Why don’t we think to include women? It’s not as if women aren’t as prolific. In the last 35 years women have won the coveted Pulitzer prize for drama 12 times.
Beth Henley, Crimes of the Heart., 1981
Marsha Norman, ‘night, Mother, 1983
Wendy Wasserstein, The Heidi Chronicles, 1989
Paula Vogel, How I Learned to Drive, 1998
Margaret Edson, Wit, 1999
Suzan-Lori Parks, TOPDOG UNDERDOG, 2002
Lynn Nottage, Ruined, 2009
Quiara Alegría Hudes, Water by the Spoonful, 2012
Annie Baker, The Flick, 2014
Lynn Nottage, Sweat, 2017
Martyna Majok, Cost of Living, 2018
Jackie Sibblies Drury, Fairview, 2019
Whether we like to admit it or not, women are discriminated against in theatre. Artistic directors typically choose plays written by men. Why? Primarily because the classics were written by men before women were allowed to enter the field. And even after they forged their way into the male dominated field they weren’t taken as seriously. It could also be that the vast majority of Artistic Directors are men. It also has a lot to do with our education. When studying great playwrights in school, unless it’s a university course devoted to the work of women playwrights, how often are we given the works of women? As a rule we aren’t. We are taught, and accept, the exclusion of women.
It’s been proven that over the last decade or more, female-written Broadway shows earned more money than male-written ones. And yet, their plays ran the same amount of time as less-profitable, male-written plays. But thankfully things are finally changing. Theatre’s playing field is leveling out.
Great playwrights like (in addition to those mentioned above); Emily Mann, Rebecca Gilman, Theresa Rebeck, Sarah Kane, Yasmina Reza, Sarah Ruhl, Pam Gens, Eve Ensler, Claudia Shear, Lisa D’Amour, Caryl Churchill, Debbie Tucker Green, Lillian Hellman, Lisa Kron, Maria Irene Fornes, Adrienne Kennedy, Rochelle Owens…have not only written some of the most revolutionary, thought provoking, groundbreaking works of our time, but have also provided actors/actresses with some of their greatest roles. Actresses benefit enormously from working on characters written about women by women, and actors have the tremendous opportunity to work on male characters conceived by, as perceived by women. And women have often proven far more fair to their male characters than the other way around. More likely to analyze than to stereotype.
This workshop celebrates the distinctly, all inclusive, female voice. Women’s voices in theatre, film and television. We will work on a plethora of scenes and monologues from a vast array of the best award winning scripts by these astounding writers.