We sold out in our world premier on Sunday Oct. 20, 2013! I watched as the audience laughed and cried in all the right places. How exhilarating! They really got it. We’d been rehearsing since September. All that hard work finally paid off. My own words had been reverberating in my head for months as I heard my actors practicing them week after week. How wonderful to hear the beautiful interpretation on stage at last.
After this first show, I went out to dinner with two dear friends who knew my husband, Marty, very well. They recognized that my main character, Sam, wasn’t exactly Marty, but they could see similarities to him. “Marty never fought with his brother that much, did he?” Or “Was Marty’s mother really that nice?” they asked. I smiled and assured them that their knowledge of Marty was correct, but plays and fiction must distort reality for the dramatic effect.
We have three shows left (10/24, 10/26, and 10/27) and I can’t wait to see every one of them. The Manhattan Repertory Theater, which is a great venue for new plays, gave us another night of performance, because we sold out last Sunday. Our only problem has been trying to get a review of the show. I contacted everyone I know, but unless you have a good P.R. person, early in production, it’s practically impossible. A review and publicity can lead to more shows and connections for everyone involved.
This production has been inspiring me and other playwrights in my group, Characters, Ink. My next play, Parking Lot 63, will address the sixties, my childhood, sexual abuse and liberation.
Thanks to my amazing cast, Andreas Damm, Charles Montgomery, Eileen F. Dougherty, Bill McAndrews, Lisa Bruno, and Dina Paisner, my brilliant director, Spider Duncan Christopher, and my super-competent stage manager, Beverlix Jean-Baptiste.