Artistic Statement
UNCERTAIN EGG-TOWN
I began this, my first ten-minute play, in acclaimed playwright and author Jeffrey Sweet's online intensive. He gave us a simple exercise, one I remember from my Spolin improv days, and I couldn't stop writing. Full disclosure: I have played hens in two other theatrical ventures. No Gordon MacRaes were harmed in the creation of the project.
I started writing ORBICULARIS IRIS when I was a young adult, and it was probably the first writing I ever shared. I even performed it a couple of times. It was an awful play, more of a ranting monologue, and it's doubtful the play as it stands now could be easily recognized in those misery-filled early words. The piece developed through workshops. It became an ensemble piece and I was able to finish it once I realized it did not have to be a two-act play. Because I am accustomed to putting on my own shows, OI includes heavy stage direction. Props, movement, lighting and sound (and more) have equal hierarchy in regard to telling the story. I wrote Orbicularis Iris clearly enough so it could be handed off to a theatre group, yet particular enough so it would be a completed work on my own terms.
I began this, my first ten-minute play, in acclaimed playwright and author Jeffrey Sweet's online intensive. He gave us a simple exercise, one I remember from my Spolin improv days, and I couldn't stop writing. Full disclosure: I have played hens in two other theatrical ventures. No Gordon MacRaes were harmed in the creation of the project.
I started writing ORBICULARIS IRIS when I was a young adult, and it was probably the first writing I ever shared. I even performed it a couple of times. It was an awful play, more of a ranting monologue, and it's doubtful the play as it stands now could be easily recognized in those misery-filled early words. The piece developed through workshops. It became an ensemble piece and I was able to finish it once I realized it did not have to be a two-act play. Because I am accustomed to putting on my own shows, OI includes heavy stage direction. Props, movement, lighting and sound (and more) have equal hierarchy in regard to telling the story. I wrote Orbicularis Iris clearly enough so it could be handed off to a theatre group, yet particular enough so it would be a completed work on my own terms.
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Suzan Averitt
Artistic Statement
UNCERTAIN EGG-TOWN
I began this, my first ten-minute play, in acclaimed playwright and author Jeffrey Sweet's online intensive. He gave us a simple exercise, one I remember from my Spolin improv days, and I couldn't stop writing. Full disclosure: I have played hens in two other theatrical ventures. No Gordon MacRaes were harmed in the creation of the project.
I started writing ORBICULARIS IRIS when I was a young adult, and it was probably the first writing I ever shared. I even performed it a couple of times. It was an awful play, more of a ranting monologue, and it's doubtful the play as it stands now could be easily recognized in those misery-filled early words. The piece developed through workshops. It became an ensemble piece and I was able to finish it once I realized it did not have to be a two-act play. Because I am accustomed to putting on my own shows, OI includes heavy stage direction. Props, movement, lighting and sound (and more) have equal hierarchy in regard to telling the story. I wrote Orbicularis Iris clearly enough so it could be handed off to a theatre group, yet particular enough so it would be a completed work on my own terms.
I began this, my first ten-minute play, in acclaimed playwright and author Jeffrey Sweet's online intensive. He gave us a simple exercise, one I remember from my Spolin improv days, and I couldn't stop writing. Full disclosure: I have played hens in two other theatrical ventures. No Gordon MacRaes were harmed in the creation of the project.
I started writing ORBICULARIS IRIS when I was a young adult, and it was probably the first writing I ever shared. I even performed it a couple of times. It was an awful play, more of a ranting monologue, and it's doubtful the play as it stands now could be easily recognized in those misery-filled early words. The piece developed through workshops. It became an ensemble piece and I was able to finish it once I realized it did not have to be a two-act play. Because I am accustomed to putting on my own shows, OI includes heavy stage direction. Props, movement, lighting and sound (and more) have equal hierarchy in regard to telling the story. I wrote Orbicularis Iris clearly enough so it could be handed off to a theatre group, yet particular enough so it would be a completed work on my own terms.