In wrapping up my first fitful year as Drama Editor, I must first commend Ken Robidoux for being a firm but gentle leader.
His dedication to Connotation Press is impressive and his generosity to me as a first time editor who didn’t always edit on time is much appreciated.
It was daunting to pick up where Josh Fardon so capably left off, so in honor of Josh (and to make my job easier) I asked Josh to be my first play/interview. He accepted my request and then made fun of my questions; which were far less compelling than they could have been. My only goal was to not sound like Barbara Walters. Julia Arbuck is his chilling play about the mysterious and sometimes sociopathic world of acting teachers.
Brian Groh is one of my prouder moments. I first came across him when I curated Tuesdays@9LA, a cold reading series for writers in progress, created by Naked Angels. He was a fledgling writer. Not to sound like Orson Welles but the moment I heard his writing I knew he was a major talent to be encouraged, nagged and nurtured. The Acorn Calf is his first play and by no means will it be his last.
I consider myself lucky to have been a part of the writer’s group that helped Sara Pratter develop her play Blood Moon. It is fascinating to watch a writer find their play and Sara’s journey was particularly fruitful. Having seen the play read aloud by wonderful actors also was deeply entertaining and rewarding. The fact that this story is inspired by real life bloody events makes it all the more thrilling to read.
Howard Korder is one of the more intimidating writers I know, mainly because he is one of the funniest curmudgeons out there. His fierce intelligence and dark perspective of human nature as well as his vicious sense of humor is fully on display in In A Garden.
Alexander Maggio is that rare breed of young writer- so young I felt at first I might need to babysit him, but also so confident and capable yet flexible and open in terms of finding his best play that working with him was a true pleasure. He has nothing to prove and is eager to learn but at the same time his play Lost Cause bears a maturity and depth that belie his boyish grin.
Elizabeth Benjamin is an enviously prolific writer, despite being a hands-on mother of two. Her plays are deeply funny and sweetly absurd, yet she’s primarily known (and award- winning) for writing deeply incisive procedural dramas for television. Her play The End of Nothing is nothing like her Law and Order writing, but it is seriously fun nonetheless.
I’ve admired Matthew Weiss’s writing for more than twenty years. His play Hesh left deep impressions on me. His plays are simultaneously funny and heart-wrenching. I was thrilled to interview him about his hilarious and touching Claus.
Craig Carlisle is an old friend. He created and curated Naked Angels’ Tuesdays@9 for many years in New York City. It is now in it’s 20th year and also running in Los Angeles. Craig is a writer’s writer. He is as encouraging and incisive with his support and feedback as he is talented in his own right. Bob Funk is the kind of play that sticks in the mind long after the last page has been turned.After a fun if personally tumultuous first year as Drama editor (lost pet tragedy, moving homes twice and adopting a newborn) I look forward to the coming year, where I intend to have less drama in my life, and more Drama for Connotation Press.
Thanks, Ken!