The Long Journey A Playwright Can Make: Finalizing My Play, The ReProgramming of Jeremy.

The Cover of the published edition of my play, The ReProgramming of Jeremy, available HERE and HERE.

And so it is, folks...
It started a number of years ago, roughly six to be exact. I had an idea for a play. I had an image in my mind of a young man, and I knew that I would name him Jeremy, after a dear college friend of mine of mine named Jeremy (Mimi) Bradley. (Yes, she's a girl). I always loved her name...
In any case, I went over to the Thompson Free Library with my laptop and pounded out a draft in two days or so. The aesthetic of the play was influenced by "The Incident at San Bajo" by Brad Korbesmeyer, and by one of my favorite novels, "As I Lay Dying" by William Faulkner. I've had people since tell me that it reminds them of "The Laramie Project", but I am almost embarrassed to admit that I had not read nor seen that play at the time that I wrote "The ReProgramming of Jeremy".
I produced the play myself (which I was proud of myself for accomplishing, as I had never done such a thing before), and had two performances at Lakewood Theater, and a few at the Center Theatre in Dover-Foxcroft, all performances followed by a discussion. My little play made the cover of the Morning Sentinel in Waterville, above the fold, with a headline, "A Play For Our Times". The initial cast included myself, Alyson Saunders, Raelene Keniston, Michael Pullen, Hannah Louise (and later, Marisa Bradford in that part), Lucas Boffin, and Sue Burke McKay. The play, which is about a gay teen named Jeremy who has ended his life after being sent to a "straight camp" was written in reaction to terrible stories I kept reading in the news. After we had such good press, I received a bunch of emails, calling my play (which hadn't even been performed yet) a "gay puff piece", while others questioned the definition of bullying, and others still saying gay teen suicide wasn't an issue.
Shortly before we premiered at Lakewood Theater, a young man named Jamey Rodemeyer ended his life after being bullied constantly at his school. This really hit me and my cast in a big way.
So, anyhow, that was the beginning of my "Jeremy" journey, and Jeremy has not been out of my head much since. The play has been performed by a brave and wonderful high school theatre teacher named David Valdes in both New Hampshire and Florida. And there is a motion picture adaptation of the play coming from one of the scripts biggest fans, Gail Springer Wagner, who has worked hard and put a lot of love into the project, with a great group of people.
I decided, with the motion picture so close at hand, to at last lay down a definitive edition of the play. It has changed a great deal since the first production. There are two new characters who now seem to me as vital as the original characters always were. Even since writing the screenplay, I have gone back to the play and changed and tinkered, and, hopefully deepened the characters--- especially the teenage ones.
I probably shouldn't say this, but 7 publishers turned down this play. I tell you this in part to explain why I am releasing it myself, but also to share what is the weirdest thing that has happened to me in my publishing career. Everyone who turned down the play sent me a personal note. 5 of them told me that they loved the play, loved the writing, but didn't think it would sell because of the subject matter. One publisher (I won't say which one), told me that the play made them weep at the end. And one offered to publish it if I removed any talk of religion from the play and cut it down by fifty percent, and I simply couldn't do that.
So here it is--- the definitive, final draft of "The ReProgramming of Jeremy"... let's call it the movie tie-in edition. Now I can put the poor boy and his haunted family and friends to rest. 
I don't know if this is my best work to date, but I do think it contains some of the best writing I have ever done. I appreciate anyone who wants to read it purchasing a copy, and anyone who might be interested in producing it to purchase a copy, read it, and contact me. 
For every copy that is sold, I am donating $1 to The It Gets Better Project, a great project dedicating to helping LGBT youth and preventing teen suicide. 
Thanks for listening to my rambling note. I hope you like the play.

If you would like to read the play, you can purchase it online at its CreateSpace Page by clicking this HERE

Or you can purchase it online at Amazon by clicking HERE

Thanks again!

Taking Matters in Your Own Hands: Self-Producing and its Benefits for Playwrights

The Original Cast of  The Re-Programming of Jeremy rehearsing

Greetings everyone, and welcome to Theater is a Sport.  Yesterday, I talked about writing a play with a message, and how and why I wrote my play The Re-Programming of Jeremy.  If you would like to read that post before reading this one, you can click HERE.  Today, is kind of a Part 2 about the life of a play of mine that means so much to me, and still remains unpublished.

So, to pick up:  I had written the first draft of Jeremy, and rather quickly.  I let a few special people read it, and then sent it to an editor of mine to see about publication.  Yes, I know that might seem strange--- in the professional theater, writers always seek productions long before publication.  I must confess, though, that, as a writer for the amateur market mostly (schools and community theater), most of my plays are published before there is ever a production of them.  It's just the nature of my little slice of the business.

In any case, the editor didn't want to publish it.  While he admitted it was a good play, he thought the subject matter a bit too dark, and way too controversial for the school market.  I disagreed, and still do--- gay teen suicide is something that happens. Bullying is something that happens. Misguided religious zealotry is something that happens.  And plays can be a great way to open up discussion about all of these matters.

I did have some doubts, though, not about the subject matter, but the play itself.  Did the structure work?  Would this series of monologues actually play, or would it drag?  And really, with questions such as these, there's only one way to find the answer.  You have to see it in production.

So I decided to produce the play myself.  Something I had never done before.  And, of course, I had no start up capital, and no real idea on how to go about it, but, what the heck?  I had to see the show on its feet, and do my best to get it in front of an audience.

My first step was to create a little production company, which was really a "Bobby Keniston Doing Business As" company.  I went to the Town Office and filled out the paperwork, so I could open a bank account for my "business".  I opened it with $25, the minimum amount out of my own pocket. And then I got to work.

I figured, since I had no money to pay anyone, I would direct the play myself.  I am blessed to have a great number of actor friends I have met over the years with my experiences in community theater, and I asked people to read the script and to be involved with the show.  I was elated that so many said yes.  The original cast was Alyson Saunders, Michael Pullen, Hannah Weston, Sue Burke, Lucas Bret Boffin, and Raelene Keniston (my mom).  I had difficulty finding someone to play the role of Jeremy's father, so, I wound up playing the part, because time was ticking away.

The theater I grew up at, which was literally my summer home all through my youth, and now, my adult years, is a beautiful, historic place called Lakewood Theater.  (You should CLICK HERE to learn more about them, after you read this post).   The general manager is Jeffrey Quinn, who has watched me grow up, and is a dear friend of mine.  Even still, I was nervous to approach him with a proposition.  You have to understand, one of the most expensive parts of mounting your own production can be rental fees for a stage or space.  And Lakewood Theater, which was designed way back in the day to be a Broadway style venue in Maine, would normally cost quite a bit of money to rent.  Much smaller venues, even in Maine, can charge up to $500 a night.  So, I was nervous about making my pitch to Jeff, which was basically, "Hey, Jeff, after Lakewood's last show of the season, can I use the space before you close up for the winter?  I'll split the door with you, 50/50."  He told me yes immediately.  I will always be grateful to him for that.

It helped tremendously that the play was simple to stage--- all we had to do was represent seven different spaces with a piece of furniture and a few props.  At the last minute, a cast member got a friend to run the spotlight for us, and we were good to go.

Though I had never done it before, I jumped into marketing.  I emailed someone I knew from the Morning Sentinel, a newspaper out of Central Maine, and he got me in touch with a reporter who came to one of our rehearsals and talked to us and took pictures (the photo above).  I expected a little story in a sidebar somewhere, and would have been happy with that, but, to my surprise, the story of my play was on the front page, the picture above the fold, with the headline:  "A Play For Our Times at Lakewood Theater".  Above the fold!  My cast and I couldn't believe it.  (I could believe a lot of the negative comments on the online article's page, though--- people writing in that the play was a "gay fluff piece", and that bullying wasn't really a problem.  I expected that.)

As with most low-no budget theater, the cast did far more than was expected of them, including securing their own costumes and many  of the props.  It is not hyperbole to say that each one of those wonderful people owned that first production just as much as I did.  It belonged to them, because they came to it with such love and belief in the story (and belief in me), and they will always be some of my favorite people in the world because of it.  I count them all as my friends, and something even more, something that can only happen when a group of people create something together.

During the rehearsal process, I decided that we waited too long to see Jeremy, the title character. He had one big monologue near the end.  I came up with the idea to have him almost "haunt" some of the other characters speeches, and even say lines with them.  I found this to have a poignant effect, and it got the wheels turning for a re-write.

We performed at Lakewood Theater September 30th-October 1st, 2011.  We had a good turnout, which included a Catholic youth group, and members from Equality, ME.  As advertised, after each performance, there was a discussion between cast and crew and audience, which was magical.  We talked about the issues of bullying, tolerance, acceptance,  The audience would ask questions and I would try to answer them as best as I could.  I was, once again, very impressed with my cast and how eloquently they answered questions directed at them, particularly the seventeen year old boy who played Jeremy.

After the success of those two shows at Lakewood, I brought Jeremy to my hometown theater, Center Theatre, in November of that same year, with most of the same cast.  Hannah was unable to reprise her role, but another excellent actress stepped in and took the part, by the name of Marisa Murray. Marisa immediately gelled with the cast, and her own take on the role, which, while different from Hannah's, was equally effective.

So...

I had performed the play four times, and had some ideas.  I let a few more people read the script.  A good playwright friend of mine named Bradley Hayward (you should check him out by CLICKING HERE) read it, and said he liked it a lot, but was wondering if there were a way to make Jeremy more active.  I agreed.

I wrote subsequent drafts, and started the play with Jeremy, talking directly to the audience. This improved the play's structure as well.  Now, we had a Jeremy who WANTED something.  He wanted to know who he was, he wanted to hear his story through others' mouths, so that he could put it all to rest.  This made a big difference.

This revised draft sat on a shelf for a while, until I was contacted by David Valdes of St. Paul's School in New Hampshire, who wanted to read the script.  He had somehow heard of the play through the different articles written about it in Maine newspapers. He read the script, asked if he could produce it with his high school group, and I had the pleasure of travelling down to see it.  St. Paul's was very kind to me, providing me a lovely guest room, and the opportunity to talk to some amazing students who worked really hard in bringing my play to life.

Since then, there has been interest in The Re-Programming of Jeremy in other places and media. Some wonderful folks in Delaware are trying to raise money to make an independent feature film of it.  I adapted the play into a screenplay, and found the opportunity to address other concerns about the piece.  I had received criticism that the play was against religion because of the extreme character of Rev. Becky Martin.  I never intended this, of course, as I actually identify myself as a Christian.  So I added the part of Pastor Tom, who was only mentioned in the original script, as a more compassionate view of Christianity, and, I added the character of the Vice Principal at Jeremy's high school, again, only referred to in the original, to take some of the heat off of Rev. Becky, by being someone who truly didn't care for Jeremy.  I incorporated a great deal of these changes into the stage play as well.

Right now, I feel, after five years and several rewrites, that The Re-Programming of Jeremy is in great shape, and, it remains a play that I am very proud of.  Had I never produced it myself, I may have never been able to make it the best play that it could be.  This is why I encourage playwrights who are frustrated to find ways to produce their own work.  It teaches you so much, and, you get to see first hand what works and what could be stronger in your script.  It also gives you the joy of seeing your creation come to fruition, and you can't really put a dollar sign on that.

So, while it's true that the play has never been published, The Re-Programming of Jeremy has taken on its own life, and is a play that has effected audiences.  If you're a producer for community theater or school drama, and would be interested in reading the script, feel free to drop me a line at theater.is.a.sport@gmail.com.  The licensing fees are negotiable, as it is a play that I would love to see reach more an more audiences.

Thanks for taking the time to read my post.  Have a great day.

Writing With a Message: How and Why I Wrote "The Re-Programming of Jeremy"

The Poster from St. Paul's School's Production of my play, "The Re-Programming of Jeremy"

So, once upon a time, I wrote this play...

Actually, if you're familiar with this blog, you know I've written a number of plays.  I rarely shut about it.  In fact, in the interest of self-promotion, I will occasionally write things like "You can learn more about my plays by clicking HERE or HERE or HERE," and, of course, please feel free to do so if you're of the mind.  However, you can click on all of those links and check out all of those pages, and even though you'll learn about many of the plays, you won't learn about the play I'm going to talk about today.  This one, The Re-Programming of Jeremy remains unpublished.

But unpublished does not mean without a life of its own.

I wrote The Re-Programming of Jeremy, in its original form, back in 2010, at a rather feverish pace. The play is about a gay teen named Jeremy, who has killed himself after bullying at school and home, and then being sent to a "straight camp," that was designed to "re-program" him, cure him of his homosexuality.  The play is a series of monologues told by Jeremy's friends, family, a teacher, and the woman who ran the straight camp he was sent to.  In the first draft, Jeremy appeared only once, near the end of the play, and gave the longest monologue of all, about tolerance and acceptance.

I wrote the play in two writing sessions, at the Thompson Free Library in Dover-Foxcroft, ME. There was company at my house, and a lot going on, which made it difficult to write, and I had this burning idea I had to get down, so I brought my computer to the library and wrote fast.  The play has gone through a number of drafts since that day in 2010, but it a good deal of what I wrote over those two days still remains.

I suppose the question is, why did I feel it was so important for me to get this story down on paper? Here's the thing--- every time I heard a news story about a gay teen who committed suicide, my heart would break.  Whenever I heard a news story about a gay teen who was being bullied and ostracized, my heart would break.  Whenever I heard a news story about a so-called religious group picketing a funeral of a homosexual, not only would my heart break, I would become so angry and disgusted that people could be so cruel in the name of God.  You see, I do identify myself as a Christian, and I think Christians who spew hate speak are not really Christians at all.  Certainly they have the right not to agree with a certain type of lifestyle, no matter how much I disagree with them, but how does hate solve anything?

I had been thinking for a number of years about writing a play that deals with the subject, but every time I did, it was a piece that was attacking the issue from a very angry, overly satirical way, a way that was just as political as it was sarcastic.  A painfully dark comedy type of play.  And while I enjoy a play like that, and have written others about different subjects in that vein, that style didn't feel right to me inside for the story I wanted to tell.

I knew I wanted it to be a HUMAN story first and foremost, where the characters weren't exaggerated.  I knew I wanted the play to transcend the idea of politics, or, at least, blend the political and the personal.  And, of course, I didn't just want to be writing "with a message".  Yes, all playwrights have something to say, and all playwrights, because they are human beings, have thoughts, opinions, and issues they hold very dear.  But to attack a play just from an issue is a tricky proposition, and, at times, an empty one.  Political theater is great, and can make a difference.  It's been around since theater began.  But, if you don't have characters you can relate to, a strong story, and genuine humanity, then you are not serving any message you may be trying to impart.

I was thinking about my idea one day, when suddenly, I just knew I wanted a character to be named Jeremy, and that Jeremy didn't want to be re-programmed.  I have a female friend from college who's name is Jeremy, though she's always been called Mimi. I think that's why the name Jeremy was so strong for me, even though the character is male.  Just having the name for the character made him real to me, a human being, especially since he was named after someone who has always been a great friend to me.  And so I began to imagine Jeremy.  I didn't want him to be flamboyant, or stereotypical, but just a normal teenager with fears, joys, and hopes like any other.  But also knowing he was "different" from the norm.  And then I began to imagine his family, and how is mother wanted to understand him, but couldn't, and how is father tried so hard to love his son, but had his own demons he couldn't conquer.  And it just sort of spread from there.

There's a play I've always liked a great deal called The Incident at San Bajo by Brad Korbesmeyer.  It is a long one act that won the Heidemann Award from the Actors Theatre of Louisville.  It tells the story of a man who tried selling an elixir to residents of a trailer park.  Turns out, this man then poisoned the water of the park, and what he was selling was the antidote.  Only seven people bought it from him.  These seven people tell the story in a series of monologues.  It's a great show, captivating, and I had the chance to direct it once with a high school group.  I love how the show has a documentary feel to it, described by its publisher as a 60 Minutes segment.  The actors answer unheard questions, and tell their story.  They are in different locations, represented by different areas of the stage, and are very different types of people.

I thought this aesthetic would serve the story I wanted to tell very well.  So I decided to give it that same "documentary" type feel in my script.  When Jeremy, who is dead when the play begins, finally does appear, he is somewhat otherworldly, a complete break from the documentary, which had an effect I thought would prove to be powerful.

By writing the play as a series of monologues, it allowed me to get deeply inside each of the characters.  Now, I've never been a teenage girl, or a jock, or a gay teen for that matter, but every character, in some way, came alive for me in some way.  Even the Rev., who's views on homosexuality were the complete opposite of mine.  I found myself digging deep for the humanity of each and every one of them.  Trying to understand their beliefs and opinions, even though it was difficult at times.  And by doing so, not only do I feel the play has a strong message for audiences, the act of writing reinforced a strong message to me--- we are all people.  And though sometimes people are capable of being cruel, even without knowing they are being cruel, they are still people. It is so easy to lose sight of such things when we focus strictly on the political side of an issue.

Even though Jeremy has never been published, it remains one of my favorites of my scripts, and contains some of the best writing I have ever done.

I have a great deal more to say about The Re-Programming of Jeremy--- the initial production, which I self-produced, the wonderful people who believed in the show and helped make it stronger, and how, even now, I am working towards getting the script into as many hands and venues as possible--- but all of this will be reserved for tomorrow's blog post.  So if your curious to learn more about it,  and how it's been rewritten after different productions, and how it's changed over the years, come back tomorrow and read PART TWO of my discussion on the play.

(CLICK HERE to read part two)

And if you are a producer, or teacher, or community theater director who might be interested in reading the show and producing it, drop me a message at theater.is.a.sport@gmail.com.  The licensing rates are very negotiable and fair, and I have seen first hand how audiences react to the piece (which I'll discuss tomorrow).

Until next time--- remember, it's great to write with a message, but make sure the message comes packaged with deep characters and a good story.  And don't be afraid to let your writing teach you something along the way--- it's a great feeling.