Tickets are now on sale for The Drama Workshop’s Home Brew Theater show June 7, 8 and 9, at TDW in Cheviot. This show consists of ten 10 minute plays. I have a play I wrote in it called The Ten Minute Play (with a Nice Picture of Jimmy Carter) and I’m directing The Lesson by Teri Foltz. This is going to be a fun evening, so I hope to see many of you there.
I will be directing the play, Lessons, by Teri Foltz, for The Drama Workshop’s Home Brew Festival, featuring productions of short plays by local authors. The show dates are June 7, 8 and 9 at the Glenmore Playhouse in Cheviot.
My own play, The Ten Minute Play (with a Nice Picture of Jimmy Carter), will also be part of the festival.
In the Summer of 1974, I directed my first full-length play, The Gingerbread Lady by Neil Simon. One of Simon’s more dark comedies, TGL is the story of Evy, a singer, whose career and life is destroyed by her drinking.
During the Spring of 1974, I was a student at Northern Kentucky University, as a theater major. I had had a lot of fun directing Edward Albee’s The Sandbox and a few scenes form other plays in classes, including a great version of the closing scene of Who’s Afraid of Virginia Woolf?
Jennifer Burkhart was one of the best actresses at NKU and frustrated because she couldn’t find a part that she wanted to play. She brought me a copy of the play and asked if I would look at it and, if I liked it, we could go to the theater head, Bill Parsons, and see if we could do it as summer show. I did like it and pitched it to Dr. Parsons, who agreed to give us a little money to put it on.
So, I was part of great group of friends with theater sound, lighting, props and production experience, so there was no doubt that they were going work on it. This was going to be the first totally student produced show at in NKU’s history. In Nunn Hall, there was a small theater, holding around 150, so after Spring semester was out, we moved in and began to work on the show.
I don’t even think we had auditions. Jennifer was going to be Evy, after all, it was her idea. I cast friends in the other roles. Greg Carstens as Jimmy, Frankie Banta as Polly, Susan Rogers as Tory, Mike Salzman as Manuel and Jerry Helm as Lou.
Mike, Jerry, Debby Wolff and me practically lived in that theater for the two months leading up to the show. Debby was our props mistress and we had a great looking set, designed by Jerry. We even had running water in the set kitchen.
We had some anxieties throughout the rehearsals. Nerves came out. It was a big show, after all, with nuances that I don’t know if we were successful in presenting, but we had fun, that I do remember.
For all of my Cincinnati actors. This is the information about auditioning for The Drama Workshop’s Home Brew Festival. As you may recall from last time, I have a play, The Ten Minute Play (with a Nice Picture of Jimmy Carter) in the festival and I’m directing one of the plays, Lessons by Teri Foltz.
The Drama Workshop Announces Home Brew Theater auditions: Sunday 3/30 and Monday 4/1.
The Drama Workshop will hold open auditions for its production of Home Brew Theater at 6pm on Sunday, March 31 and 7pm on Monday, April 1 at The TDW ANNEX Building, 3619 Harrison Ave., Cheviot, Ohio, 45211. (Location details below.)
Home Brew is TDW’s annual show case of short plays by local authors, accompanied by a reception featuring beer from West Side Brewery. Home Brew will run the weekend of June 7-9, 2019. This year Home Brew Theater is supported by a generous grant from Summer Fair Cincinnati.
There are 7 directors for the 10 plays. Auditions will be in front of the panel of directors.
There are a variety of roles for actors of all genders and ages (except children).
Auditions will consist of cold readings from selected Home Brew short plays. Please also prepare a one-minute monologue. A headshot and resume are appreciated but not required. Auditions will be recorded on video for directors who can’ t be present. Videos will NOT be posted to the public.
Please email questions to the producers at email@example.com
The TDW Annex is located at 3619 Harrison Ave. between the “Game Time” bar and “American Trading”. The sign on the building still says “Angel’s Touch”.
It’s around the corner and a few doors down from the Glenmore Playhouse. Please note that you may not park in the lot directly behind 3619 Harrison. There should be ample street parking, or you may park in the public lot at the corner of Glenmore Ave and Gamble Ave.
To all my Cincinnati friends (and those that want to travel). I’m happy to announce that I will be participating in The Drama Workshop’s annual Home Brew Theater as a playwright and director.
Home Brew Theater is an annual festival featuring productions of short plays by local authors. The show dates are June 7, 8 and 9 at the Glenmore Playhouse in Cheviot. There’s also a reception following the plays with craft beer from West Side Brewery.
My play, The Ten Minute Play (with a Nice Picture of Jimmy Carter), will be performed. It will be directed by Julie Jordan. The play is a comedy. Some of you may remember that this play had a reading in Kansas City last October and the audience loved it. You will love this play, too, and this gives all my Cincinnati friends the opportunity to finally see what I’ve been doing with my life.
I’m also directing a play for the festival, Lessons by Teri Foltz. This is a warm, touching play that I found absolutely delightful. I think you’ll like it, too. I’m very excited to work on this play.
I want to mention that the Drama Workshop people have been very nice to me and supportive and the Glenmore Playhouse is a wonderful theater to see a play.
I’ll have more information about the plays as the weeks progress, but I hope you’ll save the date and come and see my plays at the Festival. I’m linking to the Drama Workshop’s Facebook page, where they have information on all the plays and ticket reservations.
I’ll see you there.
I have a new play. It’s called Lily Blossoms or Modern Subdivision Zoning for the Present Day. It’s a one-act comedy. Recently, a playwright/reader on New Play Exchange, a website where playwrights can upload their plays and theatre managers, artistic directors, etc., can find new plays to produce.
The play is set in 1954, in New York, and features writers Lily Palmer and Theodore Barkley, who work for Manhattan magazine. But, things will change once Barkley gets an offer from a movie studio and has to move to California.
This is the season when theatre companies ask for submissions and I wanted to have a new play ready to submit. I worked on this play in November and December and finished it early January. I like it. It’s funny and the characters are among my favorites. I even got to name drop a favorite character from one of my other plays.
This recommendation is from Steven G. Martin, a fellow playwright:
“ Sophisticated humor — through wit, wordplay, and charm — infuse this light, one-act comedy set in 1950s New York. Hatfield clearly understands and enjoys the high-brow charm of shows of this period, and has created a group of characters — world wearing magazine writers, a misled wife, and a tortured editor — that fits right in. Stylish and enchanting. ”
2018 was a good year for me, professionally. Two of my plays, The Great Stalinski and The Ten Minute Play (With a Nice Picture of Jimmy Carter), received readings. in Kansas City and Pittsburgh, respectively. Another play, Mundy Tuesday Friday, was a finalist for a theatre company in Virginia.
2019 is off to a good start, too. I’ll have some news a bit later on about some theatrical work I’m doing in Cincinnati.
My play, The Great Stalinski, will be given a reading by the Pittsburgh New Works Reading Series, on Monday, November 5.
The Reading Series will be be held at Higher Voice Studios, 144 E Main St, Carnegie, PA 15106, at 7:00 p.m. Their website is https://pittsburghnewworks.org/reading-series/
The Great Stalinski was selected as a finalist for the Pittsburgh New Works Festival in 2018, but just didn’t make the final cut of 18 produced plays. Out of hundreds of submissions, my play and about 39 others were finalists. The Reading Series is taking the plays that didn’t make it and giving them a reading over the course of the winter with local actors.
Of course I’m thrilled to be included.
The Great Stalinski is a personal favorite of my plays, as it started what I call “The Cabot Trilogy.” Let me explain: The play is about the third generation of Cabot actors who are gathered together for the funeral the “World’s Greatest Shakespearean Actor,” Gregor Stalinski. Brothers Jack and Monty and sister Veronica Cabot were close to Stalinski (especially Veronica) and they meet up at Jack’s theater to travel together to the funeral. The Cabots are theater royalty and the play is really a fun piece about theater history and fame.
So after writing it, that got me to thinking about the other generations of Cabots and I wrote a play about Jack, Monty and Veronica’s parents called Three Sisters in Repertory. I love that play. The characters are great. We meet Charles Cabot, their father, and three sisters, Virginia, Eve and Roz Fleming. I’m guessing that one of them becomes their mother. Again, theater history is evident as scenes are played from Pygmalion, Hamlet and The Importance of Being Earnest.
So I had to write a play about the First Generation of Cabots and I wrote the first act of what would become The Cabots of Broadway, where we meet Kate and John Cabot, who start the whole family on a theatrical career.
Act Two is Three Sister in Repertory and Act Three is The Great Stalinski. I’m really proud of this play and have been sending it out religiously.
As always, my plays are on New Play Exchange. I’m sorry more of you can’t see or read the plays just yet, but I’m working on it. It’s hard work.
So, if you’re a fan of my blog (and maybe you should be), I’ve discovered that earlier in the month a couple of playwrights on the New Play Exchange, where I host my plays hoping that someone will read them and want to produce them, have read my play, The Ten Minute Play (with a Nice Picture of Jimmy Carter).
I am thrilled to say that both liked the play very much and have written some wonderful comments about that are posted on my New Play Exchange profile.
Here’s what they said:
Over the years, I’ve become a fan of the work of D.W. Griffith, one of the pioneers of early film making. Griffith worked with Thomas Edison as an actor and writer, before moving to the American Mutoscope and Biograph Company, or just Biograph, as an actor. He complained so much about the directing, that they gave him a chance. This was in 1908. Griffith would go on to make thousands of one-reelers (about 10-12 minutes long) until 1913 when he quit Biograph because he wanted to make longer films.
Griffith’s use of cross-cutting, close-ups, flashbacks and editing allowed him to rise to the top of the directors working in silent film. He had a remarkable cast, too, that began to receive recognition for their work in the films. Such actors as Mary Pickford, Lillian Gish, Mabel Normand, Mack Sennett, Wallace Reid, and many others began, or worked with Griffith at Biograph. Pickford was so popular, she became known as “The Biograph Girl” and parlayed that exposure into a huge movie contract.
Griffith would go on to make many of the cinema’s greatest films: Way Down East, Intolerance, Orphans of the Storm, Broken Blossoms, and others. The Birth of a Nation became the most successful film in its day, launching the careers of dozens of men who would later become studio moguls, producers and theater owners. (Today, The Birth of a Nation is a pariah in the Griffith canon due to its overt tones of racism.)
(The image on the right is the big centerpiece of Intolerance, with its cast of thousands and huge scenery pieces.)
In 1919, Griffith, Pickford, Douglas Fairbanks, and Charlie Chaplin founded United Artists, an independent film studio where the producers made the decisions, not the studio heads.
(There are two terrific books on the history of United Artists by Tino Balio:
You would think that after making all of these important films, D.W. Griffith would be recognized in Hollywood for the genius he was and he would have lived out his life with the love and admiration of all his peers.
Not so fast. He lived his final years alone, not able to get work, alcoholic, and broke. His films had made millions for others, but he was unable to keep his money. He had often put his own money into his work and lost it when the films didn’t make it back quickly enough.
In 1940, Iris Barry, the first curator of The Museum of Modern Art Film Library, put together a large exhibition on Griffith, with the purpose of restoring the fame and reputation of the director. Griffith was still alive then, and cooperated with Barry on a monograph, short essays, that accompanied the exhibition. It was the first retrospective of Griffith’s career, and one that made the argument that Griffith was not just a pioneer of cinema, but a ground-breaking director, whose films incorporated practically every technique still used today.
I found the second edition of this book yesterday at a used book shop.
The second edition has been expanded because in 1965, the Museum ran another Griffith exhibition and reprinted the original manuscript by Barry and expanded it with a long addendum by the director of the Griffith exhibition, Eileen Bowser. It also has an interview with Billy Bitzer, Griffith’s longtime cameraman.
Griffith died in 1948, alone, penniless. He is buried outside of Louisville at the at Mount Tabor Methodist Church Graveyard in Centerfield, Kentucky. His grave was unmarked for a couple of years, until the Director’s Guild provided a marker. A re-dedication of his grave was attended by Lillian Gish, Mary Pickford and Richard Barthlemess, all who had appeared in Griffith films.
Gish also wrote a book about Griffith, now out of print, but available used.
One last thing, when I was a student at Northern Kentucky University, in 1979, there was a dedication on campus that unveiled a new statue by celebrated artist, Red Grooms. It depicted Griffith directing a scene from Way Down East, with Lillian Gish on the ice floe, and cameraman Billy Bitzer cranking away.
The statue received prominent placement on campus, between the Fine Arts building and the new Student Activities building. I must have passed it a million times, going from one place to the next. I knew who Griffith was, of course, and knew that he had been born in Kentucky, but really didn’t give it much thought.
The artwork was loaned out frequently and when it was returned, it was relocated to another part of campus: the banks of Lake Inferior, behind the Fine Arts building,
As the Grooms artwork remained on campus, there grew an uneasiness about Griffith’s past history with race relations. In 2004, the sculpture was dismantled, where it remains in storage to this day.
Being from the South, Griffith always believed that he impartially showed what happened after the Civil War in The Birth of a Nation. What he didn’t realize was there was a new attitude in the United States toward race. For many people, gone was the hatred, replaced by acceptance. Griffith’s display of race relations in The Birth of a Nation, even though it represented events happening 50 years ago, was not keeping with the mood of the country in present day 1915.
His next film, Intolerance, in 1916, was an answer to those critics, who believed he was intolerant of race. This is Griffith’s finest film, cross cut throughout with four different stories, showing mans intolerance to others always led to ruin. Running over three hours, it was the most expensive film of that time.
Lillian Gish called him “the father of film” and Charles Chaplin called him “the teacher of us all”. Griffith still remains a vital part of cinema history and there will always be film critics and historians trying to determine just how important.
Hollywood loves a story where someone at the height of their career takes a fall. Takes a huge, long, career-busting fall. Maybe that’s why I admire D.W. Griffith. Maybe that’s why I admire Orson Welles. Orson used to say, “Oh, how they’ll miss me when I’ m gone.” And that’s certainly the case. Welles also said, in spite of his own treatment by the Hollywood establishment, “I have never really hated Hollywood except for its treatment of D. W. Griffith. No town, no industry, no profession, no art form owes so much to a single man.”
A while back, I presented a book proposal on the deaths of famous writers. An editor suggested it for me and I sketched out some rough outlines of Poe, Hemingway and my favorite, Dorothy Parker. Since I’m terribly late in posting my latest story, I’m filling in with this chestnut, complete now with visuals. I hope you enjoy it. — Hat
Dorothy Parker: “I do not care what is written about me so long as it is not true.”
When Dorothy Parker died on June 7, 1967, her death surprised many people. After reading her obituary in the New York Times, they shook their heads in disbelief. They thought she had died years ago. Indeed, death came much too late in life for Mrs. Parker. The famed literary wit of the 1920’s had, after all, attempted suicide on at least three different occasions. After her second attempt, her friend, the humorist Robert Benchley warned her that if she wasn’t careful she was “likely to make herself sick.” On her 70th birthday, she said if she had any manners, she “should be dead by now. All of my friends are.”
Mrs. Parker and Mr. Benchley
Alone and forgotten at her death, Dottie had lived the last years of her life in her beloved New York, where she had made her biggest contribution. She was the darling of the Algonquin Round Table, whose ranks included the most famous drama critic of the day Alexander Woollcott; widely read newspaper columnist Franklin P. Adams (from whose poetry style of light verse Dottie borrowed heavily); award-winning playwright George S. Kaufman; and the New Yorker founder Harold Ross. Ironically, she outlived all but two of its members.
The Algonquin Round Table by Al Hirschfeld
Dottie was one of the original staffers at Ross’ new magazine, the New Yorker, where she is credited with creating the prototypical “New Yorker Short Story,” that is a story under 7000 words, urbane, witty and well-written. But her biggest success came from her poetry; short, humorous poems, usually about suicide or failed relationships, that she called “trifles,” never taking it seriously, but nonetheless knowing its popularity among her readers. In the early days of the struggling magazine, Ross scolded her for turning in an article late. “Sorry,” she said, “someone else was using the pencil.”
The New Yorker’s first issue, 1925
Mrs. Parker, Benchley and Woollcott were all on the “advisory” staff
“I hate writing. I love having written.”
She published seven books during her lifetime, collections of her short stories and poetry, including Enough Rope (1926), Sunset Gun (1927), Death and Taxes (1931) and After Such Pleasures (1933). She won the O. Henry Prize for “Outstanding Short Story” in 1939 for her story, Big Blonde. A collection from her entire body of work, The Portable Dorothy Parker, was first published in 1944 and remains in print today, bringing thousands of new readers every year. As she grew older, she and her then-husband Alan Campbell moved to Hollywood, where they worked on screenplays. Dottie, Alan and Robert Carson were nominated for an Academy Award for their screenplay for the 1937 film, A Star is Born.
Always a champion for social causes, upon her death Mrs. Parker left her entire estate to Dr. Martin Luther King, Jr. Upon his assassination, the rights reverted to the NAACP. Author Lillian Hellman was the executor of Dottie’s estate, but never claimed her ashes for burial, after finding out, and getting angry, that Dottie hadn’t left her the rights to her literary works. Mrs. Parker’s ashes languished in a box in an attorney’s office for over fifteen years before the NAACP took Dottie’s remains and interred them in a memorial garden at their national headquarters in Baltimore, Maryland. Dorothy had her own suggestion for her epitaph:
“Excuse my dust.”
The United States Postal Service issued a commemorative stamp with her likeness, as part of the Literary Arts series on August 22, 1992, on what would have been Mrs. Parker’s 99th birthday.
Mrs. Parker isn’t the only Round Table member to be commemorated on a postage stamp. Others include:
Artist Neysa McMein
Author Edna Ferber
Playwright Moss Hart
A film of her life, Mrs. Parker and the Vicious Circle, directed by Alan Rudolph and starring Jennifer Jason Leigh, was released in 1994 and released on DVD in 2006.
See the trailer here: