I'm not one of them.
And that's fine. I have a weekly Skype writing appointment with a fellow playwright in Omaha, a wonderful writer named Ellen Struve, who gives me feedback and keeps me honest - i.e.: keeps me writing. I'm also lucky to have found a great group of writers here in DC that meet monthly. They call themselves the Playwrights' Gymnasium. And I still am a member of Ensemble Studio Theatre Los Angeles' Playwrights Lab - though my attendance has been spotty of late due to that five hour plane ride. So I'm not lacking for writing groups.
But Arena's cache would mean avoiding the slush pile when sending out plays. It would - to paraphrase Jane Austen - put me in the way of meeting other eligible theatres and literary managers. It could jumpstart a career. Woulda, coulda, shoulda.
Lately, we female playwrights have been counting noses - how many plays being produced are written by those of our gender. Theatres are more aware of that these days. Some progress has been made.
But the fear among other writers here in DC who were also not chosen to join the Arena group is that frankly, we're too old. Too old to be considered an "emerging" playwright. Too old to be the hottest young thing out of an MFA program. Too old period.
Somehow, this hurts more than being told one's writing is just not good enough. We can certainly work on our craft. Not much we can do about turning back the hands of the clock, no matter how much we spend on facial products.
I aged out of acting when the commercials slowed way down; I know I'm too old to write for television anymore. But I never thought I'd become too senior for the theatre. Particularly since when I attend most plays, I'm the youngest one in the audience!
I hope this isn't sour grapes. I hope the writers Arena chose are truly wonderful, no matter what their birth certificate says. I hope they choose at least one person old enough to remember where they were when John Glenn flew in space.
After all, isn't it the theatre that keeps us all forever young?
Kitty Felde has written a dozen plays. She won the 2009 LA Drama Critics Circle Award for Best Adaptation of a trio of Nikolai Gogol short stories for the stage called GOGOL PROJECT. It returns to the stage in LA in 2013. She also won the Open Book/Fireside Theatre Playwriting Competition for her one-woman show ALICE: an evening with the tart-tongued daughter of Theodore Roosevelt. It was named “critic’s pick” by The Washington Post. Her newest play THE LUCKIEST GIRL received a reading at MetroStage in Arlington in December and was part of Ensemble Studio Theatre Los Angeles’ Winterfest in January.
Originally posted on the Los Angeles Female Playwrights Initiative