Playwrights Binge!


Patrick Gabridge, a prolific, award-winning, and much produced Boston playwright, founded the online Playwrights’ Submission Binge, and is the co-founder and coordinator of the New England New Play Alliance, the Dramatists’ Guild New England Regional Representative, and the producing artistic director of Plays in Place. The Salon’s Artistic Director, Margaret O’Donnell, interviewed Patrick to learn more about the Binge.

Salon: What is the Binge?

Patrick Gabridge (PG): The Binge is an online community focused on marketing for playwrights. It started small, but it's grown to almost 1,100 members.

Salon: Why did you develop it? And when?

PG: I wanted a way to make my marketing chores more fun. So back in 2003, I set up a group with about a dozen fellow playwrights. The idea was to take the challenge of sending out a play a day, every day, for 30 days. Each person was to report back to the group what they sent, where, and why. It was a way to make a game out of it, and to build in a sense of accountability. It ended up working great, so we did it again. Now we do it twice a year, every March and September. It's a great way to share information and to build positive habits for yourself. It's also an incredibly supportive on-line community for playwrights.

Salon: Does it fill a gap in submission how-to for playwrights? If so, what?

PG: Because people are sharing a lot of information, it's a great way to stay informed about what opportunities are out there. And it's free. It's also a good place to turn if you have marketing related questions.

Salon: How do playwrights use it?

PG: They just join the Yahoo group. (The platform may change in the near future, to make it even easier to join.) Once they're on, they'll receive e-mails from the list. In the Binge months (March and September), they can take up the challenge and participate in the marketing frenzy. Or not. Lots of people are lurkers, and just kind of observe from a distance. It's low pressure. The site is at:

Salon: What are your best tips for benefiting from the Binge?

PG: Try to meet the challenge. Send out a script a day every day for 30 days in March and September. If you do, you'll have made 60 submissions for the year. The odds are low for any submission to succeed, so numbers matter. If you don't submit your work, it's hard for it to get produced, especially if you're not already well-connected.

Salon: Have there been unexpected consequences of the Binge? Serendipitous coincidences and connections?

PG: I think sometimes theatres are surprised when they get a sudden wave of submissions after they've been mentioned by someone on the list. Many friendships have developed on the group, and we had a great in-person gathering at the Dramatists Guild National Conference in July. I've certainly gotten lots of opportunities from submissions I've sent, and relationships I've formed on the Binge. I've made two trips to South Korea for productions of my work directly due to Binge friends recommending me for an opportunity. It really does work.

Salon: How has the Binge evolved since you first developed it?

PG: There are a lot more people involved, that's for sure. It's a little more active year-round, and I think people are even more generous than when we began about sharing opportunities. There's so much information available online now, as compared to 15 years ago, and our members are great about gathering that info and sharing it with the group.

Salon: What are your plans for the Binge? Are others involved?

PG: I'm hoping we'll shift to a more user-friendly platform, in early 2019. I just need to find a window of time to do it. This is something that can run simply and cheaply, so it's really just me handling the operations of the group. But it's everyone working together that makes it an actual active and supportive community--that's all due to the generosity and passion and energy of our member playwrights. Their spirit has made the Binge a very special community.

 Binge group at 2018 Dramatist’s Guild conference

Binge group at 2018 Dramatist’s Guild conference

Octavio Solis: An Accidental Playwright of Unconstrained Imagination

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The Salon’s Margaret O’Donnell interviewed Octavio Solis in advance of his visit to Seattle on Tuesday, December 4th at 7:30 p.m. to speak at Seattle’s Town Hall Arts and Culture Series. The Salon will give free event tickets to the first two playwrights who request it, courtesy of Town Hall. Contact us at, with the subject line ‘Octavio Solis Event’.

From Mr. Solis’s artistic statement on the New Play Exchange:

Federico García Lorca said, “A play is a poem standing up.” As a poet turned playwright that quote resonates deeply with me. My poetics are very present in my playwriting: imagery, repetition, symbols and attention to lyricism—all coalesce into a theatrical experience that aspires to engage the audience on multiple levels.

I’m an accidental playwright. Originally a poet, I transitioned to theatre and playwriting because I was looking for ways to explore social justice issues that impact the Latino community. I was drawn to theatre because of its ability to inspire empathy and invoke a sense of wonder through the use of narrative and vivid imagery.

I am an imagist. Using striking images as integral narrative elements, my plays are theatrical experiences marrying images with the lyricism of words.

I aspire to write plays of unconstrained imagination, where often the emotional world of the play impacts the physical world on the stage. I write plays featuring a range of Latino characters from recent immigrants to third generation American citizens in an attempt to demonstrate the breadth and dimension of my cultural community. And I often write plays with women at the center of the narrative as empowered protagonists.

I believe in the alchemy of live performance. In suspending disbelief. In breaking hearts and leaving them strewn across the stage. In seeing our shared humanity in one another. That the stories we tell are just as important, if not more so, as the official histories we keep as a society.

Salon: You’ve been writing plays for nearly 30 years, and have had at least 25 of your plays produced. How have you changed as a playwright in these years?

Octavio Solis (OS): Oh, I have more unproduced plays in my folders. Theatres may commission works from a writer, but they’re under no obligation to produce them. Sometimes, they don’t like the work, sometimes the work is just not right for the time or their audiences. These works languish away in neglect, but sometimes they get cannibalized by other newer works. I think my writing has changed quite a bit over time, but it’s because I’ve changed. We all must or else we become stagnant individuals stuck in some idealized time. Some things, however still hold true. I still cling to the notions of theatricality, that is, the use of all the elements of live theatre to make the story vivid: lights, music and song, direct address, heightened language. I don’t really like kitchen sink plays very much; they seem to adhere to the situation comedy format. I like works that dance across time and space, that bend these dimensions at will in the way Shakespeare did. And yet at the same time, I think I’ve settled a bit. I like to focus more on people, I’m more inclined to slow the page down to let them talk. Too much effort is directed at moving the action forward, and not enough on moving the action inward. Each character is a kind of maze, and I am drawn to the language that acts as a kind of string that leads us into and out of the maze.

Salon: Are the themes that interest you different than they were 30 years ago?

OS: Yes, I think I have absorbed some new themes into my oeuvre. For as long as I’ve been a playwright of note, I have devoted myself to defining the American Experience for Latinos in this country. The complexities, conflicts and ironies of being an immigrant in America. The love for and struggle against the temptations of our consumer culture. The Mexican culture as it evolves into a new hybrid American society. What it means to live on the hyphen.

But now I am drawn to environmental issues. I think moving to the country, raising goats and chickens, living off our green garden; these new aspects of our rural life have awakened my environmental heart. Even before this move, I have been a regular contributor to Elephant and Wolf preservation funds. But now as I see so much of our forests charred by wildfires, I am struck by how much of it is due to climate change. We’re at a tipping point. We have to respond to the dire circumstances in our planet, even if we’re only the Cassandras and canaries in the coal mine.

Salon: Has the way in which you get inspiration for your work changed over the years? How?

OS: Many companies have concerns they’d like me to address, so some commissions come with issues attached. Still, I have to find what matters to me. I have to be inspired to give them the play that they’re looking for. So often I ask, what is my way in? What about the issue or topic is personal to me? I have to care deeply or else I won’t care at all. What I look for is the element that will change me in the writing. I can’t be expected to change peoples’ perspective if I am not willing to be changed by the writing myself. So it’s always an education, always a discovery, which means there’s always a risk. By this, I mean that I have to be ready to have my beliefs upended by the work I do. I have to be ready to let the play talk to me directly and indirectly about things I have not considered about myself.

Salon: Have your writing habits changed over the years? What works best for you now?

OS: I used to write with a fervor every day, every chance I could. I used to stand by my writing with a ferocity that permitted no challenges. I was young. There was still so much room to grow. Over the years, especially since writing is all I do, or at least the only occupation I have full-time, I used to demand that I write every day, all day, and when I was wasn’t I punished myself grievously by not going out and enjoying myself. Now, I know that was wrong. I have learned that when I’m not writing, I am still writing. I am thinking and processing and engaging with my stories in my sleep, in my idle moments, when I’m driving my car; even when I am doing a repetitive physical task, I am writing. It’s the process before applying fingertips to keys or pen to paper. The dreamtime. The digestion of the idea.

Consequently, I have parsed out my energies more wisely. I don’t write every day, but when I finally do sit down to write, I sit for six to eight hours and hammer out what needs to be written. Raw and unvarnished, ugly and badly worded. That’s what a first draft should be anyway.

This process has become harder to maintain as I get older. On-line social media has cut into that dramatically. That’s why I insist that my posts remain terse and pithy. I don’t want to waste my good writing time and energy on Facebook and Twitter and e-mail. (I am making an exception here.)

Salon: What part of your time do you devote to writing, and what part to getting your plays produced? Do you find that your production time/other life duties keep you away more from writing?

OS: That varies with every work. Some plays call for the night. And some are daytime plays. As long as I have time cleared and I can sit in peace and quiet for an extended time, it’s all fine by me.

Salon: For new playwrights, do you sometimes recommend getting an MFA? How has having studied playwriting academically helped you? What is your best advice for new playwrights?

OS: I never studied to be a playwright. I studied to be an actor. If I took playwriting courses, (and I often did, under the tutelage of some remarkable instructors) it was so that I might know how a playwright thinks, how he builds his/her characters. Anything to give me an edge over my other colleagues.

But the situation actually worked in reverse. All the acting and theatre courses I took were invaluable to me as a playwright. It’s vital to know what an actor needs, how an actor thinks, how to give an actor the best grounding for his role in the piece. Same thing with directors and designers. I am conscious of their needs all the way through. Even when I’m not thinking about them, they are present in the work. I fully recommend that every playwright act in someone else’s work. Their horizons will broaden in astonishing ways.

Yes, an MFA will serve the aspiring playwright, especially if the courses are taught by exemplary writers who are not solely instructors. It’s vital to have someone who knows what the professional world is like for the contemporary playwright. Especially now when the world is radically changing. But a solid playwriting program will also expose the budding writer to the works of others. And also, hopefully, to the world of literature at large, which is even more important. I watch plays. I attend readings of plays. But I seldom read plays anymore. I read novels and poetry and fiction. Not just for the lessons they offer to me as a playwright, but for the general edification of my soul. We should all do that. We should all build coalitions between writers of books and writers for the stage.

Salon: What are you working on now?

OS: I’m working on getting the word out on Retablos, my new collection of memoir stories by doing readings and book-signings. I am working on a screenplay. I am doing the final touches on the rehearsal script of "Mother Road" which goes in rehearsal at the Oregon Shakespeare Festival this January for its premiere in March 2019. I am revising a work I had produced earlier this summer in Los Angeles. I am winterizing my farm in preparation for the first big freeze of the season.

Prolific Seattle Playwright John Ruoff: Mastering the Craft


This month we are featuring a series of interviews with local playwrights to gather their insights on the creative process and getting scripts to the stage.

The Salon’s Artistic Director, Margaret O’Donnell, interviewed John Ruoff in September to gather his hard-earned tips for new playwrights. A prolific writer, since 1985 John Ruoff has written 135 radio plays, fourteen one-acts (mostly comedies), and nine full-length scripts, and had productions of them all.

MOD: When did you start writing for theatre, and why?

JR: High school- 1975. As a youth, I had a keen sense of satire as my Catholic school upbringing prompted and inspired me to pursue writing short plays and sketches for the school drama department played on stage for the student body. Attending Shoreline Community College, I worked in the TV studio with access to the drama department for which I wrote comedic sketches, which were televised.

My first professional work was writing for stand-up comedians and as the head writer for a talk show (The Tricano DeSales show (1980-1983)). I wrote radio shows for the studio from 1985-1995, learning to write dialogue. I wrote for the Midnight Mystery Theater live radio comedy two shows a month for two years-as "on the job training" to learn the craft of economic storytelling and comedic dialogue. The theater was my classroom. The shows were performed and recorded live at the Belltown Theater for the air on KSER FM in Lynnwood.

In 1995-1996, I wrote three plays--as a learning process with readings only. In 2006 I began writing producible one-acts as training for the full lengths. In 2008 I had my first full length play fully produced and I continue going strong.

MOD: You’ve been very successful in getting your plays produced around town for years. Do producers come to you, do you submit widely, do you self-produce, or all of the above?

JR: I workshop every play I have ever written with other playwrights and hold staged readings as I did with The Playwrights Salon to the point where I can present the play to a director I feel is right for the project. I work with the director on editing the play into a working script. I believe it is essential to the process to have an objective editor and a director is more qualified than a playwright on overall tempo and detail as the work is closer to production. I hold a staged reading for the public and invite a potential producer or artistic director. Having a director in place is always a plus because directors often have crew they work with and the play is more enticing to a prospective producer when all the ducks are in a row.

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MOD: Advice for other playwrights seeking productions?

JR: Workshop a play as much as possible. If you are not in a group, find one or start one. Support is key in theater. And an experienced director told me when I was 21: ALWAYS GET THE BEST ACTORS YOU CAN FIND! Look at it as writing music—you want good musicians to play your music. Same with theater. And don't trust your eyes, have actors read your work!!! Plays are to be experienced! You will have a much better barometer on your work and it makes rewrites more like looking at a road map than just wandering.

MOD: Do you write every day? Do you have a day job? If so, how does that impact your writing?

JR: Since I have a monthly radio show and I am working on two full length plays, I write every day, but Saturday and Sunday. I perform at night. Writing is my day job. I write early in the morning—fresh. My head is too crowded at night for creativity. I never write under the influence of anything but great writers.

MOD: What are the themes that interest you? Has that changed over the years you’ve been writing?

JR: I am fascinated by family dynamics and have written two tragedies based on my own family history. It is true—write what you know. I am working on a third. I find true life stories to have what all engaging stories have—a universal appeal. Radio plays are my comedy outlet. If I write a full length comedy, it requires a solid story with well-defined characters to hold an audience for two hours. Not an easy task. My most successful play at the box office was a comedy, “Private Cocktails”.

MOD: How do you describe your growth as a writer?

JR: I have learned to pay much more attention to character development and story structure with a working outline before a word of dialogue is written. Saves so much time! I used to rely on first draft energy to take me where I wanted to go—like being in a boat with no oars, waiting for the current. My growth is directly linked to discipline. I do not believe in inspiration.

MOD: Any comments/critique you’ve received that you remember as particularly helpful to you as you developed your craft?

JR: Don't hold on to anything. Writing for the theater is a community art form, a collaboration. Be flexible! I had a director say "Go home and cut 16 pages and you might have a show." I did and he was right.

MOD: What do you like best about working with theatre artists on your scripts? Describe your collaboration with directors, and your advice to new playwrights on working with directors.

JR: The relationship with a director is a delicate balance—egos are involved. A good working relationship is a marriage based on trust and respect. Ultimately the director is the captain of your ship and you will have to turn your work over completely. Scary? Hell, yes. No two directors are alike with individual styles, faults, and attributes. I have been lucky to choose many of my directors but I have learned to work with assigned directors. Directors who are also actors have a tendency to be more adept at articulating processes with actors but non-acting directors can excel in visual staging, but all in all it’s a mixed bag.

Either way, it is crucial to hold an interview and learn what the director understands your play to be about. Then go on to explore layers with he or she as an artist. The big picture, if you will, gets you off to a good start. I find actors to be useful editors in workshop readings because they are focusing on the one character. He or she can detect repetitive or unnatural dialogue. I listen to what they have to say, in earnest. A rule I adhere to: if more than one actor or writer doesn't understand anything in my play in workshop phase then it should never get to the stage.

MOD: What playwrights inspire you? Influence you?

JR: Sam Shepard, Eugene O'Neill, Clifford Odets, T. Williams, Albee (I know all the lines to Virginia Wolf), Neil Simon, Lillian Hellman, Arthur Miller (I will be acting in Death of a Salesman in Feb, 2019), Kaufman and Hart, and what's his noodle...Shakespeare.

MOD: What are you working on now?

JR: Dictionary: The story of the Oxford Dictionary's leading contributor in 1880's who also happened to be confined to a criminal asylum as a murderer. A doctor who went mad after branding deserters in the Civil War is given book material from outside sources from the wife of the man the doctor murdered. The relationship is quite unique as the widow wrestles with the notions of forgiveness and revenge for her husband’s senseless death.

Dinners: A series of dinners present a family in the turbulent 1960s of change coming to a head as the son of an ex-marine declares himself a conscientious objector in 1967, as told by the teenage sister of the young man. And The Case of the Missing Wizard- a cross between Harry Potter and Peyton Place.

MOD: Final words of advice for new playwrights?

JR: To make your play marketable and attractive to producers, keep your cast under 8 (2-6 range a preference) and limited sets (one or two ideal). Producers have to pay actors and provide set pieces. Keep your monologues under two minutes because actors have to memorize and make it real. To test this suggestion, try and memorize your own speeches and you'll see my point.

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Playwright Interview: Kate Danley on Writing as a Day Job

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This month we are featuring a series of interviews with local playwrights to gather their insights on the creative process and getting scripts to the stage.

The Salon’s Artistic Director, Margaret O’Donnell interviewed award-winning Seattle playwright Kate Danley in September. Kate took her first playwriting class and wrote her first scenes in summer 2014. Since then her plays have been produced throughout the US and in Canada, and won staged readings in the U.K. This year, she was elected Seattle regional representative for the national Dramatists’ Guild. She co-founded the Seattle Playwrights Salon in 2016.

MOD: You’re a short story writer, an award-winning and best-selling fantasy novelist, and an actor. Why did you decide to start writing for the stage?

KD: I had the privilege of going to a magnet performing arts high school and I majored in theatre in college. Both programs involved creating original shows, and I feel very fortunate that playwriting and self-producing was established as a very normal, everyday thing that artists needed to do. When I moved to Los Angeles, I began writing sketch and stand-up in the hopes of launching my career from "starving artist" to "relatively financially okay" artist. Casting directors were using the comedy clubs to find new talent and, at the time, it was the easiest way to open the door. Unfortunately, the acting superstardom thing never materialized. What did happen, though, was I was working a lousy day job to support my failing acting habit and to stave off the boredom, I started writing a book, and that book took off. I soon found myself as a full-time author, but there was something missing. I love theatre. I love it more than anything. And writing books wasn't enough. So, I was sitting in my office one day in 2014 wondering to myself, "If only there was some way to combine plays with writing..." and quite literally had the epiphany it was called "play writing." And the rest, as they say, is history.

MOD: I remember being in class with you at the Seattle Rep in 2014 when you wrote and read the beginnings of your now widely-produced play Building Madness. The entire class loved Trixie, your ditsy heroine. Where did she come from?

KD: I am a tall, awkward woman with brown hair and a funny face, and since high school, I have been cast as either the old lady or the serious lead. I looked at all of my cute, tiny friends who got to play all the fun roles I was always typed out of. And so, when I sat down to write Building Madness, I asked myself what sort of role had I always wanted to play that no one had ever let me. I am a huge fan of Gracie Allen and think her unsung genius is disappearing from the zeitgeist. So, I decided to use her as my inspiration and write a part that I would love to play. And, I gotta say, I had the privilege of taking on the role at a theatre in Los Angeles. One of the greatest joys was having friends who had known me for years come up and say, "I didn't know you could do that. And it was really, really good."

MOD: How did you get your first production? What is Building Madness’s production history? What have been your favorite productions so far of the play?

KD: I had three productions all happen concurrently, which is just bonkers. I had entered Building Madness in the Panowski Playwriting Competition, which it ended up winning. Out of that, I received a workshop and a world premiere production at Northern Michigan University. At the same time, a reader of my books named Patty Ram reached out to me when she saw I had a script and became a champion of this play. She pitched it to a theatre in Grande Prairie, Canada, and they picked it up for their season and gave it its Canadian World Premiere. At the same time, I am very good friends with two men named Kevin Cochran and Charles Johanson. They own a great little theater in Los Angeles called the GTC Burbank. Kevin and I awkwardly asked each other if we might both be interested in possibly working on it together (it was like two seventh graders asking each other out to the school dance) and the show had a great workshop production in LA. Each of these experiences holds such a huge place in my heart and helped the play to grow in wonderful ways I never would have discovered on my own.

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MOD: What else have you written, and where have you been produced?

KD: Oh gosh... I've seriously lost count. Thirty books? Twenty plays? Something like that. If anyone's interested, head on over to my website or the New Play Exchange! I also write cozy mysteries under the name Agatha Ball.

MOD: Do you still write novels and short stories? What is your writing schedule?

KD: I do! It is still ye olde day job. Because I am an indie author, I have to release about four books a year in order to keep the roof over my head. In case anyone is gasping in horror, keep in mind we now work on computers instead of typewriters and research can happen instantaneously instead of having to slog to the library. There is certainly space needed for the creative process, but not having to retype a 250-page manuscript word-by-word with every edit has cut back on a lot of the time consuming work.

MOD: What are your best short tips about developing new scripts? Submitting your work?

KD: Once you think your script is finished, gather up your friends in your living room and have them read it aloud. You'll discover all sorts of things you never would have discovered on your own. And look for ways to advance your plot in the spirit of "Yes, AND!" instead of "No, but..."

As far as submissions, create a file of your play with your contact info, your play without your contact info (blind copy), a single sheet with your synopsis, a single sheet with your character list, and a single sheet with your scene summaries (usually the readers are looking for time shifts and locations so they know if it is a single room play or if you are going to need a turntable and huge set changes. It helps with budget expectations.) Pretty much every opportunity will need some combination of these, and once you've created them, submissions become less daunting. There are various submission sites like the Dramatists Guild website, Kat's Play Submission Central, Aurin Squire's Get What You Want, and Play Submission Helper.

MOD: What are you working on now?

KD: I just completed a full-length retelling of the 13th century Robin Hood ballads called Olde Robin Hood. Now that the book is out the door, I can refocus on playwriting. I'm actually working on an adaptation of my gothic penny dreadful novel A Spirited Manor for the stage. It should be a lot of fun for theatres needing some new Halloween fare—shameless plug!

MOD: Why did you co-found the Salon?

KD: I think you and I were both at a point in our playwriting that we needed a way to bring our words to life. It seemed like there were limited opportunities for new local playwrights, and especially new, local, women playwrights, to get anything onstage. And as the old saying goes, "Be the change you want to see in the world." I am so grateful to the Salon and Carlos at The Conservatory for providing an artistic home for Seattle's artists to shine. I know I would not have achieved any of my success without this very special proving ground.

MOD: What are your plans as the Dramatists Guild regional representative?

KD: We have an absolutely incredible, vibrant theatre scene here in Seattle. And after spending many years in both Los Angeles and NYC, I am even more impressed. It is political, subversive, wickedly funny, smart, fearless, heartbreaking, and truly special. That said, I sometimes feel that theaters may not know how to connect with local playwrights outside of their sphere. My hope in the remaining two-years of my tenure is to bridge that gap. I want producers to know how to find the playwright that lives a few blocks from their theatre, someone who has been coming to every show for the past five years. I want playwrights to feel empowered to create their own opportunities and not feel like they have to be anointed by an agent or literary director in order to bring their play to life. I want people to be aware of the work the Dramatists Guild does - from providing paid commissions to playwrights in Puerto Rico who were devastated by Hurricane Maria to studying the ratio of men vs. women being produced and providing hard data so theatres can make informed choices via The Count to honoring the students of Stoneman Douglas High School to championing diversity, equality, and inclusion to making space available in Times Square for any playwright who needs it to providing pro bono legal advice on any question on contracts and copyright... The list goes on and on and on. My goal is to help any playwright in our area feel like they are a part of something wonderful.

Playwright Interview: Elizabeth Coplan and The Grief Dialogues


This month we are featuring a series of interviews with local playwrights to gather their insights on the creative process and getting scripts to the stage.

The Salon’s Artistic Director, Margaret O’Donnell interviewed Seattle playwright Elizabeth Coplan about her production The Grief Dialogues, which took off from Seattle, and is currently being staged throughout the country. The next show, Grief Dialogues: The Play is being produced in Las Vegas on September 26.

MOD: You founded, wrote for, and toured The Grief Dialogues, and captured the imaginations of audiences throughout the country. What are The Grief Dialogues?

EC: The Grief Dialogues is an artistic movement. We use theatre, visual art, music, poetry, and narrative to start a new conversation about dying, death, and grief. Our motto is out of Grief Comes Art.

MOD: Why did you begin this project?

EC: Three years ago, I experienced several deaths, people close to me or close to people I love. Neither of us was allowed to express our grief in public. So called friends barraged us with meaningless phrases like: He’s in a better place. At least he died doing what he loved. She lived a long life. I know exactly how you feel. Time heals all wounds. You will be okay. It’s better this way. Your wife would not like to see you suffering like this. Or the always popular, never fails to sting: You have to move on! To which I always reply: Why?

MOD: Where were you a playwright before coming up with this idea?

EC: Since I was 13, the theatre influenced my life. I acted, directed, produced, attended, reviewed, and donated money to theatre all over the world. When I was diagnosed with a chronic illness forcing me into early retirement, I turned to the one thing I knew I could do anywhere, in bed, on the sofa, at my desk, regardless of day or time. If I grew weary, I could set it aside. I started writing 10 minute plays thinking they would be “easy” only to find they were quite difficult to write. They include all the components of a full-length play but in 10 pages! Even so, I found them quite rewarding and my hard work paid off in awards and productions.

MOD: Did this project take shape completely right out of the box? Or did it change over time? Did you envision a touring company?

EC: It definitely changed over time, but only in some improvements. It is still, and always be, entertaining. I hope it continues to be educational. I recently wrote a chapter for Dr. Robert Neimeyer's book Grief Therapy Volume 3" titled, "Using Theatre to Start the Conversation." And yes, I always envisioned a touring company. I love to travel so why not. We are now in the process of sustainability and are changing our mission to include medical ethics but serving the greater medical community (doctors, nurses, social workers etc.).

MOD: Who was your first collaborator? How did that change the dynamic of being the founding visionary?

EC: My first collaborators were the playwrights featured in the original script: Jeffrey Fischer-Smith, Daniel Guyton, Donna Hoke, Barbara Blumenthal, all, coincidentally, fellow Dramatist Guild members.

MOD: You’ve found a dynamic director and four exceptional actors for the touring company. How do they continue to be motivated and inspired?

EC: You will have to ask them that question. However, I will say that when we finally had our cast party last Sunday night in Seattle, they were all still talking about the show and asking when we can do it again! I think the show itself is what continues to motivate and inspire them. With six different plays, it’s not uncommon to have a different play resonate with a different actor every performance. They tell me they absolutely love the diversity of all the plays and their characters.

MOD: What satisfactions and what challenges have come with working with others who are as passionate about The Grief Dialogues as you are?

EC: Satisfactions: my Inbox flooded after a performance with such wonderful feedback and the sender’s own personal grief story; the opportunity to work with so many talented people on the subjects of theatre and therapy, drama and death; traveling to other cities in the U.S.; and meeting even more people in these circles. On a recent trip to NYC, I met the incomparable Amy Cunningham. Amy is well-known on the East Coast. My husband and I had just been in Pittsburgh for the Association of Death Education and Counseling national conference, where I produced The Grief Dialogues for the second year in a row, and we decided to take a week “off” to go to our favorite U.S. city – New York. While I was there, I did manage a few Grief Dialogues related meetings (what’s a little vacation without a little work on a project I am passionate about). For some reason, I decided to Google what was happening in NYC around the topic of death. And lo and behold, I found “The Inspired Funeral,” a half-day workshop at the New York Open Center, taught by Amy, on the upcoming Saturday. So I signed up! And that workshop brought me new information about death and an opportunity to introduce myself to Amy and others in attendance, which led me to ReimagineNYC, a week long event in NYC on End of Life issues. Grief Dialogues is now one of the featured events!

MOD: Now that you have this project to grow and nurture, how has it affected your own time to write? Influenced how and what you write?

EC: Excellent question. I suppose if you are asking me if I have time to write new work, then I’d say “no.” Existing work, “yes.” I have a play “Hospice: The Unmusical” that I workshopped last year in Seattle with great success and now I am working on the re-writes. I have a proposal for a new book (on the topic of death – of course) that has great potential but I have yet to write the Sample Chapter requested by the potential publisher. But just yesterday I took an assignment to write the end-of-life story of a friend’s husband (most likely a play). Now that will be all new work. How does the project influence my writing? I guess the answer would be that the project is so consuming (an obsession really) that it completely influences my writing and vice versa.

MOD: What’s next for The Grief Dialogues? How do you want it to grow, to change?

EC: Right now, I am restructuring the financial model to become more sustainable. While we will continue to look for theatres and organizations to sponsor the show, we are also be looking at developing an educational program for a fee.

MOD: How are The Grief Dialogues funded?

EC: Originally it was self-funded with a little bit of income from ticket sales and my speaking engagements. Last year, I did some additional fundraising with friends and an Angel Donor appeared at the end of the year. She then agreed to do a matching fund drive with me through the Seattle Foundation’s Give Big program in May. With that money, I was able to produce five shows in June in Seattle and on Bainbridge Island, as well as take my director and actors to NYC for a performance. Now, I’m back into fundraising mode. With this new sustainability model, I’m hoping that we will obtain grants and other significant funds from foundations and private donors.

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MOD: Have you changed your ideas about the project? If so, how? Is it what you originally wanted?

EC: My original vision and the one I come back to time and time again is to create a compassionate world.

MOD: Do you have other projects in mind?

EC: My current problem is that I continually think of new projects within this project. I’m trying to launch a Podcast program. I’ve already started production on a new book of stories about love and loss (publishing date Fall 2018). We have a theme song “Go On,” and we include visual art in our stories. Forty years of a career in marketing and public relations leads me into what I call “Marketing Shiny Object Syndrome” (MSOS) which, in turn, leads me into more “to-dos” than is humanly possible. I should mention right now that ticket sales and recent donations allow me to hire three part-time people: a theatrical manager, a book editor, a marketing specialist, and a social media intern in Las Vegas where we are holding the next performance of The Grief Dialogues. Rather humorously I just told someone that I feel not like I am drinking from a fire hose, but rather five fire hoses are pointed right at me with full force!

MOD: What was the most important lift-off for The Grief Dialogues? What shifted it from a project you dreamed of to the reality of a touring company in demand, with good scripts coming in continually?

EC: I feel I am the luckiest person alive when it comes to a project that fulfills me! I have always believed that life is nothing if you are not obsessed. I spent my entire working career helping others bring their dreams and goals to fruition and now it’s my turn. As far as the “lift off” I will say that it was the first performance (a staged reading) of Grief Dialogues: The Play at the Seattle Death Salon that I helped organize with the UW School of Social Work, People’s Memorial (I’m the board prez) and the Order of the Good Death (out of LA) that gave me the biggest lift off.