Dramatist Article, January
Minneapolis/St. Paul By Jayme McGhan You would think they were affectionate siblings the way they riff off one another, but Trista Baldwin, Dominic Orlando, and Deborah Stein, co-founders of Workhaus Collective, Minneapolis’ newest theatrical endeavor, are simply three talented writers who have a pretty groovy and revolutionary idea; put the playwright in charge. Wait. What? The playwright? You mean that creepy little bundled enigma in the corner who won’t stop biting her fingernails? Yup, her. As Ms. Baldwin says warmly, looking up from her cup of hot tea, “Put up or shut up.” Workhaus began as an unrefined idea, bouncing between the craniums of the three. “I’d like to spearhead a ban against the word “organic,” but that’s what this is. There’s no other way to put it,” says Mr. Orlando, a firecracker of a personality whose show A Short Play About Globalization successfully kicked off the new season for Workhaus. “So many companies are producing new plays, but they’re producing the approved new plays. We’re simply attempting to get the raw material out there,” adds Ms. Stein. “We wanted to put the production in the hands of the playwright, to give them artistic authority.” Essentially, Workhaus places the enviable hard-hat of Artistic Director on the playwrights head, putting them in charge and making them responsible for their own art. This is not, however, a one-person show. Playwrights do not necessarily direct or design their own work, but do have full-say in who does. Also, to ease the load, certain production quandaries and responsibilities: fundraising, AEA contracts, and the like, are relieved by the other collective members so that the playwright can focus solely on their production. Workhaus Collective’s season, produced at the Waring Jones Theatre in The Playwrights Center, consists of three to four shows per year. Each writer is slotted a production and must make the decision for themselves what work of theirs they want to see performed. There is no committee meetings, no board of advisors to choose a show. It’s simply a writer and their gut instinct. “What do you want to see on stage?” asks Ms. Stein. “Well then, go ahead and do it.” We should all be so lucky. The three co-founders certainly have a great deal of credibility to back up there incredulous claim that playwrights can, in fact, be in charge. With a mess of Jerome Fellowships, McKnight Advancement Grants, and a myriad of national and local productions between the three of them, it’s difficult to call them on it. And, really, who wants to? The ultimate aim for the company is to simply get new work on its feet and running. “A play is not a play without the third dimension,” says Ms. Baldwin, whose play Sand will receive it’s Off-Broadway premiere in the coming months. “A play shouldn’t work in a reading. If it works in a reading, there is most likely a problem. Playwrights are not literary creatures.” she adds. “Writers and their plays are, for the most part, homeless,” remarks Mr. Orlando. “And what we want, all of us, is a home for our work. Our hope is that we’ve found it here in Minneapolis.” The Collective currently consists of the three founding members plus five rotating satellite members. New membership will be considered as the Collective continues to rotate. “New members will have to be okay with the fact that this is a marriage, a family.” says Ms. Stein. “Membership means that the playwright must be honest in their creation. They have to be willing to let one another be wrong, to learn from each experience,” adds Ms. Baldwin. Asked what their number one requirement for future membership would be, Mr. Orlando says with conviction, “A Workhaus member has to have a sense of event, of full-on theatricality. Without that, there’s nothing.” With all of the development, workshops, and readings offered by producing companies across the country, it’s good to know that Workhaus Collective is putting their words where they belong…on the stage. “We’re not removing ourselves from the apparatus,” says Ms. Baldwin. “We’re simply offering an alternative that we hope will be absorbed by our community.” With any luck, the Twin Cities will not be the only sponge to soak up their philosophy.
Making a concerted effort to uncover something new in theatrical collaboration seems to be the course laid out for this eclectic crew. “Concrete solutions have not been attempted to this juncture,” says Mr. Orlando. “Once we put our faith in the writer to make these decisions, anything is possible. Who knows what’s going to happen?” he exclaims. “Who knows what the audience experience will be?” adds Ms. Stein. “We want to make the Twin Cities audience jazzed on us, to give them an entirely new theatre occurrence.” In fact, as the four of us sat outside a comfortable Up-Town restaurant, the three co-founders seemed to make rather important discoveries about each other, oblivious and unafraid that an outsider was, in fact, writing down every word that left their mouths. The willingness and excitement to make these new discoveries may very well be what propels the Collective forward in the coming years.
Posted by Jayme at December 11, 2007 2:22 PM
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