Playwriting MFAs

[Zissou]

Lavendercloud!!!

 

 

YAAAAAAAAAAAAASSSSSSSS!!!!!

Yes. Yes. Yes.

[SeaLou]

Congratulations! That's amazing!

[genericincognito]

Woah, congrats, lavendercloud!

 

Any tips for the phone interview? Also, what has you so sold on Ohio?

[tate12]

CONGRATS LAVENDER! 

[Singsalot]

Hi Guys ... I know I am sounding like a broken record, but any word on Brooklyn College or The New School?

[lavendercloud]

Congrats, Princess! I applied to several summer programs. Rejected from PlayPenn and waiting on BAPF, Sundance, Seven Devils, and Royal Court IPG. Was traveling the week of Lark and O'Neill deadlines so I totally missed them - oops. Still thinking of applying to Sewanee, but I'm not eligible for full funding and you have to pay for travel anyway.

 

Zissou, best of luck at your Yale interview. We're all pulling for you!

 

Tate, it sounds like you have a great shot this year. You got multiple interviews and that means you're likely to get at least one offer. And it's only your first round of applications! You're in a very strong position and I bet you'll have even more interviews and offers if you do end up applying next year.

 

genericincognito, I'm so excited that you're interviewing with Ohio too!! Potential classmates - how cool would that be?

 

Alright, the details you've all been waiting for:

 

My phone interview with Charles was this morning. Before you jump ahead to the conclusion that they often make offers over the phone, please know that it sounds like that's NOT typical. As the conversation drew to a close, Charles told me that they like to have writers come out and visit, but they don't fund it. He said they usually strongly encourage visits but that with me it wouldn't be a dealbreaker, given the strength of my writing and recommendations (he knows two out of three of my recommenders very well; one was actually his mentor back in the day). And because of my schedule, I wouldn't be able to visit until after they would like to put out offers. So he said that he was ready to make me an offer and explained what that meant in terms of timeline; once he puts the paperwork through, I'll have 7-10 days to officially decide. I told him I'm in, so he's going to start that process. If I did end up with another offer, of course it would be nice to see if that could help me get more funding, but I think they're excited to have me and willing to work with me so at this point I'm not too worried. Tuition is covered so it's just a question of the size of the stipend.

 

So, let's back up. I think I mentioned the conversation I had with the Ohio graduate on Friday. He explained to me how Madness works, what Charles is like, funding, and so on. I'm just going to go ahead and quote from my notes (I wish I'd written more as he had lots of great things to say):

 

"Charles and Erik's mission is to take compelling voices and give them the dramaturgical and structural tools to turn that voice into something powerful. It’s a rigorous, structurally-minded experience; Charles is a structural genius. It's liberating. They’re excited about people who want to take full advantage of what they offer." He said that Ohio completely turned his writing around; he never would have been able to write what he produced during and since that program without Charles' guidance and the hands-on aspect of the program.

 

Add that to what my recommender, who knows Charles, had to say:

 

"I love Charles. He is very no-nonsense.  Writes a lot of strong story arc plays about African-American history but my take is that his heart is more in his program than his own writing at the moment.*  He is really good at structure and making one say what one is saying without hiding behind snappy dialogue or structural finesse, although he supports both.  Really good at character and dramatic action.  Really good at getting women writers to find power in their own feminism.  The program encourages collaboration and knowing how to be a produced playwright in very smart ways.  Downside is not a lot of New York connections - some to Chicago.  But you come away with great teaching and process skills."

(*Today, when I called her, she elaborated on that point. She said that other than Paula Vogel, Charles is the only teacher she knows who doesn't put their own work ahead of their students - he's really putting his students first, bar none. So this isn't about him not being serious about his own work, but the fact that he doesn't let it get in the way of his teaching. She also said that Charles will push me a lot. I'd rather be in a program where I'm constantly being challenged and growing than able to become complacent.)

 

So I was totally impressed going into the conversation, with a great sense of the day-to-day functioning of the program, especially its core class, Madness. This is a program in which everyone gets 5-minute plays produced every single week. You have a week to write a play (around a certain theme, determined by you or one of your classmates), rehearse it with actors, and put it up. Apparently these events are sold out - university students line up at 9 pm to get tickets to an 11 pm show. So, of course, my first question to Charles was: why do you do it? How did you come up with it?

 

He started Madness at Ohio as soon as he was able to. When he first came, he was under someone else and they thought the idea of producing work before it's "ready" was ludicrous. As soon as that person left, he implemented Madness, and now it's picked up so much momentum that "he couldn't stop it if he tried." You interpret the prompt in a way that's true to you and your process. Charles said, "To have a writing program where writers are not in the theater on a weekly basis--where they’re not in the theater with actors--is like trying to teach swimming without a pool." He also said that the actors come to the MFA program knowing they'll be working on new plays, so when you're working with them, that's their main thing. They don't have to rush off to their "real" rehearsal; they're there to work with you. I can't stress how amazing that is.

 

I then asked Charles about his background, which was a really interesting conversation. (I'm so glad I went into this already having a solid sense of what the program has to offer, so I wasn't as focused on "what is every class about?" and could ask more fun questions and get to know him a bit.) He didn't go to high school, was in the army for a while, was interested in writing and ended up at the Iowa Playwrights Workshop. There were resources but no one to tell him how to use them, so he was fairly lost until he was thrown into teaching playwriting and picked up the syllabus that had been left behind by Oscar Brownstein, which talked about basic structure. So he basically learned through teaching, and then ended up as a founding member of the Victory Gardens playwright's ensemble. He also taught at Northwestern for a while (though he initially tried to turn them down by saying "I don't think you want me to teach your students...I'm going to tell them that everything you've taught them is bullshit). At Ohio, he developed the program that he wished he'd had when he went to Iowa. His first priority is to find out what each writer does that no one else can do, which also helps foster a sense of community and support since no one's in competition with each other. Each person in the program does something that Charles cannot do. He helps them to realize their artistry and understand what they do well.

 

So then, he asked me a question, and this was actually a toughie: what were the similarities between the two plays I submitted? (Er, two most recent - I submitted a 15-page bud of a new play, in a document with a couple of older finished one-acts, plus my main script that I submitted everywhere.) They're basically not alike at all so I just sort of explained where each one came from and the difficulties/benefits of each process. I also talked about the oldest play of the bunch since that was the first "personal" play I wrote. We also had a conversation about learning through teaching, because he'd brought that up and I've found it to be true as well. He said that everyone teaches in the BFA playwriting program, which forces you to examine your own process and become a fully aware artist.

 

I asked him about the playwright/director relationship and how that plays out in the program, and his answer was fascinating. He said that directors and actors are interpretive artists, and the playwright is the only creative artist in the room. (Not that the others can't be creative, but they're there to interpret more than anything else.) So you actually come a lot closer in this program to directing your own work than you probably would anywhere else. In Madness, obviously, but you're always the strongest presence in the rehearsal room, even if the director's the one mostly speaking directly with the actors. This is awesome, because I love to direct and have always been told I can't direct my own work. I get what people mean by that, but I also get where Charles is coming from. In the development process, it's preposterous for the director to imagine they know more than you about your play, or for them to impose their own big ideas on your script. So there's a high level of sanctity and respect for the writer here. The MFA directors take the narrative structure class along with you their first year, so they understand a lot more about your process.

 

Then he checked in about how interested I am in the program, filled me in on the money situation (as I said, tuition waiver - in exchange for which you work 6 hours per week - and a stipend of $4500 per semester that you're teaching, which is an additional 10 hours of work per week. By the final year you'll be teaching both semesters but leading up to that it may be less. There's other potential departmental/school scholarship money. The graduate I talked to said he was getting a $15,000/yr. stipend there, so either he was teaching more or things have changed somewhat, but it's still pretty solid. And Athens is cheap.), and we got to the conversation I talked about at the top of the post.

 

So...that's where I'm at. Absolutely thrilled. Wishing I could visit, but glad I don't *have* to because of how crazy this month is. Feeling like Ohio might be an even better fit than UCSD, so I'm not feeling let down at all.

[PrincessIsInAnotherCastle]

I am so fucking happy for you, Lavender Cloud! (Sent you an email to your personal address.... Just wanted to say it publicly!!!)

ZISSOU -- OF COURSE we are sending you love for your interview... And THANKS for the info regarding the Juilliard process. I think it was truly invaluable. And thanks for your offer to provide thoughts regarding casting of this little reading I am lucky enough to be having. I'm gonna send you a private message. We have just one actor we're looking for, still. And we need a powerhouse... (It's ALWAYS the toughest role to cast, for some reason.)

Tate12 -- keep on keeping on, man. You're doing great!

Genericingognito: Have you had your interview with Ohio, yet? rock it!

ALL -- Thanks for the congrats on the GPTC and Paul Enger Reading Series!

FYI, rejected by Last Frontier. So, my Sally Field moment has past, alas... "They" no longer like me...lol

Better news is... I FINALLY figured out an avenue to go down to fix a TV pilot I have been stalled on. And I had three ideas for new plays today. Two of them are legitimately theatrical. One of them... Probably wouldn't make a very watchable Lifetime Movie, even. So I shall shelve that for now...

Can I just say -- I love the genuine support, input and intelligence on this board. You guys rule, and I am happy that many of you feel like you are finding your creative homes for the time being. For those who are not there just yet -- know that this isn't the end of the road! You never know what is around the corner.

Edited March 3, 2015 by PrincessIsInAnotherCastle

[Singsalot]

lavendercloud -- ate your post up with a spoon. Love it and congrats on getting into such a well-fitting school!

[PrincessIsInAnotherCastle]

Singsalot -- It doesn't seem like anyone has heard about brooklyn or the new school, yet... :/

[genericincognito]

Lavendercloud - Your post is a godsend! Thank you! I have my phone interview this afternoon, and it's very helpful to know all this going in.

 

I second what Princess says about the community found on this board. The application process is lonely and brutal--but it's made far less so when you can commiserate with like-minded people. I hope to eventually cross paths with you folks in real life  

[Singsalot]

Yes Princess ... seems that way. Not sure if that is a good or bad thing!

 

Has anyone else interviewed at NYU or have friends in the program? I would love to hear more about it from someone who has been through it ...

[lavendercloud]

genericincognito: GOOOD LUUUCK! Eek!

[SeaLou]

I agree with everyone's sentiments on the companionship of the board, really glad I found this place. Congrats again to everyone getting interviews and again to lavendercloud.

On another note, did anyone apply to the apprenticeship at Studio Theatre? I sent in my application, haven't gotten a confirmation email.

[genericincognito]

I got into Ohio! The program director made me a verbal offer at the end of my phone interview today. I'm really excited and still a bit in shock. I'm planning to visit next Friday to see if I can envision myself in rural Ohio for the next 3 years. Location is really the biggest impediment. 

 

Lavendercloud, thanks again for the insight. We may indeed wind up classmates! 

[SeaLou]

Yeah yeah yeah! Way to go @genericincognito! Congratulations!

[Singsalot]

Amazing! Congrats incognito!

[lavendercloud]

Omigod, genericincognito, CONGRATULATIONS! I hope you're as excited as I am! I'm gonna talk to a current student on the phone tomorrow and hopefully she can answer my questions, but I kind of want to attach a GoPro to your head and have a makeshift virtual campus visit...

 

I'll PM you my contact info if you want to get in touch!

[Singsalot]

Tate--What is the program size at UT? How many other playwrights are there and how big are the playwriting classes? I'd love to know a little bit more about what you thought of the school, the theater spaces, etc. Thinking about applying for next year.

 

Also, on a sidetone, has anyone in NYC seen Placebo at Playwrights Horizons? I would love to discuss if you have. I thought it was one of the worst nights I have ever had in a theater anywhere.

[Guest]

Congrats everyone on their acceptances and interviews! I've been quite busy this past week so haven't been able to frequent this board as much. Still waiting to hear from Columbia, Iowa, NYU, and Juilliard and not losing hope yet. Especially because some schools have rolling status updates so I'm not gonna give up hope!

 

What led me to apply to NYU was the faculty. My friends who've gone there have had Suzan Lori-Parks, Lucy Thurber, etc. Also, everyone meets with The Public's literary team one on one at the end of their time in the program from what they've told me. I do agree I wish there were more performance opps. The NYU Grad program does perform new plays, but by established writers like Lucas Hnath even though there's a grad program right there. I'm still incredibly interested and thank you for the info!

 

As far as summer things go, I got a rejection from Great Plains and a couple of script solicitations from others which I don't really want to say, because I don't want to jinx anything. I'm hoping something comes through. I have heard AMAZING things about Sewanee and Paula Vogel's teaching there so it's worth a shot. Would have applied to Last Frontier, but I thought I had a conflict during that time and decided not to and then just found out I could have applied anyway. Anyone done Kenyon?

 

I'm not in NY right now, but I've heard not the best things about Placebo. I love Carrie Coon and I would see it for her, but the play description seems a little uninteresting to me. I do have to say that I'm happy that after The Flick and Mr. Burns that Playwrights Horizons just does the work they want and actually takes some risks that cause debates and may alienate audiences. I love that, but I've heard not so great things about this production.

 

Also, this forum is such a great resource and everyone is so supportive! I don't know what I would have done without this group! The Official Playwrights of Facebook group is kind of depressing sometimes. A lot of petty fighting over petty things.

Edited March 4, 2015 by Guest

[tate12]

Congrats genericincongnito and lavendercloud!

 

Thanks for all the details lavender. Sounds like a good conversation!

 

This group is wonderful and supportive. It's helping me get through all this STRESS. lol.

 

@singsalot- They accept four students a year. 2 at UT and 2 at Michener. So they have a cohort size of 12. That seems rather large, but from what the students said, they appreciate the diversity in aesthetic. The classes are offered either in the Fall or Spring and there are a few classes that everyone takes or specific for whatever year they are in. I sat in on a Collaboration class. They had grad writers, designers, directors. It was fun, well thought out and managed. 

 

There are three theatre spaces in the department. A thrust stage- that's pretty flexible, a giant proscenium, and a black box theatre. There are a bunch of spaces around campus that are frequently used as the ones in the theatre building. 

 

I think the department is well-rounded in theatrical style, approaches, and teaching methods. Lots of resources at the University- for research with PHD students, the museums, libraries, and the Harry Ransom Center.

 

The faculty are warm, loving, challenging mentors to their students. The students really like the mentorship of the program. They have different styles, approaches, they really CARE about the students and their progress. They balance that level of mentorship with twelve students a year. Which is impressive. 

 

One thing I thought was interesting that was mentioned by the graduate students was that since there are only three directors at any given time, there's sometimes a clamor for the directors. Which is understandable for such a large cohort, but does make me worry about the dynamics. Though, I guess competition is a good thing. AND, they don't have MFA Acting Students. They have BFA program and the students are really good! But if you're looking at older roles, it's trickier. 

 

 

You get tuition remission from T&D but there is some debt you would accrue from the T&D department- though it's really important to the faculty that they keep that low with TA-ships, assistant jobs, etc. 

 

I would highly recommend apply. Austin is a beautiful, relaxing, adventurous city. Also, I would apply to T&D and Michener. It's one application fee for both! 

 

If you have any other questions, let me know!

Edited March 4, 2015 by tate12

[Singsalot]

Thanks Tate. So aside from the funding, it doesn't seem like there is any difference between 'Michener' and the regular MFA program. Is that correct?

 

Do you have to teach/assist as part of the program? And how many productions is each student given while he/she is there?

[lavendercloud]

Wait, one application fee for both at Austin? I swear I paid for them individually last year... >_<

 

Bane of my existence: "You have reached your quota of positive votes for the day." (Thank goodness Facebook doesn't limit "likes." Oh, and Barista, agreed about the Facebook group! There also doesn't seem to be much support for MFAs in that group...I think a lot of older/amateur writers are just really bitter? But I do see some great advice on there, especially about self-producing, contracts, etc.)

 

So Tate, where are you at these days? Still waiting on Austin and San Diego or have you heard anything?

[genericincognito]

Tate: Any idea if your fellow interviewees were being considered for T&D as well as Michener? 

 

I'm still waiting on a decision from T&D and trying to suss out my odds--which is a futile exercise I realize, but I can't resist the urge to read the tea leaves. 

Edited March 4, 2015 by genericincognito

[briglee]

Hello all!  I'm one of the looky-loos who's bookmarked this topic and constantly stalks but never created an account to comment #passivewitness -  Just wanted to thank yall for engaging in the community - makes this process seem less lonely!

 

I also applied to UT T&D (along with Michener - which didn't work out - sighhhh!) - still "in review" for T&D but feeling less and less hopeful every day - also like a little miffed that I paid 2 app fees!!!

 

Just felt compelled to engage in the convo - still crossing fingers for UT but also like "meh, I'll just keep applying till it happens" - want to stay close-ish to Dallas to I can still have a semblance of a relationship with my partner and dogs so Michener and UT T&D are my only exciting options.  We'll keep on trucking!

 

xoxo

[tate12]

@singsalot- Not much difference at all. Michener doesn't have teach. T&D students TA and teach courses for undergrads, assist professors, work in the office, etc for their stipends. The Michener students don't have to take two classes that the T&D students take. They have to take 2 classes for their secondary. 

 

They explicitly state on the website that they don't guarantee productions. They have tons of opportunities and most students get workshops, readings, fully realized productions by the end of their time. UT New Theatre, New Works Festival. Tons of spaces on campus you can "check out" and perform in. A LOT of students self-produce in the city as well. The way it was explained to me was that it could be  beneficial to work on your plays, craft, etc. rather than putting up a production when it's not ready. And having three productions of plays that needs more work is not going to get you fellowships, commissions, etc.  I think this may be a good thing. 

 

@lavender- There were five of us there. One person they need to Skype in with. So they said a week and half for decisions. That was the 27th. And Michener has this on their webpage:

 

"Our final admissions decisions will be made on March 10th, and all admitted or wait-listed students will be contacted directly over the next day or two. This is somewhat later than our usual decision date, and we appreciate your patience in awaiting results. If you are not called or emailed by March 13, you have not been admitted or wait-listed, even though you may not have yet received a "deny" decision from Graduate Admissions (these can be delayed by glitches in your paperwork even though we have denied admission)."

 

So I should know by next week. But I feel like I'll have a freaking heart attack before then. Lol.

 

Then I'm off to UCSD on March 11th to the 14th. And I believe I should know about that the following week. Since it's getting close to the middle of March and they usually make their decisions by then.

 

Yeah so for the app, it shows that you owe for one application fee. You just call Graduate Admissions and tell them. They will wipe it off your What I Owe page. 

 

@genericincongnito- I was under the impression that they were doing it Yale style, having the group of finalists come down. And they were the only ones being considered at that point. I was up for Michener and T&D, but I'm not sure if everyone was. It was kinda hush-hush or they honestly didn't know. It was a tad confusing. But I think out of the 5 of us maybe 2 others were for both. I remember some of them saying that they didn't even apply to Michener. 

 

Thinking of the odds- say if one person is just a T&D finalist versus someone that is a finalist for both. Does a rejection from Michener mean automatic acceptance for T&D or a rejection across the board if the T&D finalist is better equipped?????? Are we all each others alternates/wait list? 

 

LOL...thinking far too much into it. I just really want to stay in Austin. 

Edited March 4, 2015 by tate12