Playwright Michael Perrie Jr.
Michael Perrie Jr. and his work return to METLab this summer with the play 11 Days of Bloody, Bloody Carnage. He took a few moments out of his very busy schedule to chat with us about the play and the man behind it. Come see the readings of 11 Days of Bloody, Bloody Carnage at the Maryland Ensemble Theatre on July 21st and 29th at 8:30 PM.
Can you tell us about your beginnings as a playwright?
I started writing in High School, little sketches, short plays, poetry, short stories, I was obsessed with creative writing and telling stories and I’ve been an acting since I was 8 years old. When I got to college, I found myself so fully enamored with the art of crafting a world and characters, that I had to do it myself. So I really poured a lot of time and effort into reading all sorts of plays, and trying my hand at writing. I was really inspired by other New Playwrights, and through the mentorship of Dr. David White, and playwright George Brant, I became sort of obsessed with playwriting. Since graduating college, I’ve written upwards of 24 plays and as I answer this question, I’m working on 3 others.
What’s something unique or fun about your process that you would be willing to share with us?
Something unique or fun…oh boy. I don’t know. Maybe, since I’m an Actor first, I write with a sense that every character needs to be worth playing. So I don’t know if that’s unique or fun, but I’ll read aloud my work, when I’m writing alone to get a sense of the timing and character quite a lot. So, I’ll act out all the characters and actions in a scene just to hear the words out loud and with intention. I’m sure I’d look a bit insane from the outside, but it’s fun.
What is your experience with play writing workshops like METLab either with this piece or another?
I’ve been a part of several workshops in many different capacities, as writer, actor, and composer. Starting with WordBRIDGE, then working with new plays at Towson University, then when I moved to New York, having plays worked at The Drawing Board, Dreamcatcher, The Pantry, Him&Her Theatre Co, Playwrights at the Grand, The Tank, and Envelope Ensemble. All of which offered varying types of writing workshops, feedback, readings, and others that have helped enhance my work! I love New Play workshops and I think they are the lifeblood feeding into the future of theatre.
How did this specific play come about?
I began writing this play in college, and didn’t finish it until after I graduated. I had read an article and heard a talk about arts censorship in the slavic countries and Russia, and how strict their governments would regulate the regional theaters and their work. So I began thinking a lot about the idea of ‘censorship’ and how censorship is the death of the creative life. That idea kind of grew into a metaphor of: what if it was not just a figure of speech, but a reality; what if people were just killed as an act of censorship? How would we deal with it? Could the story be told honestly by those who witnessed it? Who are the casualties? I think the ideas resonate more and more especially with gun violence now a days, where the narrative is always controlled by someone, and you’re never really sure who’s to blame, and how to solve it. But I like to believe the truth will eventually win out.
Let me be clear though, that it’s a comedy. Haha. It’s sort of a surreal look at these ideas. I try not to bash people over the head, but let the action play out, and hope the ideas will set in. There’s some commentary on the creative process in theatre as well, but I think they go hand in hand with the creative genocide in a weird way. The play is sort of self aware. However, I promise you will laugh. I know it sounds very dark and serious, and there is that there, but when it comes down to it, it’s a very funny play…I swear.
What are you hoping to gain from this process and working with METLab’s Plays in Progress Festival?
Well, as I mentioned before, it’s an older work. When I first started taking my writing seriously. I think the story is sharp, and the characters are clear, but theres more that I haven’t mined in the text. I think somethings been keeping me from doing it on my own, I’m not sure what exactly, but I know this process will help me figure it out. There’s nothing like the luxury of having a creative team; director, dramaturg, and actors to work on just making your play stronger. I’m hoping to gain a sense of fullness, and completeness that this play is right on the cusp of. But with METLab’s festival, I think that’s precisely what this play will get. I’m so lucky to have such an awesome team; my director Steve Satta, and dramaturg, JD Sivert, both of whom who have worked with me in all capacities with new plays and old, who understand my text, and who are both Towson Tigers!
Can you tell us about your beginnings as a playwright?
I started writing in High School, little sketches, short plays, poetry, short stories, I was obsessed with creative writing and telling stories and I’ve been an acting since I was 8 years old. When I got to college, I found myself so fully enamored with the art of crafting a world and characters, that I had to do it myself. So I really poured a lot of time and effort into reading all sorts of plays, and trying my hand at writing. I was really inspired by other New Playwrights, and through the mentorship of Dr. David White, and playwright George Brant, I became sort of obsessed with playwriting. Since graduating college, I’ve written upwards of 24 plays and as I answer this question, I’m working on 3 others.
What’s something unique or fun about your process that you would be willing to share with us?
Something unique or fun…oh boy. I don’t know. Maybe, since I’m an Actor first, I write with a sense that every character needs to be worth playing. So I don’t know if that’s unique or fun, but I’ll read aloud my work, when I’m writing alone to get a sense of the timing and character quite a lot. So, I’ll act out all the characters and actions in a scene just to hear the words out loud and with intention. I’m sure I’d look a bit insane from the outside, but it’s fun.
What is your experience with play writing workshops like METLab either with this piece or another?
I’ve been a part of several workshops in many different capacities, as writer, actor, and composer. Starting with WordBRIDGE, then working with new plays at Towson University, then when I moved to New York, having plays worked at The Drawing Board, Dreamcatcher, The Pantry, Him&Her Theatre Co, Playwrights at the Grand, The Tank, and Envelope Ensemble. All of which offered varying types of writing workshops, feedback, readings, and others that have helped enhance my work! I love New Play workshops and I think they are the lifeblood feeding into the future of theatre.
How did this specific play come about?
I began writing this play in college, and didn’t finish it until after I graduated. I had read an article and heard a talk about arts censorship in the slavic countries and Russia, and how strict their governments would regulate the regional theaters and their work. So I began thinking a lot about the idea of ‘censorship’ and how censorship is the death of the creative life. That idea kind of grew into a metaphor of: what if it was not just a figure of speech, but a reality; what if people were just killed as an act of censorship? How would we deal with it? Could the story be told honestly by those who witnessed it? Who are the casualties? I think the ideas resonate more and more especially with gun violence now a days, where the narrative is always controlled by someone, and you’re never really sure who’s to blame, and how to solve it. But I like to believe the truth will eventually win out.
Let me be clear though, that it’s a comedy. Haha. It’s sort of a surreal look at these ideas. I try not to bash people over the head, but let the action play out, and hope the ideas will set in. There’s some commentary on the creative process in theatre as well, but I think they go hand in hand with the creative genocide in a weird way. The play is sort of self aware. However, I promise you will laugh. I know it sounds very dark and serious, and there is that there, but when it comes down to it, it’s a very funny play…I swear.
What are you hoping to gain from this process and working with METLab’s Plays in Progress Festival?
Well, as I mentioned before, it’s an older work. When I first started taking my writing seriously. I think the story is sharp, and the characters are clear, but theres more that I haven’t mined in the text. I think somethings been keeping me from doing it on my own, I’m not sure what exactly, but I know this process will help me figure it out. There’s nothing like the luxury of having a creative team; director, dramaturg, and actors to work on just making your play stronger. I’m hoping to gain a sense of fullness, and completeness that this play is right on the cusp of. But with METLab’s festival, I think that’s precisely what this play will get. I’m so lucky to have such an awesome team; my director Steve Satta, and dramaturg, JD Sivert, both of whom who have worked with me in all capacities with new plays and old, who understand my text, and who are both Towson Tigers!