Paperhand Puppet Intervention, Common Ground Theatre, and more.

As an audience member, I’m thrilled by world premieres. Watching a never-seen-before-play is a special treat. It’s a secret discovery that no one else has access to yet. It’s opening up a surprise package. It’s watching theatre being born. I hope you feel that way too.

The New Colossus runs for three weekends. It’s about 90 minutes with no intermission. Rated R, so not for the kids. Get your tickets.