And that's a wrap!

Well, my play, The Gift, directed by Nicole Maxali and starring, Aaron Niles, Jocelyne Ampon, and Sarita Orcon closed last night. THANK YOU for breathing life into the characters that came to me at 3am on the morning of June 16, 2008! Special thanks to Ed Mabasa for the coolest tech effect to bring a blast to the ending!

Here's some notes from my observations about Stories High 10 from this playwright's POV:

- Of course, I learned this after the fact but don't use one-liners for effect. I tried to come up with a couple of one-hit one liners that seemed so disjointed from the flow of the script. boo. i have to do better than that.

- Create the "Awwweee" character. From John Raposas's character in his play, One Year, he's crafted a character that made the audience pull for him. Make the audience say "Aweee" by playing the sympathy card. A lesson John taught me from a critique session we had. From the time of the first Awe, that's when you HOOK the audience.

- Create the lyrical play. My personal FAVORITE play is Last Verse written by Ed Mabasa. Honestly, it took me a couple of times to watch it to really understand it and to realize just how beautiful it is. I know a lot of people still wonder what it's about, as did I, but what I took from it was a love story that had the protagonist, played by the awesome Dennis Rodis, ask how do people fall so in love? what causes this? True this is written from an 18th century vampire dark standpoint, but that's what made it appealing to me. I also said lyrical because some of the lines are truly poetic.

- Comedy. My next couple of scripts are going to be comedies. Comedy and laughter is what sells the audience! Honestly, that's what roped me initially into being a playwright - hearing the laughter of the audience. Holy shit?! I wrote something that made strangers laugh? In my growth, my focus has been taken away from that, but after getting that infectious feeling of happiness from Ava Tong's Non Quite Unrequited, One Year, and Non-Sequiturs by Cathlin Goulding, I can't wait to create that joy again.

- The Love Story. One Year and Josef Anolin's Choices explored the relationship genre. I've kinda taken that out of my repertoire after writing Garden of Dreams, but I totally plan to go back to it to explore Love and the complications thereof soon. Unfortunately, I really haven't been in that mood to do so. Kind of when trying to write a Christmas play in June. Not the same feeling. Gets? But it was nice to see.

- The political play. Out of all the plays, Nomi's Brothers and Sisters took me the most to get used to. Honestly, it took me a while to warm up to it mostly because I felt that the message beat me over the head with what it wanted to say. But that's talking from the (ick) analytical pov of the structure of playwriting. HOWEVER, it's a very very worthwhile play to create and is needed! There are bad things happening in the Philippines regarding US/Philippine relations, political and economic, that needs to be addressed and it's great to see it done so. Much props to Nomi for writing this.

BOA in SF

I know. I know. It's been a while. Tonight I went into the city to watch a friend's play as it is featured in Bay One Acts Festival by Three Monkeys at the Eureka Theater. Not saying this because he's my friend, but his was the best play. It's called "Toss of the Hat" by Mike Ricca. It's kinda funny watching it because it totally sounds like him! And what's funnier is that when people hear my stuff, they say that they could totally hear me. I just never thought of it that way, I guess. But his play is about a guy who throws caution to the wind and steps up and asks a girl that he likes, and whom he know she likes him, to be together... despite the fact that she already has a boyfriend of two years. He used the device of breaking the fourth wall, something I love, and can't wait to be able to write that into a play ala Zoot Suit.

Luckily they were selling the play as compiled in a book in the lobby. It must be a sign when all the crumpled bills that emerged from my left front pocket was exactly the amount of the book. Hopefully I'll get him to sign it when I see him at the next random meeting.

Anyways, his play closed program two of the festival. the programs consisted of short 30 - 40 minute plays. on this night, there were 4 plays. The first rocked cuz it involved cutting off a person's finger and tongue... which eventually led to his death on stage. Creepy and disturbing... right up my alley! The third play was amazing because of the heart that the playwright displayed. I was about 20 minutes long and I wished it was longer because I loved the characters.

The one that I surprisingly didn't like was the second play. It was about a man and a woman who are at a theater in NYC to watch an Edward Albee play, but they get there 24 minutes early, so they just sit there talking about there relationship which try to answer the question of why don't they have a baby yet. I didn't like them and I was always trying to figure out where were they going with this. I understood why the playwright was trying to paint their differences, but in the end, I just didn't like and care for either of them. The only really going for it was the very witty banter between them. Snappy. Back and forth. Like a tennis match of heavy hitters - fast. And I realized that at one point, I really really liked this style of conversation. Smart. Quick. But, for some reason, that style started to feel that the lines were just there to make the characters seem witty and smart... instead of just being real. I wrote a whole paragraph on this play because I really learned a lot from it... and about what I like and don't like. Something I hope I can use and know what not to use in my plays.

Green Light

Ya-ta! I got a green light to produce my play "Garden of Dreams" for April 25-27 at Sacramento City College. Unfortunately, there might be some things that might block this dream from happening but I look at this as just another obstacle and a challenge. One of the other challenges happen to be that the play is to happen in Sacramento which is about 150 miles away. I've turned down this opportunity before because taking the advice by one of my mentors, and by a couple of books I've read and playwriting podcasts I've heard, was not to direct my own play. Another obstacle. But you know what, it needs to be done. I'm not even sure if I'll have my original reading cast. Another obstacle.

Given these, I honestly feel like the deck is stacked against me but for the first time in a long time, I am determined more than ever to get this done. Even if it's in a park with puppets... wait, maybe not that far, but close. The other thing working for me is that I have a lot of friends who can help me... i hope.

The other thing that is going to get me through is the example that the artists of Bindlestiff Studio have led. They are about my age, but ever since I started watching their productions, they have done it themselves. They had a support system that I marvel at and more importantly, inspired by.

As time goes on, taking Robert Rodriguez's book, Rebel Without a Crew, as an example, I'll create a journal, maybe a blog on its own, on the process of the production.

Notes from Stories High

Just wanted to post these notes from the latest Bindlestiff Studio's Stories High Reading series for my 10-minute, Leaving My <3 In SF. Even though I don't know who wrote these, I'm very thankful for the time that they put in to write anything down! Thanks! Now, to get the final done soon. Hopefully, I'll be able to have some time to do another reading with the final:

Leaving My Heart in San Francisco

• Ending sorta muddled – don't think Mrs. Ayala is well-developed with son – how did he die? Too serious as a comedy!


• In the story, they talked about the mother having a bag with "something." In discussion, we couldn't figure out if it was a heart or a conclusion.


• Very dark, ha ha. You are a great writer but could be better developed as far as the context/background. I like how you keep us "wondering" though.


• The mother character is very creepy! What do you want the tone of your piece to be?


• Nice and unique payoff with the postcards.


• Script is very funny, touching and original. Pacing of reading is good and should be kept.


• Funny stuff. Didn't think lion heart and chicken shit part was too effective. Can't wait to see it in action.


• I thought this play was very deep. You could feel Cora's pain. Also had humor.


• Funny! Especially the hearts lamb part.


• Strong energy, good performance by mother Ayala, cryptic- she emotes well.


• Unique script, great acting.


• The lady in the pink did really well! I like her accent. AWWWW!! I like this one too!

Bindlestiff's 10 Stories High - Reading

Ready for the 10th Anniversary of Bindlestiff Studios' Stories High!!!!

2 Nights only!!!

Come support our new, emerging writers for an exclusive glimpse of potential screenplays that will be showcased in this year's Stories High production. In two nights, we will cover nine brand new plays in a professional reading by various actors and directors. Each reading will also have a Q&A session, where you can ask the writers anything you want!

Thursday, January 17, 2008
“2 Cheat” By: Josef Anolin
“Leaving My Heart in San Francisco” By: Conrad Panganiban
“Not Quite Unrequited” By: Ava Tong
“Brothers and Sisters” By: Mario deMira (aka Nomi)

Friday, January 18, 2008
“The Art of Waiting” By: Cristal Fiel
“Anytime. Anyplace” By: Jasmine Ty
“Non-Sequiturs” By: Cathlin Goulding
"One Year" By John Raposas
“Last Verse in Despair” By: Ed Mabasa

Show dates: January 17-18 Thurs-Fri starting at 8PM

Location: Space 180 at 180 Capp Street, 3rd Floor San Francisco, CA 94110
Ticket Prices: $5-10 Sliding Scale

Reservations are being taken immediately at
(415) 255-0440, or you can contact Susanna Yu at Susie54@sfsu.edu for ticket reservations

This year, Bindlestiff will be breaking ground with its relocation to its original space on 6th street, with its brand-new and cutting–edge facility as the only performing arts space for the Filipino or Filipino American arts in the nation. Stories High, as one of Bindlestiff's signature productions, will be one of the first shows (OR FIRST SHOW) to grace its stage. Make sure not to miss this historical event!

For questions or more information, please contact:
Susanna Yu
415.255.0440
Susie54@sfsu.edu

Garden Of Dreams

The cast of GARDEN OF DREAMS
Well it's over... for now. On Sunday, I had the first public reading of my play, GARDEN OF DREAMS. I was nervous as fuck, but i got through it okay.

LESSONS LEARNED
- LISTEN TO YOUR ACTORS - A concern was brought to attention by one of the actors. He was having some trouble getting out some of the lines because they read melodramatic. Unfortunately, being the writer with blinders on, I couldn't see it myself. He was absolutely RIGHT. What he calls 'melodramatic' I call 'barf dialogue'. You know when watch something campy, and we see someone saying something utterly romantic or over-the-top that it makes you want to throw up in your mouth. Well, that's what I had in my script by that character.
- OFFENSIVE ACCENT - An audience member came up to me telling me that 1) he liked the whistling device I used and 2) he found it offensive for someone to fake an Filipino accent. I told him that I appreciated his honesty. I'm not going to take that part out! but I will add on to Lisa's character as a reaction to the use of this accent. It's my hope that this is a powerful action by her as to how using this accent can be offensive to people. It was in the play for a reason, and I'm glad someone caught it, but lemme flip it on its ear to teach a lil sumn-sumn.
- DON'T BUTTER UP MY ACTORS - I did this. I'm not taking it back because whether they know it or not, they helped make one of my dreams come true. But moving forward, I'll try and refrain from doing this publicly, but to let them know of this in a more private manner will work just as effectively.

Luckily, I have the reading on videotape which I'll try to review tonight and come up with more notes to post here.

GARDEN OF DREAMS - A Play Reading

In a few weeks, the Sinag-tala Program of SFTPAA will be hosting a script reading of my first full-length play GARDEN OF DREAMS. No lie, I'm nervous as hell. In fact, I don't really know how to feel, since it kinda changes every day. Now, I'm really glad that we're having a quick rehearsal a day earlier. Also, luckily, at least I had the first read in February where hopefully I've addressed some issues, as well as take the feedback from PKG's workshop.

What I hope to gain from this is to see what works and what doesn't. I'll tape it cuz of my on and off memory for details.

I'm NERVOUS!

Wanna see a play, but they're too expensive?

Hey, money's a grip which sucks cuz i really want to see as much theater as I can. Luckily I found a group that I was a part of a while ago, but I forgot my stupid password. So I signed up again, and I'm glad that I did. It's called Goldstar.com! I've noticed that I'll be able to save up to 50% on tickets. Hella stoked! something i'll be using a lot.

But it wouldn't be fun if it was only me using it, so if I'm passing the savings on to you too, if you want! click the logo above or this link to start saving: Goldstar Events.

Thanks!