On Friday 16 March The League of Professional Theatre Women held their awards for outstanding accomplishments of women in the theater. With the #metoo movement in full swing and the entertainment industry highlighting the paltry showing of sterling women who have yet to be represented in parity and equity with men, the LPTW shines a special light on the tremendous capabilities of women in the industry. They have been doing this for years beginning with their pioneering efforts championing women in the theatre since their inception in 1984.
The importance of this organization at this time is not to be underestimated. The pernicious nature of male chauvinism, paternalism and the preeminence of patriarchy is deeply entrenched in the folkways of our culture and has risen its ugly head politically, indicating that only lip service had been given to women’s inclusion in the power game. Indeed, men have been dragged along with the arc of progress and justice continues to be flogged by men in power under cover of darkness. Meanwhile, all is smiles and compliments by men for women when the spotlight is on.
Well, women are bending the arc of progress toward their inclusion. It is enough that they are more than half the population, yet have been relegated to the back of the line when the golden rings of power are bestowed by other men. Indeed it is enough!
For years LPTW members identified the under-representation of women in positions of power and importance in the entertainment/theatre industry. And this ironically was not because women demonstrated a lack of creative talent, leadership abilities or phenomenal skill sets. It was because of surreptitious discrimination and a network of mores supported by men AND women wittingly and unwittingly. The concept that “boys will be boys” and women were less than “all that” reigned supreme in the competition for employment. Outstanding women had to push diligently, subtly and prodigiously to get a “place at the table” where men ultimately dominated. Women compromised their behaviors, attitudes, intelligence and creativity to meld into a preeminent male world of directors, playwrights, and design directors and assistants. Because of these pioneers, progress has been moving forward. But we have a long way to go before reaching parity and equity. Thankfully, “the whole world is watching.”
Thus, The League of Professional Theatre Women cannot be praised or recognized enough because they have been at the forefront of supporting women in the theatre world in the US and globally before there was creditable appreciation for womens’ indelible contributions. Over the years their numbers have grown. Their mission has thrived and gained critical mass especially in the current noxious political atmosphere. Now, more than ever their work, their efforts are a beacon to the international theatre community and entertainment industry because their values indicate there are no inconsequential roles, no “little” players. All are integral and vital if live theatre which makes a difference in the minds and hearts of citizens is to continue in its goal to uplift, instruct, unify and promote understanding between and among global communities.
The theatre community receives strength in its diversity of gender, ethnicity, religious beliefs and international participation. As a maverick organization their force and presence are unmistakable. It should be shouted from the rooftops. Thus, it is with gratitude to this organization for what they have accomplished in solidarity over the years that I enumerate the women and the awards the LPTW bestowed last Friday at The TimesCenter.
Florencia Lozano, Host
Florencia Lozano (@ilovelorca) actor, writer and performance artist with a multitude of TV, theatre and film credits is one of the original members of the LAByrinth Theater company and currently serves as LAB’s literary manager. Host of the LPTW Theatre Awards, Florencia Lozano introduced the presenters who then bestowed the awards.
The Lee Reynolds Award, Co-presented by Marshall Jones III & Wayne Maugans to Rohina Malik
The Lee Reynolds Award is given annually to a woman or women active in any aspect of theatre whose work has helped to illuminate the possibilities for social, cultural or political change. Producing Artistic Director of the Crossroads Theatre Company and theatre professor at Rutgers University Marshall Jones III (#MarshallKJonesIII) and Wayne Maugans (@WayneMaugans) the Founding Artistic Director of Voyage Theater Company presented the Lee Reynolds Award to Rohina Malik (@rohina_malik). Her plays have been produced all over the country at various venues, and globally at two South African Theater festivals. She worked with Marshall Jones III and Wayne Maugans with their companies and has formed vital ongoing connections with them continually spurring on new works.
The Ruth Morely Design Award, Presented to Cricket S. Meyers by Shelley Butler
The Ruth Morley Design Award, established in 1998 to honor leading film and theatre costume designer Ruth Morley, is given to an outstanding female theatre designer of costumes, scenery, lighting, sound or special effects. This year’s winner presented by director Shelley Butler (#ShelleyButler) was given to Cricket S. Myers (@sound_myers) for her award winning efforts in Sound Design.
The LPTW Special Award, Presented by Roma Torre to Linda Winer
A LPTW Special Award, presented to a remarkable theatre woman for her service to the League and to her field was given to award winning Linda Winer (#LindaWiner) by NY 1 theater critic, the award winning Roma Torre (@NY1 #RomaTorreNYC). Linda Winer was Chief Theatre Critic for Newsday from 1987-2017 and she has taught critical writing at Columbia University’s School of the Arts since 1992. Both women quipped about the idea that a theater critic might receive an award when in the past, “critics” were looked upon with skepticism and sometimes fear. Certainly, both of these women have provided a wealth of information about productions and have placed them in the historical record revealing the development of theater in this nation.
The Josephine Abady Award, Presented by Karen Kandel to Emily Joy Weiner
The Josephine Abady Award honors the memory of LPTW member Josephine Abady. The award goes to an emerging director, producer or creative director of a work of cultural diversity who has worked in the profession for at least five years. Emily Joy Weiner, Co-Founder and Artistic Director of Houses on the Moon Theater Company received the award presented by award winning Karen Kandel, Co-Artistic Director of NYC based theatre company, Mabou Mines. The Houses on the Moon Theater Company was founded in 2001 with the mission of telling untold stories in the interest of social justice. Emily Joy Weiner has been creating developing, performing, producing and directing new works with the Houses on the Moon Theater Company that address the sensitive issues of our time with community organizations and the talented company of artists.
The LPTW Lucille Lortel Award, Presented by Celia Keenan-Bolger to Adrienne Campbell-Holt
The LPTW Lucille Lortel Award is an award from the Lucille Lortel estate endowment to fund an award and grant. The award is given to “an aspiring woman in any discipline of theatre who exemplifies great creative promise and deserves recognition and encouragement.” This year’s award was presented to director Adrienne Campbell-Holt (@adriennecolt, @Colt_Coeur) by award winning actor Celia Keenan-Bolger (@celiakb). The grant was awarded to Ms. Campbell-Holt’s company, Colt Coeur. Adrienne Campbell-Holt inspired the women in the room with her remarks and encouragement to women playwrights to tell women’s stories. Women, above all are storytellers and she suggested that we must continue to push each other and the culture forward into a new day of acceptance and unity.
The Lifetime Achievement Award, Presented by Jocelyn Bioh to Phylicia Rashad
The Lifetime Achievement Award presented to Phylicia Rashad (#PhyliciaRashad) needs no explanation and the honoree needs no introduction. The award was presented by Jocelyn Bioh (a Ghanaian-American writer/performer from NYC). Jocelyn Bioh (@Jjbioh) has carved a path for herself as an actor on Broadway and Off Broadway. She has appeared in film and TV. Jocelyn Bioh is also a playwright and is working as a staff writer on Spike Lee’s She’s Gotta Have it.
Phylicia Rashad has appeared in all entertainment venues, TV, Broadway and film. She has made lasting contributions throughout her career with her prodigious body of work. An example of this includes performances on Broadway in August Osage County, Cat on a Hot Tin Roof, Cymbeline (Lincoln Center Theater), August Wilson’s Gem of the Ocean for which she received a Tony Award nomination, A Raisin in the Sun (Tony and Drama Desk Awards), Into the Woods, Dreamgirls, The Wiz.
Off-Broadway she has appeared in A Midsummer Night’s Dream, Sunday in the Park with George, Head of Passes for which she won a Lucille Lortel Award, The Story, Helen, Everybody’s Ruby, Blue, The House of Bernarda Alba to name a few. She has performed in Regional Theater and has also directed Ma Rainey’s Black Bottom and Joe Turner’s Come and Gone at the Mark Taper Forum to mention two directorial achievements. She has directed many other productions at numerous venues for example, the Goodman Theatre, the Long Wharf Theatre, the McCarter Theatre, Ebony Repertory Theatre, Kirk Douglas Theatre, Westport Country Playhouse, Seattle Repertory Theatre. And she directed Four Little Girls at the Kennedy Center. She is simply sensational, and as Jocelyn Bioh affirmed, she is “regal,” she is “legendary.”
At the end of the evening a champagne toast heralded to celebrate the award winners and their presenters. Until another year! We’re looking forward to our members’ and exploits in 2018-2019. If you are currently a woman working in the theater globally as an actor, playwright, director, designer, consider viewing the LPTW website to check out their online community. This organization will help you network, meet individuals to spur on your career. Above all it encourages inclusion of women before we even were aware to ask for an “inclusion rider” in our contracts in the entertainment and theater industry. JUST DO IT!!! CLICK HERE FOR THE WEBSITE. Tweet @LPTWomen.
The League of Professional Theatre Women’s Pat Addiss and Sophia Romma again have successfully collaborated with Betty Corwin, who produces the New York Public Library’s Oral History Interviews, to present an enlightening, joyous evening with one of Broadway’s hottest playwrights, Paula Vogel. In conversation with Linda Winer, long-standing theater critic of Newsday, the Pulitzer Prize-winning playwright discussed her life, her work and the journey of her play Indecent from conceptualization through development, regional theater production and Off Broadway right up to its current run at Broadway’s Cort Theatre. The immutably themed Indecent has been nominated for a Tony Award in the category of Best Play. It is not only a must-see, it is a must-see two or three times over for its metaphors, themes and sheer genius.
Paula Vogel, a renowned professor of playwriting (Brown-two decades, currently Eugene O’Neill Professor of Playwriting (adjunct) at Yale School of Drama, Playwright-in-residence at Yale Rep) generously shares her time and dynamism with global communities. She conducts playwriting “boot camps,” and playwriting intensives with various organizations, theater companies and writers around the world. What is smashing is that Vogel not only is a charming, vibrant raconteur, she is an ebullient, electricity-filled advocate of the artist within all of us.
In her philosophy and approach toward theater, we are all story tellers, we are all playwright,s and we must cultivate the citizen artist within to insure that the theater arts are accessible and relevant to all cultures and populations, not just the “haves.” What she discussed about the current state of theater arts past and present was profound and prescient in response to why it took her so long to get to Broadway. Vogel reminded the audience that in the 1980s there were about 50 innovative, theme-rich plays on Broadway exemplified by The Elephant Man and M Butterfly. Such plays dealt with difficult issues that brought audiences together in a profound communal experience. Currently in 2017 there are a handful of productions that effect this. Commercialism has enveloped Broadway.
Hence, Vogel expressed a motivating joy that perhaps we should all entertain. We should roll up our sleeves to fight the good fight against philistine commercialism and consumerism and Byzantine gender and racial bias. Such dampening restrictions and discriminations parade behind the notion that film and theater are essentially liberal mediums. Vogel introduced the thought that they are the opposite. To her way of thinking there is a profligate conservatism akin to that of corporate America that hampers theater innovation and prevents provocative theater production to readily make it to Broadway.
However, she did affirm that the next generation of playwrights, whether older or younger, are seeing an explosion of work featured Off Broadway and Off Off Broadway which is where a lot of the innovation and experimentation has found a home. That aspect of the theater is thriving and in the upcoming years we can expect an elegance of defining work that will have an illuminating impact on Broadway.
A believer of reverse capitalism, that supply increases demand, Vogel’s ideas and effervescence are contagious. She “spreads the word” and brings the community of theater wherever she visits, from Austin, Texas to Sewanee, Shanghai Theatre Academy in China, from Minneapolis to the neighborhood near the Vineyard Theatre in New York City. And together she and her audience of all ages across the communities (from 15-90), of seasoned writers and playwrights and neophytes alike, experiment, grow and enjoy writing and reading plays during her intensives.
Her current playwriting boot camps (they used to take a week to do) to make live theater a communal experiment much like its original creative form as a social, cathartic experience resonate today. They make complete sense especially at a time when artistic shallowness manifested in some entertainment forms has achieved a noxious superfluidity that really needs to die a death (my thoughts).
Some of the highlights of Paula Vogel’s discussion with Linda Winer, who was a wonderful interviewer, revolved around how she conducts her “bootcamps,” culminating in bakeoffs to spur on a fountain of creativity. In response to how her Pulitzer Prize-winning play Learning How to Drive was produced Off Broadway but never made the transfer to Broadway, she repeated an incisive comment from the past, “How often do the girls get to play with the big expensive toys?”
Now that Vogel’s Indecent and colleague Lynn Nottage’s play Sweat also transferred to Broadway from the Public Theater, Vogel laughingly acknowledged that for both of them, the expensive toys are “a lot of fun.” Vogel stated that when one acclimates to the house size, whether the play is in a 60 seat theater or a 200 seat theater, the effort and the intensity of the work process is the same. Vogel joked, “The only difference is I’m not sleeping on a sofa bed.” Indeed, with Indecent, Vogel has graduated to a mattress and a bed, “more expensive toys.”
Vogel discussed the evolution of Indecent which was fascinating. In her twenties she had read The God of Vengeance, by Sholem Asch, the play upon which Indecent revolves. She was mesmerized by the transcendent love scene between the pious Jewish father’s daughter and one of the prostitutes who works for him in the brothel below their apartment. When the world renowned Yiddish play was translated into English and brought to Broadway in 1923, the cast, director and producer were arrested for obscenity, even though some of the love scenes were cut. The play received a greater following and lasted 133 performances, but there was a trial after the play closed. The Court of Appeals overturned the convictions of the director and producer in 1925.
Twenty years after Vogel read Asch’s play, she learned that Rebecca Taichman was attempting to direct the obscenity trial for her thesis. Vogel learned of her work and pronounced her a genius. Vogel was inspired when she received a call from Taichman to collaborate on a play about the events surrounding the trial of Asch’s play. During their conversation Vogel had a lightening-like vision seeing a scene from the play which she stated “always happens” (it happened with Learning How to Drive) when she knows she can write a particular play. Having read up on Yiddish Theater, she told Taichman, “I think this is a play way beyond an obscenity trial.” Taichman was thrilled at her enthusiasm. Vogel admitted that this was around nine years and 40 drafts ago.
They workshopped at Sundance Theatre Lab (2013) and after many drafts and other workshops they put it on at Yale Repertory for the first time with the music, choreography and staging. Vogel joked the “flop sweat” was prodigious. Taichman’s and Vogel’s shirts were sticking to their backs. Since then it has moved on and was performed at La Jolla Playhouse in Fall 2015 and in May 2016 was produced at the Vineyard Theatre in New York City.
There is such enthusiasm for the production since Yale (2015) that the ensemble, the musicians, the stage manager and the assistants have remained together. As Vogel says, “We’ve all moved together as one.” This never happens with a production that transfers to Broadway. If it does, it is extremely rare. Vogel laughingly joked they have become a family. When two children were born during the evolution of Indecent, Vogel commented she has become like a godmother to both.
What a memorable evening! Vogel is about fun, about community about connections, about living and creating whatever comes next. That spontaneity and flexibility is like jumping off into the darkness, knowing you will land on soft ground at sunrise. The moment you think about the jump, you stop yourself. Vogel is not about stopping. She’s there already and beckoning us to join her. Why not?