Welcome

My introduction to theatre was listening to the recordings of three operas – Wozzeck, The Consul and Lost in the Stars over and over again in the library of the house where I worked as a live-in maid when I was in my late teens.  I did not have access to “live” theatre or opera, but was swept up, deeply moved and enamoured by those recordings.  Theatre was established in my mind as an entertainment with unlimited emotional, political and intellectual possibilities.

An adaptation of The Little Prince by Saint Exuperey for Gordon Parmentier was my first libretto and first production in San Francisco in 1959.  The second, an original libretto for a chamber opera,  Illusion for Three,  a fantastical work that won a place in the San Francisco Lively Arts Festival one year later when I was in my early twenties.

Because I was busy raising a family, it wasn’t until my late-forties that I reconnected with my muse and wrote a monologue, Scott Joplin, about the composer whose musical genius I believed was overlooked and under rated. The show was broadcast over WFMT Fine Arts Radio in Chicago.  Encouraged by the airing of the monologue, I developed the work into a full-length play with more of Joplin’s solo piano compositions and original songs as well.  It was produced by the Dallas Minority Repertory and the Detroit Repertory Theatre.  I adapted it for radio and WFMT broadcast the play most recently in 2010.

      Sept 1933-Aug 2013

Currently seeking theatres for READINGS of two new works:

PAINT, a comedy about the art scene.  In essence: How does one feel about the sale of an artwork, a baby shark in a tank of formaldyhyde, for eleven million dollars?  Or a bunch of scribbles on a large white canvas for several hundred thousand?  When art becomes a commodity, how does this affect the moral and aesthetic judgment of artists? Who’s being “had?”

THE TONGUE: A comedy about six people who get caught up with the promise of making big money on the internet and how it creates a “surreality” of their lives, leaving them no way out.

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