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Other People's Art: Early 2022 Edition

Let's consider Monday the start of the week for the sake of this post, shall we? It has been an intriguing week in terms of my artistic pursuits. Yesterday I posted "This is about the only thing I created this week."


Sadly, that's true, and it's not even punctuated correctly. I think during one of those days in the past week that I revised some sections of One Angry Gay Man (the 2022 version), so I guess that counts for something.

I'm digressing. Shocking, I know. Let's look at Monday.

I had entered a competition for solo show writer-performers. As part of that experience, I have attended several sessions of Roland Tec's Wednesday Gatherings and shared work of my own and listened to and even read from some work of other artists. This past Wednesday was the first time I attended with absolutely nothing new to share. Roland Tec Workshops for Creators of Original Theatre and Film Anyway, I'm already ahead of myself. I was not one of the finalists to present as part of a recognition ceremony on Monday. Apparently, there were ninety applicants. I was happy to see some people I had seen perform make the list of finalists. The winner was Christine Toy Johnson. HOME | christinetoyjohnson I must admit I was fanboying over her because I loved her performance in Nunsense (1993) as Sister Mary Leo. I was honored to be in the small, live virtual audience when she won the competition. I had been among some big hitters, including Gretchen Cryer.

A few weeks ago, my playwright acquaintance DC Cathro (more on him later) had his monologue Nubs Nubs | New Play Exchange read on Back Porch Theater Back Porch Theater - Home | Facebook. This prompted me to start following BPT. I saw a post for a free acting class and signed up! That led to a fun three-person half-hour on Zoom where I got to flex my acting muscles for a few moments. This week she did live coaching with Stephanie Caerley on Elizabeth Speckman's monologue Starting Small. I wrote a review for another piece of Elizabeth's here: Brothers on a Hotel Bed (15 minute play) | New Play Exchange. Anyway, it was so exciting to watch Miranda (BPT) do live coaching on a cold read of a monologue. I missed the first part of the process, but I was thankful I caught it while it was still live. I miss doing that kind of work, both as a director and an actor.

On Thursday my dear friend Leslie Pasternack, the goddess behind Lemon Punch Theatre Lab lemonpunchtheatrelab.com | classes and theatre-making by Leslie Pasternack, texted me to check in. We didn't talk about anything theatrical or artistic, but the events of that day were certainly dramatic. Look how much fun we had with this:

Another collaboration is overdue!

Today I had the honor of meeting with four big hitters in the playwrighting field. In a play buffet where we read samples of each other's work, DC Cathro and Craig Houk DC Cathro | New Play Exchange; HOME (craighouk.com) read from my play Solemn Process. We read DC's Ice Cream in Winter and Craig's Lost In Place: Hank and Teddy. One of my acting opportunities was in Steven G. Martin's play, A Quarter Placed on Railroad Tracks.

A Quarter Placed on Railroad Tracks | New Play Exchange. I also got to flex my acting muscles (I was fortunate today!) with Philip Middleton Williams' Stop Laughing Without Me Stop Laughing Without Me | New Play Exchange. All of these pieces were great fun. I've recommended works by all four of these fine playwrights, and it was quite fun to virtually meet with them.

Now, besides being a fanboy this week, I really haven't done much new work. I still haven't sparked anything, but I hope something good will come from it soon. I started (stole) Dining Room Readings, but the problem with that is it was intended for pieces I don't want to use in other situations. "Open Mic Night..." is currently in a draft of a revised One Angry Gay Man, but it may get cut. I'm not sure. I jumped from six/seven represented characters (six in the film, seven in the workshop) to nine. I'll need to keep it under an hour should it be accepted into festival. See "Fringe Lottery" on this blog for more information. I don't have new content for my channel.

Anyway. I was going to do a version of this 'live' on YouTube yesterday. It was just not a good product, and I quit within minutes. I need to think through my words. However, all this interacting with great artists has made me seek out those collaboration opportunities, in whatever this online platform brings. Live theater (remember that?) is harder to plan, but it would be nice to be involved in something in that vein. Well, I guess I should close this out and then annoy people by tagging them on social media.

You're welcome. I hope people check out your shit. (Or your art, for those who may not know I would never call your work, shit.)


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In December 2018 a very short 'play' of mine, which was more like an SNL skit, premiered in front of a live audience. Before then, it had been twenty years since my words were the context of a perform