Springboard

Standardized Child in Springboard

Went and saw Claire Robinson May’s new play on Thursday night at Springboard. It is worth taking a look at.

Springboard

Springboard is CPT’s new festival of staged readings so you need to be aware that these productions are staged readings and not full productions. That being said, CPT is taking an new approach to staged readings and not allowing the boring old “music stand” approach to be the dominant factor. In fact, the directors and actors are encouraged to attempt to get as much into the “full boll” of a real production as possible.

That being said, all should remain aware that staged readings are a public presentation of unfinished work and that there is a lot of fat still on the meat. Claire’s play is no exception. There is a lot going on in this: a lot of good stuff that needs to be focused.

The story in short is about a couple that cannot conceive. So they go to a newly created company that offers robot children and adopt. The “standardized children” are pre-programmed to be successful in standardized ways–good at standardized tests, rote learning, core and fundamental sports and painting techniques, etc. However, they lack the capacity for “creative” thought: they can do as they are programmed, but cannot be spontaneous or operate outside of the bounds of their installed software set.

That being the premise of the play, the play itself is really about some tough themes, themes that were discussed quite passionately. One group of thoughts was that the play is about control. That raising children is about controlling children–after all, children are projections of ourselves into the world and parents attempt to shape their children to be what they want them to be. Society attempts to control children (and parents) and to have them raised according to precepts that are important to society. In discussion, Raymond Bobgan raised the point that public education in the US was never about educating children so much as it was about creating a workforce for industry–and the approaches to education reflect that attitude: standardized, rote, uniform, etc. Another theme that I picked up on is that of connection–or attempts to connect. Throughout the parents who have adopted the robot child attempt to connect with the child in ways that the child is not capable of. In many ways the parents end up projecting their emotional desires onto the child. Additionally, the parents themselves have some work to do in how they relate to each other, a fact that becomes painfully obvious as the play moves forward.

Claire does a wonderful job of keeping the pace of the play moving forward and she has a wicked sense of humor that makes the play as funny as it is serious.

Go tonight

If you’re looking for something to do tonight, get over to CPT and check out Standardized Child, it starts at 7:00 in the James Levin Theatre.

I also have to give a shout out to Debbie Keppler who does a great job as the confused and emotionally distraught mother. Debbie was my lead, Asa, in Patterns at CPT in March.

Upcoming Ohio Event – November 12

On Saturday, November 12, 2011, from 9 a.m. until 3:45 p.m., the Ohio Region is hosting DIY: SELF-PRODUCTION FOR PLAYWRIGHTS, LYRICISTS AND COMPOSERS – and those who advocate for them. Registration begins at 8:30 a.m.

Dramatists Guild of America

Event Location:

The event takes place at PlayhouseSquare, 14th Street Theatre, 2037 East 14th Street, Cleveland, OH 44115. Visit www.playhousesquare.org and click on “Plan Your Visit” for a map and directions.

The program includes:

* A two-hour “Self-Production Primer: Brass Tacks,” with Guild Director of Membership, Roland Tec. Fundamentals of budgeting and scheduling will be mapped out in simply, easy-to-digest terms by Tec, who draws on his 20-plus years of experience as a producer of independent theatre and film. It is meant as an introduction to the more hands-on, in-depth exploration of his all-day “Self Production Boot Camp,” offered every January in the Guild’s New York offices.

*David Faux, DG’s Director for Business Affairs, presents a session on “Author as a CEO.” Learn to maintain and protect your intellectual property portfolio through properly structured licensing agreements.

*David Faux also offers his “Review of the Dramatists Bill of Rights,” the distillation of the rights of all writers as set forth in the U.S. Constitution and the Copyright Act of 1976. These rights have been further defined and bolstered by case law and almost a century of industry practice. They express themselves in specific ways for dramatists. If you write for the stage, you need to know your rights. And this lecture presents them with a minimum of legalese.

About PlayhouseSquare:

PlayhouseSquare is the nation’s second largest performing arts center (after Lincoln Center). They have graciously offered to host the event, as well as conduct an optional tour of the complex following adjournment on Saturday afternoon. For a complete list of performances on the weekend of Nov. 11-13, consult www.playhousesquare.org.

This DIY workshop is offered free of charge, but registration is essential and requested by November 10th. There is ample parking in adjacent lots and free street parking (for those who arrive early enough.) Coffee and snacks will be provided; lunch will be on your own.

For further information or to make a reservation, contact Faye Sholiton, DG Ohio Regional Representative at fsholiton@dramatistsguild.com.