Can you tell us about your beginnings as a playwright?
I was an amateur actor, a high school English teacher, and a play director and technical director for over thirty years. The combination of theatrical experience and a literary background gave me the basic tools for writing producible stage plays, and after writing my first play, I discovered that I have an ear for writing believable dialogue.
What’s something unique or fun about your process that you would be willing to share with us?
This may seem morbid, but when I am stuck for authentic sounding character names, I will take a walk through a cemetery. Headstones contain truly authentic names of people who, incidentally, cannot sue you for defamation of character.
What is your experience with play writing workshops like METLab either with this piece or another?
I have had staged readings and full productions across the country, but with THE ART OF THE SMILE, the METlab workshop will be its first reading of any kind.
How did this speci ic play come about?
I was watching a forgettable movie with a forgettable title that had a brief allusion to the theft of the MONA LISA. I had never heard the story, so I started researching simply out of curiosity. Eventually I decided it was a stageable premise.
What are you hoping to gain from this process and working with METLab’s Plays in Progress Festival?
As with most readings, I wish to judge the audience's reaction to the plot and characters—are they effective or not? With THE ART OF THE SMILE, since it has had no exposure to the outside world as of yet, I also would appreciate an audience's honest feedback to see if the play has potential.