ALTMore than fame, recognition, and notoriety, I love writing plays because it’s an opportunity to share my work with so many other artists and an audience. It’s probably why I send my plays to other theatremakers with that hope that they’ll like it enough to say, hey! let’s share this play with our community too!
Pictured: a photo of the first read-through of WELGA with the theatre class produced by Cosumnes Oaks High School. Elk Grove, CA.
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ALTIt’s one thing to see my name on posters and flyers, but it’s another thing to see it on wearable merchandise! Grateful for this unexpected possibility with Cosumnes High School. Beyond my wildest dream to see artists connected with their production of WELGA being on, off, and behind the stage wearing the title for a play I wrote several years before. Just a trip… a wild, fun, and proud trip!
Pictured: a photo of a hoodie for the mainstage full-length Cosumnes High School production of WELGA (2019) and a t-shirt for their one-act version performed at the Lenaea High School Theatre Festival (2020) in Folsom, CA.
It’s taken me a while to think of another reason than the other 36, of why I Love Writing Plays, but being away from writing anything creative has reminded me of one: being surprised!
There’s absolutely nothing like being in “the flow” of writing when a character takes over my fingers and starts to say things I never even thought they would say or go. Or if I’ve already outlined everything that’s going to happen, a character does something to change the direction of the scene or entire play. Luckily, I’ve been writing long enough to embrace those surprises! Being a control freak, those instances could be maddening, and in real life, those times would drive me up the wall, but in the creative safe space between the margins of a Final Draft page riding on a floating cursor, those surprise journeys makes writing the story really enjoyable.
Also, those are the times when I feel like I’m more than the person I am. I don’t know what I did to have those “superpowers” of storytelling, but I’m truly grateful for those moments.
Pictured: a photo of a scene from my play, JULIE AND THE STARMAKER, written for The Kwento Times Full-Length Play Reading Festival at Bindlestiff Studio.
ALTNormally, this is my least favorite thing about writing plays, but with a change of attitude, I’ve come to appreciate my courage in doing what I need to do to make my name as a playwright. So call it what you will, hustle / network / submit / post, the main objective of being a playwright is to get other theatremakers to put on my play in some capacity. So being able to believe in my work enough to tell others about it is a part of the gig. The belief of “oh, I’ll just write my plays and when someone finds them, they’ll hype them up for me and I’ll get work that way” doesn’t really fly all the time.
ALTI forgot what book I read this from, but it said something to the effect of, All plays are mysteries. It’s like the author need to always be one step of the audience. As the playwright, one of your jobs is to NOT give everything away. But part of that job is trying to solve the mystery of HOW to put the play together so that it feels like a mystery that the audience solves and will eventually, and hopefully, remember the play after they leave the theater cuz they figured out what was happening. That figuring out part is so hard to do in the writing process and definitely one of the things I love about writing plays.
Pictured: A photo of three book covers for Mia P. Manansala’s mystery novels for the Tita Rosie’s Kitchen Mystery Series: Arsenic and Adobo, Homicide and Halo-Halo, and Blackmail and Bibingka.
ALTI proudly wear the Filipino American Playwright Identity because I grew up not seeing a lot of people who looked like me or shared my same background represented anywhere else. I went to a conference while in college called, Know History, Know Self… No History, No Self. And in one of the workshops, the attendees talked about representation in media. Back then, I didn’t see many fil-ams on tv as opposed to now. And I think from that workshop, I made it my vow to write more parts for Fil-Am actors to represent the lives of our stories.
Pictured: a short play titled, REMEMBERING THEM, about the power an old barber shop chair to bring back the memories of the manongs who sat in it.
ALTA fallen angel trying to convince her boss to stay on earth to finish a mission, an axe chopping off the foot of a certain wicked witch, and a wind pointing a princess towards her freedom. These are a few of the things I love about being a playwright: creating worlds for the most unimaginable actions can happen. Sure, writing plays is mostly about the dialogue, but it’s so freeing to be able to write something with the hopes of having a director and designers to take those written directions and create practical magic on stage.
Pictured: A photo of Ramon Abad and his merry band of puppet and theatremakers for the show, PICKLES! at Bindlestiff Studio.
ALTI have the WORST memory, so I’m so appreciative for the professional photos that I have in a folder of productions stills from things I’ve written. It’s hitting more now on the importance of them because I don’t ANY pictures from the very first 10 minute play I wrote called BORDERS produced by Bindlestiff Studio back in 2007… 2008-ish. So when I get them, they’re treasures.
Pictured: A photo still from my 10 called ROMERO AND JULIEANNE produced by 06 Ensemble for the Bench Project Festival. Photo by Hans Cardenas.
ALTThe point where “shit gets real” is when we meet the people who run the show: director, producer, stage manager, lighting designer, set designer, audio engineer, and etc. Scripts come out, pencils scratching on them, and the discussions happen to see if what I’ve written and what the director sees can actually happen. These moments of serious theatre geekiness are some of the points that hype me up. I love that these meetings encapsulates what theatre means to me: artistic collaboration!
Pictured: designers and crew for a show at Bindlestiff Studio, SF, CA.
ALTAs most performing artists can attest, notes are an essential element of the development process and I love them! When given with the intention of building up the work (and artist), notes are the hallmark of true collaboration. And in the same spirit of collab, notes should also be questioned at times, especially between artists. And one of the good things about theatre is that several notes can be given and worked on before locking in what truly works for everyone.
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