Windmill Theatre Company's production of Changeling, March 2022.
2022 has been an odd year. The world is still in turmoil because of COVID-19, but everything is expected to operate as normal. Many of the opportunities that I was looking forward to prior to the pandemic are still on hold, or indefinitely suspended. Despite all of that, and despite many changes in my life (including moving almost the entire length of the country this year), I am still writing (even though at some points this year I wasn't sure how I would be able to) and still getting my work out there. I have made new strides in 2022, and am pleased with the forward momentum I have been able to find in all of this chaos.
So here are my stats for the year:
I received 1 award: “By the Neon Lights of the Taco Bell Sign” was a part of Ixion theatre’s “Let’s Eat” festival about food. The "Let's Eat" festival collectively received a Thespie award for Best Original Play.
I had 2 short plays published in anthologies: “On Robots and Raindrops” was published in Ten-Minute Play Festival, Volume Four: 2018-2021 by Theatre Odyssey, and “Not Exactly How I Remembered It” was published in Contemporary One Minute Plays Volume 1 by Fresh Words: An International Literary Magazine.
I had 2 One-Minute plays produced: “The Watership Waterloo,” written for the Whiskey Theatre Factory’s one-minute play competition, was produced as part of their One Year Anniversary. “Not Exactly How I Remembered It” as produced as part of the Gi60 US festival in New York.
I had 2 Monologues produced: “A Little Literary Analysis” was performed by Cole Dzubak as part of Talking Horse Productions’ Original Monologue Contest. “In Conversation with Caterpillars” was produced as part Gi60 Houston. It was also performed by a college student as part of an acting class.
I had 4 Ten-Minute plays produced: “On Robots and Raindrops” was produced by Madlab. “The Beginning of Everything” was produced by students at North Pioneer College. “By The Neon Lights of the Taco Bell Sign” was produced by Ixion Theatre. Shakespeare on the Sound produced a reading of “Double-Cross-Dressing.”
I had 2 One-Act plays produced multiple times: “Edgar Allan Poe’s The Masque of the Red Death” was produced by Meyerland Performing & Visual Arts Middle School. “Changeling” received a reading from Tiger’s Heart Players, a workshop at the Hippodrome Theatre, a production by Windmill Theatre Company, and a production by University of Evansville.
I had two readings of Full-Length plays: Wonder of Our Stage was read at the New College Conference on Medieval Renaissance Studies. The Aria of Julie d’Aubigny had a salon reading held by Whiskey Theatre Factory.
In addition to several short plays and monologues, I wrote one new full-length plays this year: Hero Dogberry, an adaptation of Much Ado About Nothing written in Shakespearean style verse. Which I had the privilege of discussing early drafts of on the Hamlet to Hamilton Podcast. I have also made significant revisions to The Aria of Julie d’Aubigny this year, incorporating feedback from the reading.
Finally, I joined the Science Fiction and Fantasy Writers Association. (I have already been a member of Dramatists Guild of America for a few years now.)
I would not have been nearly this successful without the support and community of my writing groups. Having other playwrights to discuss my work with and to support in turn has greatly improved my work as a playwright. And I am thankful for the comraderie we have shared this year.
Here is to 2023!