Event Details
  • Communications Lab (writers must be accepted before purchasing a spot)
    May 20, 2017
    10:00 am - 6:00 pm
Writer-Director Communications Lab

Saturday, May 20th
10am to 6pm

John Desotelle Nu•Box Theatre
300 W. 43rd Street, 3rd floor, NYC

Taught by producer Ken Waissman (original Grease, Agnes of God, Torch Song Trilogy, Josephine); producer Margot Astrachan (The Realistic Joneses, A Gentleman's Guide..., Nice Work If You Can Get It); Ric Wanetik, senior advisor for America to the Royal Shakespeare Company (RSC), Tony nominated producer for Anna Deveare Smith’s Twilight Los Angeles: 1992, Broadway’s Marlene, Off-Broadway’s Jolson and Company; and TRU executive director Bob Ost.

Writers, use this form to submit: DIRECTOR-WRITERLabApp.2017 - deadline for submissions is Wednesday May 10th. Email to TRUnltd@aol.com with "Writer Lab Submission" in your subject line.


One of the most important - and most sensitive - relationships in theater is that between playwright and director. In some ways, the entire success of a show can hinge on the shared understanding,  trust and mutual respect between these two artists. The director and the writer need to see the show with the same eyes, otherwise their collaboration won't work.  This is important to establish in the initial meetings.

TRU has created a new, experimental program that will train theater artists in the crucial skills of communication. It is led by commercial producers, since the producer is generally the real-world mediator in writer-director disagreements, and has the better overview of a production.

In this Lab we will team up to ten directors with up to ten writers prior to the Lab itself. OBSERVERS ARE ALSO WELCOME TO COME WATCH AND LEARN, LIMITED SPACE AVAILABLE. Playwrights will email us a synopsis, pitch and production history, plus 5-10 sample pages of a script; directors will select a project that interests them from those submitted, request and read the script and prepare for a preliminary director-writer discussion about the play. We will watch and guide that discussion in the Lab. You will:

• Discover your personal communication style
• Learn to identify the style of the person you are with, and adjust to it for maximum mutual understanding
• Explore non-threatening ways of discussing text, communicating and listening
• Identify your domain of authority, and determine protocols

Confirmed directors (as of 5/8): Cate Cammarata, Dale Davidson, Jessica Jennings, Katherine Ray, Rick Roemer, Lester Thomas Shane, Alma Villegas, Jonathan Warman, Laurie Rae Waugh and Hamza Zaman.

TESTIMONIALS:

I found it helpful and illuminating in a number of ways. Coming shortly after my first experience of selecting a director for the production of my BETWEEN MEN at the MITF summer festival, it made me aware of the necessity of a lengthy and focussed discussion before any commitments are made. It was useful both to talk through the issues raised by my own play with a Director like Cate [Cammarata] and to observe other couples going through the process of discovering whether they could work together or not. It was also moving to witness unexpected dramatic moments in the course of the day. And finally the presence of two such knowledgeable and successful Broadway producers as Ken [Waissman] and Margot [Astrachan] commenting freely on the proceedings was a huge bonus. ~ Dennis Porter, playwright

One of the things that I find invaluable about the TRU Director/Writer Communications Lab is the opportunity to see my fellow directors in action. We don't very often talk about "our method," so being able to observe another director meet a particular challenge or negotiate with a writer is special indeed. I walked away with many new ideas I'll use--and even a few things I plan to avoid. ~Brent Buell, director

Thanks again for the communication lab. I got a lot out of it and it was great to meet such wonderfully supportive people. I especially enjoyed meeting and talking to Claude [Brickell, my Lab director], and I thought he made a tremendous effort to come support me. ~ Damon Chua, writer

There really is no substitute for being "in the room" with collaborators and the fact that you are able to create this atmosphere with working professionals who are in the trenches and can speak to what's real says a lot about the good and relevant work you're doing with your organization. Kudos. ~ Ben Gonshor, writer

Damon [Chua, my Lab writer] and I have connected and will be getting together later. I thoroughly enjoyed meeting and benefiting from both Bob's and Pam's contribution.  They were thoroughly terrific. ~ Claude Brickell, director

You created a wonderful space for us writers. And, personally, it could have not gone better for me and the relationship I hope to have started with [my Lab director]. He gets my words written on paper and that's fantastic. ~ Jonathan Citron, writer

What a fabulous Lab that was! No drama - everyone seemed to match up so perfectly! I know I did. I'm eager to continue my conversations with [my writer] - we really hit it off and she's fantastic. ~Cate Cammarata, director

Arlene Corsano and I have almost completed 3 days of auditions for her musical which was invited to be in the Strawberry Festival of Riant Theatre. ... Our TRU relationship, born in your excellent lab, continues with me acting as dramaturg.  Thanks again for your lab, and for all that you do for all us migrant arts workers! ~Elizabeth Falk, director

This was a great experience and everyone I spoke to felt the same. The way you set it up and the manner in which the directors and producers gave their input created a positive learning atmosphere. It was a great lab.  ~Arlene Corsano, writer

I would definitely join another workshop of this kind again. ... I have been in many playwriting groups and workshops, etc. I have never been in one like TRU. If there are others that provide a similar concept and the kind of support that TRU offers, I have not heard of them. It is quite possible that TRU is unique. That's pretty special. ~Mary Ryzuk, writer

Andrew Carter and I are moving forward with my play. ~Marina Barry, writer

Thank you for the incredible workshop this past Saturday.  It really turned out well and I met some incredibly talented people.  Laura Italiano and I have really hit it off and have decided to keep working together on her script. ~ Kevin Lambert, director

This was a tremendously helpful workshop!  I was watching the conversations as a playwright, to learn about communication, but also as a teacher, to help my playwrights be better playwrights.  This work that you are doing is invaluable!  Your experience as a producer and a playwright and the fact that you brought other producers into the room really brought in a broader perspective that kept things very real and made the stakes feel enormously high.  I loved meeting everyone, especially Paul who I really felt got the play -- thank you!  You said there was someone else who wanted the play, and you had to make an executive decision, and, it seems to me, you made the right one.  And that is one of the producers biggest tasks, right?  To bring the right people into the room?  So thank you for that, Bob!   ~Emma Goldman Sherman, writer (Whorticulture)

 

A quick note of thanks for yesterday's lab. There really is no substitute for being "in the room" with collaborators and the fact that you are able to create this atmosphere with working professionals who are in the trenches and can speak to what's real says a lot about the good and relevant work you're doing with your organization. Kudos. ~Ben Gonshor, writer (When Blood Ran Red)

I came away with such valuable skills and it was definitely a wonderful learning experience. You always pick the most amazing people for these events! Looking forward to hearing what the next wonderful event you have going on is.  By the way, I recommend TRU to anyone I can get my hands on because I've just learned so much since I started going. ~Amy Oestreicher, writer (Imprints)

The lab is fascinating, and I found not just my time, but watching the other teams very valuable. ~Richard Riskin, director

Directors
  • CATE CAMMARATA

    is a New York-based producer, director and dramaturg. She most recently presented a workshop production of My Life Is a Musical at The Duke on 42nd Street, and directed a musical reading of Your Name On My Lips at Emerging Artists Theater; she also co-directed a multimedia devised performance of Antigone with her students at SUNY Stony Brook. She dramaturged the world premiere performance of Harold I Hate You at the HERE Arts Center for CakeFace Performance Company last December, and is currently the US Representative for Hamilton Dramaturgy. Cate's other credits include Famous: The Musical for the TRU Musical Reading Series 2011 (producer),Robeson a new play about the legendary Paul Robeson for Stony Brook Mainstage (director), Body Language for The Active Theater (dramaturg), among others. Cate is a graduate of the Commercial Theater Institute's 16 week Producing course, the CTI-O'Neill Summer Workshop, a member of TRU's Producer Mentorship Development Program and has worked with the HERE Arts Center as Associate Dramaturg and with the Broadway producers Jana Robbins and R. Erin Craig as Producing Associate. She holds an MFA in Dramaturgy from SUNY Stony Brook and a BFA in Acting/Directing from Syracuse University, and is currently the Literary Manager for TRU and an Adjunct Professor for SUNY Stony Brook Theatre Arts.

  • JESSICA JENNINGS

    built an early career as an actor, dancer and choreographer.  She began stage directing in 2010. Film: M. Night Shymalan's The Village as dancer and off-camera dance coach; Stage: she has directed throughout Manhattan including at the Triad (...TUPAC...), Julii Theatre Company (Richard II & III in Rep.), 136th St Theater (Waiting for Lefty), A.T.A. , Manhattan Rep., TheatreSource, and others. She is a resident Director for Ripple Effect Artists. Accolades for her work include the Jean Dalrymple Award for A Midsummer's Night Dream, Princess Grace Nominee for Romeo & Juliet (A.T.A.), Short Play Lab Winner for All About Lorrie, Testo-Genius Finalist The Dance McCabe

  • JONATHAN WARMAN

    (Director / Choreographer) New York Theatre: New York premiere of Tennessee Williams's Now the Cats with Jewelled Claws (La MaMa ETC, featuring Mink Stole and Everett Quinton), Me & Caesar Lee (new musical, TBG Theatre, featuring two-time Tony nominee Ernestine Jackson), Goyescas (Bare Opera), That's MISS FITS, to YOU! (new musical, also choreographer, Soho Playhouse), Andru’s Head (new musical, NeoNeo Theatre), Quit the Road, Jack (Theatrelab), Struck / Break (Emerging Artists Theatre),American Fabulous (also choreographer, NeoNeo Theatre), Kitchenette (also choreographer, Theatre Row Studio Theatre), Groupies (also choreographer, Cherry Lane Studio), In Loco Parentis (4th Street Theatre), Love in the Time of Chlamydia (Hard Sparks), The Women of the Mahabharata (eyeBLINK). International: Dreams Reoccurring (also choreographer, Clubul CFR, Iasi, Romania; Nu Festival, Timisoara, Romania), Break (Dublin Gay Theatre Festival). Regional: Heads (Omaha Magic Theatre), The Strangest Kind of Romance (immersive, site-specific production, Provincetown Tennessee Williams Festival; Omnova Theater, Columbus, Mississippi; Theatre Sewanee, Tennessee), Struck/Break (New Orleans Fringe Festival), Rogan Gosh (Star of the East, Omaha), Mad Forest, Hamletmachine (both also choreographer, University of Nebraska at Omaha). Proud member of SDC. He has served as Artistic Director of NeoNeo Theatre Company. For more information, see jonathanwarman.com.

  • LAURIE RAE WAUGH

    began her theatre career in NYC as a Stage Manager. She stage-managed over 21 shows in 7 years. Her most notable one was STAMP OUT AIDS- a one-night only show at The Ballroom on 7/4/87 dedicated to Michael Bennett. Laurie began directing with Dreams Forgotten… at the Gowanus Arts Center, and several one-act plays for the TSI/Playtime Series. She turned her attention to working with Endtime Productions, were she worked for the first two seasons on their Vignette for the Apocalypse and Naked Holidays NYC Series at the Gene Frankel Theatre. Directed The Acting Lesson and The Gray List for Legacy Stage Ensemble. Laurie received 2016 ATA Award for Best Dramatic Director, Mirrors by Steve Silver, 2015 ATA Award for Best Director, Drama, A Spanish Harlem Story by Steve Silver and the 2010 Jean Dalrymple Award for Best Director, Code Name Daniel by Jerry J. Pollock. Laurie has directed over 19 plays for the American Theatre of Actors. She has worked on two collections of plays at The Producer’s Club called RELATIONSHIPS and PRESSURE- NOT ME! She was the Assistant Director for Ripple Effect Artists production of Twelfth Night. 

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