Brendan Naylor is a Directing student at Primary Stages Einhorn School of Performing Arts (ESPA). Here, he tells us about his experience in ESPA classes and what he has learned about directing and the the industry through his “SHOPportunity” assisting 2014 Tony Nominee Leigh Silverman (Best Director for Violet) with the premiere of American Hero at Second Stage.
I took my first class at ESPA in the fall of 2013. I enrolled in Site-Specific Directing, taught by Daniel Talbott for a few reasons. I was excited by the notion of opening up the doors to the theater and taking my directing to unconventional spaces. Beyond the education aspect, though, I was looking for something a little more significant. I had taken the last year off from directing to explore a casting career, but I quickly learned that directing was where my heart was. I was eager to build up a directing community again, an artistic home where I would meet other young artists in a similar state as me. The class provided that and more. I felt empowered to do my work and create constantly. I saw theatre opportunities everywhere. It’s like the fog cleared and then the switch for my creativity was turned on.
“Being a student at ESPA provides you not only with a fantastic education, but also the opportunity to continually stretch your artistic muscles in a number of performances, readings and observerships.”
Last week submissions were due for ESPA Drills, and it’s a busy time for our writers. ESPA Drills is an annual new play development program providing staged readings to four Primary Stages Einhorn School of Performing Arts (ESPA) playwrights, selected each year from dozens of submissions. Long-time student and playwright Kat Ramsburg offers a peek into a busy but creative week at ESPA, as she works on perfecting her own Drills submission.
Sunday: The Rewrite with Josh Hecht
My Rewrite class with Josh Hecht is probably the most eclectic group of playwrights I’ve ever had at Primary Stages Einhorn School of Performing Arts (ESPA). Their plays include a comedy about a vampire looking for love, a May-December romance, two brothers in the Bronx heading in very different directions, an American figuring herself out while teaching English in Thailand, and my play.
It makes for a very lively discussion because we are all such different writers. What impresses me each week, however, is the respect that is shown to one another in class. When you share a room with respectful, intelligent, creative writers, the feedback can get very deep and detailed. Personally, I wasn’t feeling too great about my pages this week. I had changed a major plot point and hadn’t had enough time to fine tune and work out all the new issues that arose from the changes. Frankly, I was embarrassed to present my work, but I shouldn’t have been. Josh employs a great system of giving feedback that allows you to take risks. The feedback isn’t based on the risk, but on breaking down the outcome so you can see where you went astray. I left class with a great map of how I would tackle the scene the next time through.
Monday: Writer’s Group
I have the best writer’s group! I’m fairly certain that some of you may argue that point, but I assure you, yours may be swell, but mine is the greatest!
Playwright Winter Miller, who is teaching an intensive called “The Cure for Writer’s Block” at Primary Stages Einhorn School of Performing Arts (ESPA), discusses her writing process, the community of writers at ESPA and what she has learned from her students.
Winter Miller [Photo by Shontina Vernon]
: What technique or techniques do you use to get your creative juices flowing when you’re suffering from writer’s block? Where do you get your inspiration?
Winter Miller: This is a tricky one, and I’ll confess I’m far more skilled at getting other people’s creative juices flowing than my own. What I’ve learned to recognize is that sometimes, I need to step back because the well feels dry–it’s not–or it is–but in any case, it needs to be filled. When that happens I go look at visual art, I spend time in and looking at nature, and I try to nurture myself by being in community with other people and not isolating. Another thing I do is I make visual art. Sometimes I paint, sometimes I collage. One of the challenges of writing plays is going the distance from impulse to first draft to the sometimes long waiting period before you get to see the play on its feet. So sometimes I need something more immediate to reflect that I’m creating. I may switch forms and write song lyrics, or bad poetry, or short stories about my childhood.
PS: How long have you been teaching at ESPA?
WM: Three years? More? I can’t recall. But I have to say, I really, really like the students who come through this program. I’ve watched them go onto graduate school or onto making their own work on their own terms and it’s exciting to see writers grow from tentative to curious to bold. And then there are some writers who are already experienced and it’s great to see them getting out of their habits and trying new things. It sounds almost corny, but it’s a nice energy to be around the students here. Everyone wants to be in class, wants to grow and I think having a community of writers is really important. (more…)
Next week Primary Stages will be hosting the 8th Annual New York One-Minute Play Festival (#1MPF)!
The One-Minute Play Festival is a unique exploration of short form playwriting. We are excited for the festival’s return to Primary Stages, after hosting the 5th annual festival in 2011. Since then the event has partnered with several other Off-Broadway and regional theater companies, sparking creativity and discussion wherever it goes.
Dominic D’Andrea, the festival’s Producing Artistic Director and curator, gathers together dozens of playwrights (listed below) who write new micro-plays. They are paired with local directors and actors to collaborate on complete pieces that last no more than two minutes in total. With #1MPF, D’Andrea promotes the spirit of radical inclusion, representing playwrights and actors of different age, gender, race, culture and point of career. The end result is a reflection of our collective theatrical landscape.
We sat down recently with three writing instructors at Primary Stages Einhorn School of Performing Arts (ESPA) to chat about what inspires them in and out of their classes. Brooke Berman‘s work has appeared at Second Stage, The Play Company, and Steppenwolf Theatre, and her play Hunting and Gathering was produced by Primary Stages in 2008. Rogelio Martinez has written plays for Arden Theater Company, the Oregon Shakespeare Festival, the Public Theater, and the Atlantic Theater Company. Stefanie Zadravec is a resident playwright at New Dramatists, a recipient of the 2013 Francesca Primus Prize and a 2013 NYFA Playwriting Fellowship for her play The Electric Baby. All three are offering classes at ESPA this semester.
What inspires you to write?
Brooke Berman: If I didn’t write, I’d explode. Characters come to me and they want very badly to articulate their experience. I write what they tell me. And then, I’m nicer to the people in my life. (more…)
Tessa LaNeve, Director of ESPA and New Arts Programming
Oh well, hello. How do you do? I must say, that shirt looks really nice on you.
Let me introduce myself. My name is Tessa LaNeve, and I’m the Director of ESPA and New Arts Programming at Primary Stages… and I have the best job in the world. Except for maybe the people who name nail polishes and lipsticks. I’ve always wanted to try that out.
So – the greatest job in the world? Making a home – like, a real home with comfy chairs and a kitchenette – for over 2,000 emerging and established artists at the Einhorn School of Performing Arts (ESPA). Yes, the classes and workshops are stellar. And the faculty is the bee’s knees and the cat’s pajamas. But what makes ESPA a very special place is our belief in having a home. (more…)