RAT Readings// referencing scrdchao@nni.com (brad rothbart)

[MFarkash@aol.com]

I believe it's accurate to state that every group/region has their favorite 
playwrights, and their own tastes. Why else would the Taper, ASK and other 
such groups keep on reading work by the same accomplished playwrights -- even 
though these playwrights' works are done in LA, New York, and even London?  

The answer seems, because this stuff is good, interesting and proven. And 
established groups are reluctant to take a chance on new, unproven, edgy 
material.

Although I haven't said it before, I commend Brad Rothbart for the part of 
his reading series which exposes NEW, UNPRODUCED and UNPUBLISHED playwrights 
to his scene, and/or to any regional scene.

I really would like to see more of a chance taken by ALL reading groups -- 
and production groups. A GIRL'S GUIDE has already been produced, as you say. 
It's got a good chance of getting into print. Steven Tomlinson's play had a 
world premiere, already. Same thing.

So let me back up and say -- it's just my personal feeling -- without 
legislating this for others -- that public readings ought to expose new, 
unpublished, edgy, different work, and definitely not stuff that's already 
been produced.  (Unless it hasn't been reviewed, which means no documentation 
on it.)

Let me also say, that ASK has a terrific program, which includes a Los 
Angeles Public Library collection where produced but unpublished plays are 
available.

Maybe I'm going off on this topic because I feel strongly about it. Maybe I 
believe that my friends' worthy plays are not being read or produced. Maybe 
it's because I submit my plays and never even get the courtesy of a 
rejection, or the dubious pleasure of "Never send us this kind of shit 
again."   Maybe it's because my own plays are not mainstream, and only one of 
them has made money. And so I, like many other playwrights, must struggle 
each time to get them staged. 

Brad, again I commend your work, but I believe we have different philosophies 
and tastes.   As a member and past member of several writing groups, I have 
heard much, much bad material (including some of my own). Yet, you write that 
you can "name fifty wonderful plays I've read in two months ... "

FIFTY wonderful plays?   Unpublished and unproduced?   I definitely want to 
get on your reading list.