I don’t see very many cis writers writing about trans experience responsibly. I would love to see that. There’s an unfortunate compounding problem that theaters would rather produce work about us, not by us right now. We should get to tell our own stories first.
Transgender Playwrights: ‘We Should Get to Tell Our Own Stories First’
That sparked conversations within the Mosaic Theater Company, which is producing the play, and the rest of “Charm’s” cast and crew. The question of who has the right to represent whom onstage is a knotty one, but a consensus began to emerge, says Mosaic founding director Ari Roth.
KenYatta Rogers was originally cast for the role of Mama.
“After we cast the show, we kept learning things — not only about the transgender community, but also about ourselves and how we wanted more alignment between our mission and our values,” he says. “Plus, people were not excited about a cisgender actor in this role.”
That’s why, just a month before the play’s official premiere Sunday, Onoda Power recruited Duquesne to play the lead role of Mama, and Rogers stepped into a behind-the-scenes role as the play’s associate director.
“Was I disappointed? Yes,” Rogers says. “But I came into this process as an ally first and an actor second.”
Do I have any members of the LGBTQIA+ community who would like to help me with a project?
I want to create a piece of theater exclusively created by LGBTQIA+ artists. What will happen is, you guys can send me a concept/song/story/monologue/poem/etc and I will compile them into a large script.
I will then work with my theater company to produce this script. And any proceeds that we make, I will split between myself and the artists involved!
I would remain in complete contact with everyone through email/whatever medium you are comfortable with.
You know, I gotta hustle. I’m a twenty-eight-year-old woman in the movie business, right? Pretty soon the roles you’re offered all become mothers. Then they just sort of stop. I have to hedge against that with work—theater, producing, this thing with Esquire.“
Focus Features, NBC Universal’s art house division, has won the rights to the film adaptation of Paul Tremblay’s upcoming thriller novel A Head Full Of Ghosts.
The film is tentatively set to be co-produced by Team Downey and Dan Dubiecki’s Allegiant Theater. Dubiecki has produced such films as Up In The AIr, Juno, Thank You For Smoking, and the upcoming Money Monster starring George Clooney.
A synopsis of A Head Full of Ghosts (from Amazon.com)–
The lives of the Barretts, a normal suburban New England family, are torn apart when fourteen-year-old Marjorie begins to display signs of acute schizophrenia.
To her parents’ despair, the doctors are unable to stop Marjorie’s descent into madness. As their stable home devolves into a house of horrors, they reluctantly turn to a local Catholic priest for help. Father Wanderly suggests an exorcism; he believes the vulnerable teenager is the victim of demonic possession. He also contacts a production company that is eager to document the Barretts’ plight. With John, Marjorie’s father, out of work for more than a year and the medical bills looming, the family agrees to be filmed, and soon find themselves the unwitting stars of The Possession, a hit reality television show. When events in the Barrett household explode in tragedy, the show and the shocking incidents it captures become the stuff of urban legend.
Fifteen years later, a bestselling writer interviews Marjorie’s younger sister, Merry. As she recalls those long ago events that took place when she was just eight years old, long-buried secrets and painful memories that clash with what was broadcast on television begin to surface—and a mind-bending tale of psychological horror is unleashed, raising vexing questions about memory and reality, science and religion, and the very nature of evil.
At this point, there are no plans for Robert Downey Jr. to star in the film.
I have been amazed at the filmmakers who have expressed interest in adapting Hamilton. I would insist that the movie be exactly the same in terms of diversity. That conversation’s a ways off: It’s not happening anytime soon. What I learned from my go-round with In the Heights is that it’s tough to make a movie. In Hollywood, even the people in charge have people in charge.
I don’t have my head around Hollywood yet. If I can find the version of what I have in theater, which is producers and collaborators that I trust, I’d jump in with both feet.
Your humble engineer has accepted a full time position at the Guthrie Theater in Minneapolis, MN as one of the house Audio Engineers. This blog and I are prepping to head North 500+ miles! An incredible opportunity presented itself and I am jumping at the chance to go be a part of some amazing theater.
The techblr community is full of some great and talented artists. I appreciate everyone who had followed me thus far, I hope you will stick around for new adventures, shows, pictures. I am very excited to get my feet on the ground in Minneapolis and start mixing in these new theater spaces.
Today is March 24th, meaning The Raven King’s publication date is roughly one short month away (no matter what Amazon says on the internet), so I feel like I have to state this.
I will not be reviewing The Raven King, because I helped edit The Raven King.
This isn’t a Dear John letter or anything. I actually think in a lot of ways, you won’t see the difference that makes in this blog. If I post and reblog content about TRK, it will be tagged appropriately for the first month of its release. These tags are, as they have been forever, the raven king and rbiv spoilers. If there are general content or analysis questions about TRK (or earlier books), I’m still perfectly happy to answer them. I like being helpful and I like discussing story–always have, always will.
Beyond that though … it’s really just a question of transparency. When I did theater in college, my producers would often ask if I wanted to include a director’s letter. I always told them no–that the play, even though I didn’t write it, had been through my involvement executed in a way that represented my thoughts as best as possible. Anything more than that was intrusive at best, and dishonest at worst.
The same applies here. I, along with others, critiqued The Raven King.The Raven King, even though I didn’t write it, has been executed through my involvement in a way that represents my thoughts as best as possible. Even if you won’t be able to pull out a single one of them and know for a fact it’s mine.
That said, you won’t be without fun things. I am planning on doing a meta thing leading up to the release. Specifically, a sort of How To Write a Series meta thing, using each book as a lens and building up to the process of editing and critiquing TRK. These books have, in ways I never could have conceived of, been crucial in my development as a writer. It seems only right that I return the favor, to @maggie-stiefvater, and pay it forward, to those also on the writing path.
So look for those (especially as the details firm up), feel free to err on the side of asking if you want (I won’t answer if it’s over the line but no hard feelings), and know that I am now, as ever, very, very, very excited for you all to read TRK.