“What does it means to be an American?” This is the pivotal question that PJ Paparelli wants playwrights, lyricists and composers to contemplate as they work on their new plays and musicals under the auspices of American Theater Company, an ensemble of theatre artists committed to producing new and classic American stories for the American stage.
Since accepting the post of Artistic Director of this enterprising institution in 2007, PJ has put together an impressive new plays program, anchored by his Literary Circle, a group composed of professional artists from his ensemble, his staff and the theatre community of Chicago. “The purpose of the Literary Circle is to establish relationships with playwrights who are interested in asking visceral questions about the American identity in their work,” states PJ, whose very specific mission is being supported by a sizable grant from the NEA, which allows the company to offer workshops and commissions. Some of these workshops currently include new work from Craig Lucas, Bill Pullman, Eduardo Machado, Kristopher Diaz, Joe Sutton, Laura Eason, and the team of Richard Oberacker and Robert Taylor. The Chicago Pipeline program offers three Chicago-based playwrights a series of writing and workshop opportunities over the course of a season. And The New Deal is a national playwriting contest, which is open to unpublished and unproduced writers. The winner, whose script is selected by ATC co-founder Rick Cleveland, receives a cash prize and a workshop at the theatre. In addition, ATC’s Big Shoulders Festival allows Chicago writers the opportunity to explore their hometown in short ten minute plays, produced in an annual showcase. And, if all this wasn’t enough, PJ’s company now has a unique partnership with The Juilliard School’s Playwriting Program headed by Marsha Norman and Christopher Durang. “Every year Marsha and Chris send our Literary Circle a play from each of their student playwrights,” explains PJ. “The Circle picks one playwright to receive two consecutive workshops: one at Juilliard with student and alumni actors, and one at ATC with members of our Ensemble. The purpose is to apply the discoveries made at the end of the first workshop to a second workshop soon after.”
Dramatists who are interested in having their work considered by ATC, or applying for one of its many programs, can either send a script through their agent or submit directly to Public Works or the Big Shoulders Festival. “Here’s ATC’s charge to playwrights, lyricists and composers,” says PJ, “Their play, or musicals, has to break new ground, define innovation, and ask a profound question about America. It can’t feel like a stretch. It’s got to nail it on the head.”
(Rep’s note: At the time that this magazine went to press, 23 ensemble members had decided to resign from American Theater Company and intend to form, or reform, under their original name, which is American Blues Theater. PJ and those that remain at ATC plan to solider on without them. We wish both theatre companies the best of luck in their artistic endeavors.)
Chicago
BY DOUGLAS POST
“What does it means to be an American?” This is the pivotal question that PJ Paparelli wants playwrights, lyricists and composers to contemplate as they work on their new plays and musicals under the auspices of American Theater Company, an ensemble of theatre artists committed to producing new and classic American stories for the American stage.
Since accepting the post of Artistic Director of this enterprising institution in 2007, PJ has put together an impressive new plays program, anchored by his Literary Circle, a group composed of professional artists from his ensemble, his staff and the theatre community of Chicago. “The purpose of the Literary Circle is to establish relationships with playwrights who are interested in asking visceral questions about the American identity in their work,” states PJ, whose very specific mission is being supported by a sizable grant from the NEA, which allows the company to offer workshops and commissions. Some of these workshops currently include new work from Craig Lucas, Bill Pullman, Eduardo Machado, Kristopher Diaz, Joe Sutton, Laura Eason, and the team of Richard Oberacker and Robert Taylor. The Chicago Pipeline program offers three Chicago-based playwrights a series of writing and workshop opportunities over the course of a season. And The New Deal is a national playwriting contest, which is open to unpublished and unproduced writers. The winner, whose script is selected by ATC co-founder Rick Cleveland, receives a cash prize and a workshop at the theatre. In addition, ATC’s Big Shoulders Festival allows Chicago writers the opportunity to explore their hometown in short ten minute plays, produced in an annual showcase. And, if all this wasn’t enough, PJ’s company now has a unique partnership with The Juilliard School’s Playwriting Program headed by Marsha Norman and Christopher Durang. “Every year Marsha and Chris send our Literary Circle a play from each of their student playwrights,” explains PJ. “The Circle picks one playwright to receive two consecutive workshops: one at Juilliard with student and alumni actors, and one at ATC with members of our Ensemble. The purpose is to apply the discoveries made at the end of the first workshop to a second workshop soon after.”
Dramatists who are interested in having their work considered by ATC, or applying for one of its many programs, can either send a script through their agent or submit directly to Public Works or the Big Shoulders Festival. “Here’s ATC’s charge to playwrights, lyricists and composers,” says PJ, “Their play, or musicals, has to break new ground, define innovation, and ask a profound question about America. It can’t feel like a stretch. It’s got to nail it on the head.”
(Rep’s note: At the time that this magazine went to press, 23 ensemble members had decided to resign from American Theater Company and intend to form, or reform, under their original name, which is American Blues Theater. PJ and those that remain at ATC plan to solider on without them. We wish both theatre companies the best of luck in their artistic endeavors.)
dpost@dramatistsguild.com