{"id":805,"date":"2014-03-26T21:23:58","date_gmt":"2014-03-26T21:23:58","guid":{"rendered":"http:\/\/elizawyattplays.com\/blog\/?page_id=805"},"modified":"2014-09-26T17:46:53","modified_gmt":"2014-09-26T17:46:53","slug":"playwright-bio-2","status":"publish","type":"page","link":"http:\/\/elizawyattplays.com\/blog\/playwright-bio-2\/","title":{"rendered":"Playwright Bio 2"},"content":{"rendered":"

The success of my first three plays did not prepare me for the struggle to write a naturalistic comedy.\u00a0 My subject was the pregnancy of two women who become friends in ante-natal class. I won a place at the Mid-West Playwrights\u2019 Conference with this play, and a Massachusetts\u2019 Playwriting Fellowship, which resulted in a production at The People\u2019s Theatre, Cambridge, Mass. Directed by David Moore who I later learned was a descendent of Pulitzer himself.\u00a0 A couple of years after the production of Having A Life,\u00a0 a musical with exactly the same plot made it onto Broadway, collapsing my chances of doing the same.\u00a0 That play also had trouble with the resolution.\u00a0 It wasn\u2019t until later, when I was writing a screenplay and using that play that I went deeper into the women\u2019s lives by killing off Ruth\u2019s husband.\u00a0 You Can\u2019t Leave Half-Way Through, the screenplay, made it to Viacom but only to be rejected in favor of Mary Reilly.\u00a0 A woman who was Jack the Ripper\u2019s housekeeper.<\/strong> \u00a0\"Having<\/a><\/strong> \u00a0 \u00a0 \"having<\/a><\/p>\n

One Act Plays<\/span><\/p>\n

Founding the PLAYWRIGHT’S PLATFORM ONE-ACT PLAY FESTIVAL, gave me a forum for my one-acts and of course the work my many talented playwright friends, Geralyn Horton, Rosana Alfaro, Rae Edelson.\u00a0 We were all grateful to the directors who took on our plays and made them come alive.\u00a0 Below is TONY ALICATA, who directed my one-act THE ACCIDENT, which he encouraged me to expand to a full-length, THE RIGHT DECISION, and took to New York City, where it played at the 18th Street Theatre.<\/p>\n

\"Tony<\/a><\/p>\n

THE RIGHT<\/p>\n

DECISION, my first play to be seen in New York City, Starring Judith<\/p>\n

Elaine, Anthony Inneo and Anthony St. Martin.\u00a0 ( Three Tonys!) at the<\/p>\n

Eighteenth Street Theatre, which was managed by a fierce lady of the<\/p>\n

theatre who had just lost her son to the AIDS Epidemic.\u00a0 It was my<\/p>\n

first introduction to the gruesome reality which decimated the off-off-<\/p>\n

Broadway theatre, which perhaps has never quite recovered.<\/p>\n

www.playwrightsplatform.org<\/p>\n

I was persuaded to develop The Accident into a full-length play, The Right Decision which was produced ay 18th<\/sup> Street Theatre, NYC where it was well received.\u00a0 Not a big enough production to get The New York Times reviewer but I was lucky to have Tony Alicata direct.\u00a0 Also an actor, he came up with a sterling cast, Anthony Inneo, Judith Elaine, Anthony St.Martin, Joel Rooks and Jean Anderson. <\/b><\/p>\n

 <\/p>\n

\"20140206082108694_0003\"<\/a><\/b><\/p>\n

The Boston playwrights at Playwright’s Platform were supported by the talented actors and directors who donated their time free of charge to developing our plays, some of these directors are well known, Daivd Wheeler, Ted Kazanoff and Mimi Huntingdon.\u00a0 Annette Miller did several readings of Angela Hitler for me.\u00a0 The group could not have survived without this kind of support, which continues today.\u00a0 Playwrights Platform is an ongoing group in the Boston area.\u00a0 But we performed our plays in Churches and College Auditoriums, until Marco Zarattini arrived from Italy.\u00a0 He established a bijoux theatre in the North End, the Italian district of Boston, called Nucleo Eclettico.<\/b>\u00a0\u00a0\u00a0 www.NucleoEclettico.com<\/p>\n

He single-handedly helped playwrights in Boston by staging their plays and directing them, almost every week of the year for twenty years.\u00a0 He went\u00a0 rewarded for this mammoth contribution to American Theater, maybe because he was Italian,\u00a0 but we will never forget his soulful directing of Devour The Snow, and the log cabin he constructed for the purpose. <\/b><\/p>\n

\"20140121163011177_0002\"<\/a>Marco surrounded by the cast of FEEDING THE BEAST at Boston Center for the Arts<\/p>\n

I entered a local competition called Playwrights As Thinkers and took the subject The Origin of Prejudice.\u00a0 I wrote a one-act play called Aunty and Adolf about Hitler\u2019s childhood, inspired by Alice Miller\u2019s Prisoner\u2019s of Childhood.\u00a0 I did not realize this was going to be the start of a ten year project<\/b><\/p>\n

After winning the Playwrights As Thinkers prize I was doubly disappointed to discover a Swedish playwright had also read the Alice Miller book and produced an almost identical one-act play which premiered off-off-Broadway.\u00a0 <\/span>Standing under the lights in Times Square I cursed my luck but on the train back to Boston, fired by reading the actual type-script of Bridget Hitler\u2019s memoirs in the New York City Library, I decided to write on about that dysfunctional family.\u00a0 <\/span>Bridget Hitler was an Irish woman who married Alois, the elder brother.\u00a0 <\/span>When I first told the family\u2019s story, I was accused of making the whole thing up.\u00a0 <\/span>Evidence for William Patrick Hitler\u2019s American citizenship (and subsequent name change) is history but my play focused on Angela Hitler, the elder sister, whose daughter died at twenty-three.\u00a0 <\/span>She was Hitler\u2019s first but not his last victim.\u00a0 <\/span>Including Aunty and Adolph, Angela Hitler and Visit to Munich, I wrote three plays on the subject.\u00a0\u00a0 I was much encouraged by winning a place at the O’Neill Theatre Conference in Waterford, Conn.\u00a0 Twelve playwrights are picked each year out of three thousand entries.\u00a0 I enjoyed my time there and learned a lot about theatre. <\/span><\/b><\/p>\n

\"Oneill\"<\/a><\/p>\n

\u00a0<\/span><\/b><\/p>\n

Angela Hitler won me a place at the prestigious Eugene O\u2019Neill Theatre Conference in Waterford, Connecticut, where George White and Lloyd Richards \u2018mothered\u2019 playwrights.\u00a0 <\/span>Their most notable success was August Wilson.\u00a0 <\/span>That calling card landed me my first Playwright Residency with Double Image Theatre in New York City, founded by the actress Helen Warren Meyer.\u00a0 <\/span>She changed the title to The Housekeeper but gave me an off-Broadway production and once more I narrowly missed a review from the Times.
\n<\/span><\/b><\/p>\n

\u00a0\"8\"<\/a><\/span><\/b><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/b><\/p>\n

\"Annie<\/a>

Reviews of the NYC production<\/p><\/div>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \"bbc\"<\/a><\/span><\/b><\/p>\n

The next production of ANGELA HITLER (title re-instated) was at the Bridge Lane Theatre, Battersea.\u00a0 This theatre no longer stands but Terry Adams, Artistic Director for many years will be remembered for his dedication to theatre.
\n<\/span><\/b><\/p>\n

\"Terry<\/a>\"angela<\/a><\/p>\n

Go to next page of Playwright Bio<\/a><\/p>\n

\u00a0\"Angela<\/a><\/span><\/b>\"program\"<\/a><\/p>\n


\n<\/span><\/b><\/p>\n

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The success of my first three plays did not prepare me for the struggle to write a naturalistic comedy.\u00a0 My subject was the pregnancy of two women who become friends in ante-natal class. 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