My wife is teaching Waiting for Godot. This is at a community college. Her students are from all over the map- they usually have a lot more going in life than their elective classes- so their commitment can be variable.
But they love Waiting for Godot. Not a lot of the other plays being assigned. When asked they say it rings more true- waiting, no conclusion, disappointment, expectation without the expected reward… they can RELATE.
I meet with a playwright friend a few weeks ago and at some point in the conversation I’m asked advice- a little about touring but a larger content question is asked- do I write political plays because they’re are “easier to get produced.” Which I was kind of floored by- I never found them easier- I actually don’t think they are… just as I think most theaters don’t produce a lot of truly political plays. And I think a lot of plays that are about relationships, or love affairs, or techno music sometimes have politics tacked onto them. I don’t judge them for this- I just don’t think they are political. And that’s okay- they probably shouldn’t be.
(My answer to her was I like the Greeks and I write most of my plays to try and learn what I actually think about a subject not because I think I have an answer at the outset).
I meet with a theater about a play of mine. It’s called Goodness and it’s had readings basically all around the country. Each time the theater writes me a letter and says the reading was well intended and the audience was very responsive- very excited- great talk back. And then our conversations about the play are over. This is part of the nature of being a playwright. Lots of conversations on the business end go nowhere, you can’t really get upset about it.
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