[I recently posted a series
of articles from the Theatre Communications Group’s American
Theatre magazine that covered various
aspects of theater by America’s indigenous peoples—American Indians, Native
Hawaiians, and Native Alaskans. Among
those reports and articles was Celia
Wren’s “Law of Nations,” on the production of Sovereignty by Mary Kathryn Nagle,
directed by Molly Smith at Washington, D.C.’s Arena Stage from 12 January to 18
February. Nagle is a member of the
Cherokee Nation and her play was Arena’s entry in Washington’s Women’s Voices
Theater Festival (15 January-15 February), the only play in the festival by a
Native American.
[On 5 February
2018, the PBS
NewsHour’s Jeffrey Brown presented a
segment on the festival, in which 25 Washington-area theaters produced plays
written by female playwrights. The presenting
group started with the originating companies of the 2015 festival: Arena Stage
(Washington, D.C.), Ford’s Theatre (Washington), Round House Theatre (Bethesda,
Maryland), Shakespeare Theatre Company (Washington), Signature Theatre
(Arlington, Virginia), Studio Theatre (Washington), and Woolly Mammoth Theatre
Company (Washington). Joining them this
year are 4615 Theatre Company (Silver Spring, Maryland), Ally Theatre Company
(Washington), Baltimore Center Stage (Baltimore, Maryland), Brave Spirits
Theatre (Alexandria, Virginia), Convergence Theatre (Washington), dog &
pony dc (Washington), Folger Theatre (Washington), Mosaic Theater Company
(Washington), Nu Sass Productions (Washington), Olney Theatre Center (Olney,
Maryland), Pointless Theatre (Washington), Rainbow Theatre Project
(Washington), Rapid Lemon Productions (Baltimore), Rep Stage (Columbia,
Maryland), Spooky Action Theater Company (Washington), Strand Theater Company
(Baltimore), Taffety Punk Theatre Company (Washington), and the John F. Kennedy
Center for the Performing Arts (Washington).]
The Women’s Voices Theater Festival, which produces works written
entirely by women, opened in Washington last month. Jeffrey Brown sits down with three of the
featured playwrights to discuss why they believe festivals like this are
meaningful, the #MeToo movement, and the unique perspective female playwrights
can bring to the stage.
John Yang: Turning from the political
theater of Washington to the dramatic stage.
Almost two dozen theaters around D.C. are producing the second
Women’s Voices Theater Festival.
Jeffrey Brown sat down with three of the playwrights to discuss why
this effort is meaningful, particularly now.
Jeffrey Brown: A play about a young American
moving with her family to Nigeria in the 1960s by Caleen Sinnette Jennings.
Caleen Sinnette Jennings: As progressive as theater is
in many ways in the United States, there’s still something around the edges
that says women’s stories are maybe more precious, less edgy, less
intellectually challenging.
There’s a sort ugly cloud that hangs over it, and I think this is a
way to dispel all of those notions.
Jeffrey Brown: A 17th century comedy becomes
a story of rich and poor in America today in the hands of playwright Theresa
Rebeck.
Theresa Rebeck: The fact is, women do tell
stories in a different way. And there are mighty stories out there waiting to
be told. And I don’t believe that playwriting is a gene on a Y chromosome. None
of us believe that, right?
Jeffrey Brown: A personal history that’s
also an unsettling piece of American and Cherokee tribal history by Mary
Kathryn Nagle.
Actress: Today, Native women face
rates of domestic violence and sexual assault higher than any other population
in the United States.
Mary Kathryn Nagle: Part of dehumanizing a people
is silencing them. And I think the more women’s stories are told on stage, the
more our culture will start to shift. It’s not a coincidence that we face such
high rates of domestic violence and sexual assault, and at the same time our
voices have not been presented equally.
Jeffrey Brown: These are just three of the
plays and playwrights of the Women’s Voices Theater Festival, a month-long,
24-theater project now under way in Washington, D.C., with all new plays,
including 13 world premieres.
It’s the second such festival here, the first held in 2015, and the
largest of its kind in the country, taking direct aim at a fact of life in
American theater:
the paucity of productions by female writers, around a quarter of
plays across the country, according to several studies.
At Arena Stage, one of the originating companies heading the
festival, I talked with three women whose work is on display.
Caleen Sinnette Jennings, a professor of theater at American
University, took part in the first festival. She’s back with a sequel to her
earlier play [Queens Girl in the World at Theatre J], both based on her
own life.
The new one is titled “Queens Girl in Africa.” [Performed at the Mosaic Theater
Company]
Caleen Sinnette Jennings: It’s semibiographical, so
nobody else could tell the story. But what’s important is the fact that the
story is worth telling, and the story is worth seeing.
I think, particularly women of my generation wrestled with that
thought. And it’s good to see younger women coming along saying, why was this
even a question? Of course your story is worth telling.
Jeffrey Brown: Are you surprised, though,
that it’s still a thing that there would be a need for a festival of women’s
voices?
Caleen Sinnette Jennings: No, because racism is still
here, sexism is still here, everything is still here, just wearing different
clothes. So, it’s all here.
Jeffrey Brown: Pulitzer Prize-nominee
Theresa Rebeck, a veteran of television and film, as well as the stage, decided
to redo an English Restoration era comedy, “The Way of the World,” written by
William Congreve. [Rebeck’s play,
presented at the Folger Theatre, uses Congreve’s title.]
Theresa Rebeck: It’s not like I looked that
play and said, I want to do a feminist retelling of the Congreve play. But
there is no mistaking that a woman wrote it, that I inhabit the female
characters in a completely different way than what Congreve did.
Point of view is one of the tools you have as a writer, and this is
the point of view of a woman. It’s not an agenda. It’s the truth. If our agenda
is always to tell the truth, the truth out of a woman’s mouth is going to sound
different than the truth out of a man’s.
Jeffrey Brown: Mary Kathryn Nagle, an
enrolled citizen of the Cherokee Nation, also works full-time on behalf of
tribal rights as a lawyer.
Her play “Sovereignty” [at Arena Stage (see “Staging Our Native
Nation,” Article 3, posted ROT on 30
March)] presents another window into that world, and is set in the past —
Andrew Jackson is one of the characters — and in the present-day Supreme Court.
Mary Kathryn Nagle: When anyone tells me that
some plays are political and some are not, I think it’s all political. We can
say it’s just art, but I think we’re political beings. We’re humans, right?
And I don’t see any art in this world as apolitical. And, as a
woman, the political is deeply personal. It affects our lives in such profound
ways. And getting to see that on stage is exciting.
Jeffrey Brown: Do you think of yourself as a
woman playwright?
Mary Kathryn Nagle: I do, yes. Yes. I also think
of myself as a Cherokee playwright. And I think that combination is terribly
exciting and new.
Theresa Rebeck: Can I answer that as well?
I have to say, when I was just starting out as a playwright, I had
a mentor who said very clear to me, you have got to be careful not to let them
categorize you as a woman playwright. It was sort of said as a kind — as kindly
meant advice.
And I — in my youth, I was like, well, I am a woman and I am a
playwright, so it’s unclear to me, like, why that would be something I needed
to be careful about.
Jeffrey Brown: During the recent women’s
marches, close to 100 theaters in more than 30 states hosted readings of new
works by women. The Washington, D.C., festival was planned well before the
explosion of the MeToo movement.
I asked the playwrights if they were surprised by recent events.
Caleen Sinnette Jennings: We are in an extraordinary
time in our history. Something major happened in our last inauguration. And I
think this groundswell comes from that. So I think theater has often challenged
the norms and sort of — and the artists have stepped up and led the wave of
change. But it’s not surprising to me that this is happening now.
Mary Kathryn Nagle: No, all these women coming
forward with stories, it doesn’t surprise me that the stories exist. I knew
they existed. I have done work…
Theresa Rebeck: Yes, we all knew.
Mary Kathryn Nagle: Right? We all knew.
Theresa Rebeck: And we’re stunned that people
are saying, we didn’t know. I’m like, oh, come on.
Mary Kathryn Nagle: Right. That’s shocking.
The people who claim they didn’t know, that’s shocking to me. And,
in fact, thankfully, I think a lot of men are now coming forward to say, well,
I knew, but, you know, how could I take down this man in power, because my
career was dependent upon him accepting me?
Theresa Rebeck: I had a moment where I
thought, I wish this felt better. I don’t understand why it doesn’t feel
better, you know?
And I think that must be because I don’t believe that real change
is coming. My heart doesn’t believe it, somehow.
Jeffrey Brown: On this issue of how hard it
is just to make it as a playwright, how hard is it?
Theresa Rebeck: It’s really hard. I have been
through so many ups and downs that they finally.
The Dramatists Guild, they do a little magazine, and they put me on
the cover of the issue about survival.
(LAUGHTER)
Theresa Rebeck: Right? I was like, I am the
poster child for survival. That’s what you know me for.
Jeffrey Brown: Caleen, what do you hope
comes out of this?
Caleen Sinnette Jennings: Much harder to say, well, I
just know any women playwrights. Much harder to say.
And I hope — I hope this model will be replicated all over the
country.
Theater is also a very important place, because, yes, we are all
the same. Yes, we’re incredibly different. But that difference need not
frighten you. That difference need not be a mystery. That difference should be
something you walk towards in order to build that empathy.
Jeffrey Brown: The Women’s Voices Theater
Festival runs through February 15.
For the “PBS NewsHour,” I’m Jeffrey Brown in Washington, D.C.
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