Feedback

                   Just as artists watch people study their paintings to see expressions of approval or disapproval, writers need feedback as well. Performers get to hear applause, but writers and artists need words.    
         Recently I witnessed a delightful exchange of feedback when I participated in the  Northeast Indiana Playwright Festival sponsored by the Fort Wayne Civic Theatre and Phil Colglazier, Director.  Each year, the Civic Theatre accepts unproduced plays for the competition. (Check rules for entry and eligibility).  After the 10 pages are read, the top eight winners are asked to submit their full-length plays.  From those, three are chosen, the first place for staged production and the other two for workshop/readings.  
          For the general public, it’s a fun way to see and hear theatre and be in on the feedback portion.  As a playwright, I can assure you that these sessions are valuable. To get the discussion started, a moderator asks general questions such as: “Did you enjoy the play?”  “Were the characters real to you?” “Did you feel the ending was logical or were you surprised by the ending?”  As the discussion warms, discussions often get deeper and involved, and the playwright can assess weaknesses and strengths in his or her work.
             I am a member of the Dramatist Guild of America, and I have been involved in many theatre workshops, conferences, and festivals.  I can assure you that when asked one of those questions, every playwright, no matter how seasoned or experienced, feels a twinge of fear: Did the audience like my play?  Did they see it as I envisioned it?  Did I develop my characters so they aren’t one-dimensional?  Did my plot have enough conflict in it to justify the ending?  Did I over-reach when placing the action in a certain setting?  After all, a play can’t jump from place to place because of staging problems.   In the reality of today’s theatre world, costs dictate much that is staged. If there are too many units, too many characters, odd props, etc. costs escalate, and community theatres simply don’t have the resources to handle those situations, no matter how much a director may wish to do so.
           As playwrights and theatre people gather one interesting point discussed is how to appeal to a younger generation that live theatre is the place to go for an exciting experience.  With the “world in their pocket,” as award-winning director George Maslankowski recently commented,”it’s hard to convince them to sit for ninety minutes for live theatre.”  Movie houses, philharmonic, and symphony concerts face the same challenge.
        Never say die, however. Each time I attend one of these activities, I find that in the audience there are a few passionate young people, and those few will keep such cultural experiences alive. Thank heavens for the passionate few. 
         I love live theatre. I always have, and most likely always will. I especially love community theatre.  One can never be sure of what might transpire. I loved watching experienced actors, such Kate Black and Bob Haluska, along with Beth K-Wolf, and James Del Priore who recently acted in “Whispers to the Moon,” by Kris Bauske, the Festival’s first place winner. I felt Fred Petersen’s “The Teapot Collector” to be extraordinarily interesting because the main character was beautifully portrayed by Harvey Cocks, long time director of the Youth Theatre at the Civic and a legend in the theatre world.  “Tinfoil Memories” showcased Emily Farris, a promising young playwright. Pulitzer Prize Winning Playwright Donald Margulies was the featured speaker.  It was a good time.  Good feedback.