Works by Women - News

"Play" Date: Mourning Sun at Theatre 167

12/7/2015

by Zoe Kamil

On Friday, November 20th, 2015, friends and supporters of Works by Women gathered on the Upper West Side to see Antu Yacob's thought-provoking new play, Mourning Sun.

Rarely does one have the privilege of seeing a performance that serves as a powerful educational experience, as well as a piece of art. Witnessing protagonist Biftu's journey from an abused child bride, to a self-empowered American immigrant was a stark reminder of how vital it is for women all over the world to understand the plights of their sisters and fight in solidarity for their well-being.

Though the intense weight of the subject matter was undeniable, the piece was also punctuated by a refreshing warmth and sense of humor that brought great depth and relatibility to the characters.

Personally, Mourning Sun was a wake-up call for me. I believe in a brand of feminism that is intersectional, and inclusive. Yet, I know so little about the oppression of women in cultures and societies beyond my own. This play felt like a healthy challenge - encouraging those of us who are privileged in our abilities to choose who we want to marry, and have agency over our own bodies - to stand up for those who don't. It was a necessary reminder, raising an incredibly important issue.

#ParityPerc

12/4/2015

Check out our live-tweeting from yesterday's Percolating Gender Parity in Theatre Forum in midtown!

We were thrilled to be part of this fantastic day full of bright minds for and passion for parity.

Thanks to Shellen Lubin (Women Arts and Media Coalition), Martha Richards (WomenArts), HowlRound and everyone else who made it possible.

GOOD TO GO Recap!

11/24/2015

We were thrilled to attend the GOOD TO GO Summit on November 18th

Check out some of our live tweets!

a note for you

11/10/2015

Dear Friends, Members, and Supporters,

The holiday season approaches! For most, this is an opportunity to relax and reboot as the year comes to a close. In that spirit, Works by Women will be on hiatus for the month of December.

However - this doesn't mean that the work for Parity stops!

If you would like us to promote your production during December, please send us all relevant info by Thanksgiving - November 26, 2015.

Thank you for your support!

In Solidarity,
The Works by Women Team

Crushing Systematic Inequality - In Style!

11/3/2015

by Charlotte Ahlin

Where are all the women* in theatre? On October 18th, 2015, quite a few of them were at TheaterLab in Midtown, Manhattan, partying for gender equality at Works by Women’s first ever Parity Party.

In a world where only 25% of the plays produced in America are written by women, where the 2013-2014 Broadway season featured no new plays by women, it’s easy to see why the push for parity is more imperative than ever. But there’s no reason that we can’t enjoy ourselves while crushing systematic inequality!

That’s exactly what the Parity Party was—a chance to learn more about the lack of opportunity for women in theatre, to contribute to arts advocacy, and to enjoy cake truffles and wine while watching some of the most talented women theatre artists in the industry do their thing. The Parity Party offered guests refreshments from local New York businesses, a silent auction with everything from luxury hotel stays to aerial lessons to feminist coloring books, and exclusive performances from women and women-centric theatre companies. And, for one night only, money featuring men was not accepted. Parity Party guests were asked to exchange their patriarchal dollars for Parity Cash—bills featuring some of the great women of theatre history, such as 20th century American playwright Lorraine Hansberry, 10th century German nun Hrosvitha, and 17th century Japanese dramatist Izumo no Okuni.

Armed with their more progressive Parity Cash, guests were free to explore the sleek rehearsal and performance spaces at TheaterLab, an entirely women-run theatre venue headed by Artistic Director Orietta Crispino. In one room, the silent auction offered guests a chance to bid on a plethora of donated goodies, as well as a buffet of delicious food donated by The Fillmore Room, Jack Doyle's, and 5 Boro Burger.

Just down the hall was TheaterLab’s ethereal white box theatre, with a rotating roster of performances all evening long. Performances ranged from bluegrass music to stand up comedy, from performance art to comedic monologue to dramatic scene, each piece radically different from the one before. The evening was by turns hilarious, touching, and thought-provoking. It’s often tempting to think of women as one group, one artistic voice—mainstream theatre certainly seems to lump women creators together in a singular, niche category. But if you sit down and watch a dozen women perform their unique theatre pieces, it’s immediately clear that work by women is as varied and individual as the women themselves.

It would be impossible to pick out one stand-alone highlight of the evening. There was a sneak peak at the sharp and affecting new play Dead and Breathing by Chisa Hutchinson, from the National Black Theatre. There was a beautiful piece on the power of female friendship from F.A.B. Women, a hilarious stand up set from accomplished playwright and author Laura Pedersen, some gorgeous original music from guitarist and singer Jessica Carvo—every performer brought something different to an evening of breathtaking theatre.

Photos by Jacqueline Chambord

But even beyond the crostini and the live music and the chance to win tickets to Fun Home, there was just something rare and exhilarating about being in a space supporting women’s art, surrounded by women artists. The vibe in TheaterLab was overwhelmingly positive and inclusive. Works by Women strives to support a diverse range of women’s work, and their first Parity Party was a testament to that effort. The goal of Works by Women and its sister organizations is to acheive 50/50 gender parity in the theatre by the year 2020—marking the 100th year since women were given the vote in America. We may still have a long way to go before we reach total gender equality in the theatre world, but if we can harness the energy and passion of events like this one, we will most certainly get there.

*We use an inclusive definition of “women" and we welcome all who identify with the term.

A Chat with Chisa Hutchinson

10/27/2015

Zoe Kamil: Can you name a moment or experience from your adolescence that made you realize that writing plays was something that you could do?

Chisa Hutchinson: Welp, the jury's still out on "could"-- day jobs: making the possible seem impossible since the dawn of civilization-- but I can tell you all about the "should." I was a scholarship kid at a swanky private school where we had an art gallery (I know, right?). And in this art gallery, there was an exhibit by a photographer who took photos of Americans living in poverty. And there was one picture in particular of a woman-- a black woman who looked like she could have been my mama-- sitting next to a huge hole in her wall. And as I'm passing by this picture, one of my classmates, in utter and alarming earnest, goes, "Ew. Why doesn't she just get that fixed?"

And I really wanted to punch her in the throat. But I started writing plays instead.

Zoe Kamil: Do you think that identifying strongly with a particular racial or gender identity is limiting, or freeing to an artist?

Chisa Hutchinson: It's both. On the one hand, I'm never like "Whaaaaat am I going to write about?" You always have something to say when you're poor and black and a woman. On the other hand, it's a tremendous responsibility. You gotta rep hard and rep well and no matter what you write, someone will always be dissatisfied with your portrayal. Take, for example, DEAD & BREATHING. There's a trans character in it who, for this particular incarnation, is being played by a cis-woman. And you have to believe me when I say we resisted that until the very last precisely because we know how important it is to rep the under-repped in an authentic way. We felt like those jokers out in California (California!) trying to justify casting a white guy as the Chinese lead. My hope, though, is that we'll get some trans folks in the audience who are so moved by the story, by this character, that they can't help watching and going, "I could play the shit outta that role." And then maybe actually come out and audition for the next production. Sheeit. We'll do representation in phases, if that's what it takes.

Zoe Kamil: Your play “Dead and Breathing” is about the "right to die” issue. Has the time you’ve spent with this script led you to a personal conclusion about the issue, or simply raised more questions? Has it caused you to question preconceived thoughts about assisted suicide?

Chisa Hutchinson: I'm generally a fan of life. I like living it. I think it's a gift. But I have had some experiences that have led me to understand why some folks might have a harder time feeling that way. My Ma passed of cancer in 2011, and in the end, this woman who had worked sometimes three jobs to make sure her kids were fed, who chased my sisters with belts and slippers when they were misbehaving (never me because I was a good kid-- HA!), who actually physically intervened to protect a friend when her abusive husband went on one of his rampages... this woman was in diapers in the end. She couldn't speak or feed herself or nothing when it got real bad. And it made me question whether or not all life is worth living for sure.

Zoe Kamil: What do you think is the most aggressive setback to gender parity in theatre right now? How do we overcome this?

Chisa Hutchinson: Maybe this answer is super obvious, but we gotta get some more broads in taste-making positions. On the front-end and the back, meaning as producers and Artistic Directors aaaand as critics. If I read one more tone-deaf, dick-driven review of a brilliant play by a female playwright or hear one more male AD go, "There just aren't any really good plays by women out there," I'm gonna... well, I'll probably punch someone in the throat this time because there ain't no instant gratification in becoming a playwright.

There ain't no instant gratification in becoming a playwright..."

Chisa's Website

October 28 - November 23, 2015

Dead And Breathing
written by Chisa Hutchinson

National Black Theatre Inc.
2031 Fifth Avenue
New York, NY 10035

Where are all the women in theatre?

10/15/2015

by Charlotte Ahlin

Any actress who’s ever been to an open call can tell you that there are plenty of young ladies out there in the theatre world. But where are all the women* playwrights? Directors? Designers? Women* make up most of the theatergoing audience, and a little over half of the world’s population. So why are only 24% of plays produced in America written by women*? How is it that, in the 2013-2014 Broadway season, not a single play was written by a woman*? Isn’t it time to do something about it?

Works by Women is changing the game. We’re a non-profit organization with the sole mission of supporting diverse theatrical work written, directed, and/or designed by women*. This month, we’re standing up for equality in style: Works by Women is hosting the industry’s first ever Parity Party, where you, too, can party for gender parity.

Come for exclusive performances from Lizzy Bryce, Jody Christopherson, F.A.B. Women, Flux Theatre Ensemble, Honest Accomplice Theatre, Autumn Kioti, Sylvia Milo, National Black Theatre, New Perspectives Theatre Company, and Laura Pedersen. Come for our silent auction, featuring everything from show tickets to luxury hotel stays to aerial lessons—start bidding now. Come to schmooze with cutting edge artists, to enjoy refreshments from local New York businesses, and to stick it to systematic inequality. All proceeds go directly towards advocacy for women* in theatre. We’re raising awareness and funding!

Join us at TheaterLab in Midtown Manhattan on October 18th, 7:00 PM for an evening of performances, networking, light food, beverages, and a silent auction to raise awareness and funding toward our goal of reaching gender equality in the theatre by the year 2020. Find your ticket online at Brown Paper Tickets. We also offer an artist ticket, if you’d like to donate your ticket to an artist performing at the benefit. We can’t do it without you!

*We use an inclusive definition of “women" and we welcome all who identify with the term.

Start Bidding NOW!

10/6/2015

Works by Women Parity Auction... LIVE NOW!

An interview with playwright Cecilia Copeland!

9/25/2015

Photo by Jody Christopherson

Danielle Ferrier: You recently had a workshop production at IRT Theater of your new play “R Culture”. How did that go? Where are you hoping to see this project go? What is important about “R Culture”?

Cecilia Copeland: It went really well. We were lucky, because our set designer my long time NYMadness collaborator G. Warren Stiles hand sewed this beautiful big top tent for our show. On a showcase code budget I know that without his meticulous attention to detail and professionalism, his genius really, that we couldn’t have created the same kind of impact for people when they arrived into the space. The show itself was received very well. I’m hoping to take it into a full professional production down the line. I also believe that “R Culture” should be performed on every college campus in the US.

What’s important about the play is that it’s getting us to look at the various aspects of our culture that create a society where rape is commonplace. If we want to be a society that is less sexually violent we need to look at the factors influencing us, our morals, our pastimes, our hobbies, our values, and our entertainment. What makes “R Culture” unique is that the play isn’t preaching to us, but is instead holding up a fun house mirror exaggerating these elements so we can see them as they truly are… and we’re doing it in a way that uses humor to disarm some of the well-constructed defense mechanisms.

Danielle Ferrier:As a writer, what is the most difficult part of the process?

Cecilia Copeland: The hardest part for me is getting started, which involves disconnecting from emails and social media. I run my own theater company, I work a day job, I’m constantly doing submission applications, and I try to look after myself, which means paying attention to what I put in my body and occasionally getting some exercise. That alone can be exhausting, so to then sit down and write can feel more like a chore than communion with something I love. It’s the struggle of actually getting to those first moments opening the file on my computer and typing the first few words that are the worst. Once I’m in the world I’m off and running, but getting there means tuning out the rest of the noise. It didn’t used to be hard to disconnect and focus. I can easily recall a time when I only received ten emails a day and didn’t have any profiles on social media. In those days it was easy for me to make my way to the writing and sit for marathon stretches. I could finish a first draft of a full length in a week no problem. That’s not possible anymore in part because I’m working in theater as an artistic director. I can’t just fall off the map for four days. Now I often put on a “gone writing” sign on my social media pages like an out of office reply just so I can focus. My audiences don’t have the luxury of checking their phone while they’re watching my show… If I’m checking my phone and turning out while I’m writing it’s likely not going to be engaging enough to hold their attention.

Danielle Ferrier:As a female writer, what is the most difficult part about getting your work produced?

Cecilia Copeland: I think the biggest hurdle female writers have is subject matter. I think if you’re an “issue” writer taking on an event in history or historical figure, or if you’re writing about something that is a big headline it’s easier to get your work produced. For centuries the providence of women has not been the public sphere of historical events but the private one. Given that the private sphere was assigned to women it was historically devalued, which is ridiculous. What is more important than how we experience our intimate daily lives and the socioeconomics of that system? What is more valuable that the matters pertaining to our hearts and souls? Yet, a woman playwright who is writing about those matters from a female perspective is somehow not seen as a universal story, but yet Hamlet is a universal story? I feel what happened to Ophelia being used by her father as a pawn, put between a man she loves and her honor, being cast aside by a wealthier man who had more power than she did is a story resonates very deeply and ought to be considered universally important, but because the crown doesn’t rest on it somehow it’s marked as not important. Even Rosencrantz and Guildenstern got a spinoff instead of Ophelia! The biggest challenge is to change the perspective that a story about a woman, told by a woman, that isn’t about a big social movement or historical event, is nevertheless political and important, universally important, to the consciousness of our humanity.

Danielle Ferrier:In your work, is there a through line? A thread that connects them in some way?

Cecilia Copeland: Female perspective is something that I feel is blatantly apparent in all of my work. This is not to say that I don’t render men with affection or that I don’t give my male characters different complex facets to their identity. However, it can be said that when reading my work it’s likely you will notice the prominence of women throughout. Women are central to my understanding of life being that I have spent my entire existence in a body and a world that never let me forget for one moment what I am in it, a woman. That’s not a bad thing, but it is what I am and I do not hide or apologize for it in my work. That’s pretty consistent.

Danielle Ferrier:What themes do you love to write about?

Cecilia Copeland: The themes that I’m drawn to tend to be things I don’t have the answer to or can’t dismiss out of hand. Things which grab a hold of my mind and won’t get go are usually dark and disturbing. I get rattled by something horrible and then have to make peace with it in some way. By writing I am able to come to a truce with whatever is plaguing me. I will have done my part to wrestle it and bring it forward. What I end up writing about those things sometimes end up being comedies with a dark edge, but my work almost always tends to be a kind of tug of war between light and dark. That is most fascinating to me.

Danielle Ferrier: As a woman what drives you to write about issues like rape culture?

Cecilia Copeland: I think what I said above speaks to this, but I’ll briefly elaborate. I was having a conversation with some male friends of mine talking about rape. They both knew more than one man who had been accused of sexual harassment and in one case sexual assault. They were doing what we all do for our friends, which is to be loyal and try to see it from their friend’s perspectives. It stands to reason that if their friends could be accused of wrongdoing so might they. Could they find themselves in a similar situation? It made them deeply uncomfortable to consider they might make or have made a similar mistake and who was to say what’s right/wrong in that grey area? What I said at the time, speaking as a woman who wrote a play about rape culture, was to bring back a memory from childhood, a moment in time when they were play-fighting with a sibling or a relative when one of you hurt the other one for real. The instant of knowing someone had been really hurt and didn’t like it anymore. That somebody was tapping “Uncle” or “Time out” or “stop” whatever the phrase or even just a look in that persons eyes when your body registered the fear and pain in someone else’s. They both looked at me and nodded with a complete awareness of what I meant. As children we learn about consent and body autonomy through things like playing and getting hurt or hurting someone else. Knowing how to read pain or the lack of consent in another person shouldn’t be a huge mystery. We all feel that as a kind of instinct. Rape Culture is the thing that teaches rapists to ignore the instinctual understanding that they are sexually hurting someone and should stop. That’s a powerful complex negative aspect of our society, and it’s one that I feel we need to dismantle.

Cecilia's Website

Shakina Shares it All!

9/21/2015

photo by Michael Kushner

1) What do you see happening in terms of challenging the status quo in theatre as we know it as a woman, or more specifically as a trans woman?

As a transfeminist I'm really big on visibility and demystification, which is why I've been so public with the process of my transition. For me the biggest issue right now is representation. What stories are being told, and who is telling them? There's been a great upwelling of advocacy for women playwrights in the past couple years, with the Lilly Awards and the Kilroys, which are both expanding to include transfolk in their mission. I think we need to be doing the same for transgender performers. It's great that more trans roles are being written, but are we seeking out and cultivating trans actors to play those roles?

2) Who are some of your favourite artists or inspirations?

I think with POST-OP I'm working somewhere between Kate Bornstein's "Queer and Pleasant Danger", Bridget Everett's "Rock Bottom," and Spalding Gray's "Swimming to Cambodia." Of course, in many ways my life choices have been informed by Hedwig and the Angry Inch and The Rocky Horror Picture Show, so there's a little bit of Richard O'Brien/Tim Curry and John Cameron Mitchell/Stephen Trask in what I'm doing, like all the time. Also Cheri Lovedog and Robin Prey's "Prey for Rock n Roll" and Jayne County and The Electric Chairs, the original Transgender Punk Rock Star.

3) What can we expect from your new show Post-Op?

A lot of high belting and graphic over-sharing.

4) How does it relate to past work and what is different about it?

POST-OP is very much a companion piece to ONE WOMAN SHOW, my last solo piece. ONE WOMAN SHOW covered 33 years of my life leading up to my gender transition, and POST-OP covered the 6 weeks that I spent in Thailand before, during, and after gender confirmation surgery. Both pieces get at the emotional drive, spiritual quest, and political implications of forging a transgender identity. Something I'm really excited about with POST-OP is that, while ONE WOMAN SHOW was a mix of covers and original tunes, POST-OP is all original. It's really a solo musical. I wrote the book and about half of the lyrics, and I collaborated with some incredible composers on the music: Joel Waggoner, Zoe Sarnak, Ty Defoe, Tidtaya Sinutoke, Michael R. Jackson, Sam Salmond, Julianne Wick Davis, Teresa Lotz, Lauren Marcus, Shaina Taub. Julianne, Sam, and Joel also created songs for ONE WOMAN SHOW, so it's cool to have their musical voices back in this piece.

5) What message are you hoping to send?

I'm trying to take something that was both deeply personal to me and very specific my trans experience, and create a story that has a universal point of entry: The quest to become your true self, and to find harmony within your physical body as a spiritual and sexual being. I think a lot of people wrestle this, whether or not they are transgender. I hope people can be inspired by my journey of gender confirmation, and that they can find the courage to venture out in search of whatever they need to confirm within themselves.

MORE INFORMATION

About the Authors

Works by Women supports theatrical work written, directed, and/or designed by women* by promoting their work on our website, in the press and on social media. This website serves as a tool for both theatergoers and professionals alike. We list productions that have at least a 50% female creative team, and highlight women's theatre companies and advocacy groups.

Archives

December 2015
November 2015
October 2015
September 2015
August 2015

Categories