“I saw a play called Cyrano de Bergerac. The main character in the play is a freak: he has an obscenely long nose, he’s the toughest guy in the regiment, and he’s a poet.
I was thirteen when I saw that play. And it changed everything for me. It said, if you are not mindful you will be distracted and deceived by this Practical World. It said, there are other things than money, power and position. Real things. And these are things that make life sweet. Honor, courage, love, poetry, glory, beauty, nobility of purpose, gallantry and friendship.
I walked out of that theatre and thought, I could have a beautiful life. I know I am a freak. But some guy who died one hundred years ago just showed me that there was another way of living. You can do it anywhere and no one can stop you. And I am saying that to you. You can have a beautiful life.
Tell the truth. Say who you are. And let it stand.
Shanley goes on to say:
Not to bring up something upsetting, but when you leave here today, you may go through a period of unemployment.
My suggestion is this: Enjoy the unemployment. Have a second cup of coffee. Go to the park. Read Walt Whitman.
Walt Whitman loved being unemployed. I don’t believe he ever did a day’s work in his life.
As you may know, he was a poet. If a lot of time goes by and you continue to be unemployed, you may want to consider announcing to all appropriate parties that you have become a poet.
So here we are. Commencement. The day stands before you like an open gate.
What’s on the other side? You gotta wonder. A hideous job, a satisfying marriage, a spiritual quest?
I’ve worked like a dog all my life. I have had my heart broken numerous times.
I have had great success, humiliation, physical affliction and I have seen the face of despair. When I stand here, I feel like I’ve dropped out of the mouth of a storm and my hair is crazy on my head.
That storm is life. Life is very long and very short and it’s unknowable and strange and terrifying and beautiful and it’s spooky and boring and bitter and nasty and elegant and extreme and if you are lucky you have the courage to want it to be all those things.
You commit to it. You commit to live and not run away. It’s true I’ve learned nothing. It’s true nobody changes, not really.
But if you commit to your life and live it, you will become more and more truly YOU. And that’s a great thing. That has something of the Divine in it.
Enjoy Shanley’s Entire Speech to the Students
John Patrick Shanley is an award-winning playwright and screenwriter. His play, “Doubt: A Parable,” was awarded the Pulitzer Prize, the Drama Desk Award and the Tony Award for Best Play. He also won an Academy Award for Best Original Screenplay for the 1987 film “Moonstruck.”
Cyrano323-663-1525 Extended to July 8th! More Info
It appears that in many major theaters across the country, men’s roles out number women’s by half. One out of every three roles go to women. (An informal survey of 10 theatrical seasons from across the country that I did put women in only 35% of the total roles). This means that men’s stories out number women’s by the same amount.
Those of us noticing this could be considered big old whiners if it weren’t for some solid business-y sounding facts:
Women buy 70% of theater tickets sold
Women make up 60%-70% of its audience (see here and here)
On Broadway, shows written by women (who statistically write more female roles than men) actually pull in more at the box office than plays by men
In any other market the majority of consumers would significantly define the product or experience. Why not theater?
Raushanah Simmons in "In the Red and Brown Water"
I will disclaim right away that this is not about women playwrights, though plays by women represent less than 20% of the works on and off-Broadway and in regional theaters (and also in the UK, as The Guardian illuminates). I consider August: Osage County and In The Red And Brown Water plays about women though men wrote both.
This is about modern theater telling its predominantly female audiences that the human experience deserving of dramatic imagination is still the male one. In TV, this might be a top-down insistence. In politics or business we see it all the time. But in theater?
Sean Daniels, Artist-At-Large/Director of Artistic Engagement at Geva Theater, says:
“In addition to it being inconceivable in 2012 to not program any female playwrights (or really any year past 1913), it’s also just bad business. Just from a business model, look at Menopause: The Musical. Though we may take it to task for not hitting all of Aristotle’s Six Elements, it’s a show that looked at who the main people buying tickets were, and allowed them to see themselves on stage — thus making millions and not only preaching and loving the choir, but getting tons of new patrons into the theater.”
But what would it be like if this were more common? What if American theater equally reflected and projected its own audience (at least 60% women) and their audience’s wallets (which are in their purses) in their season choices?
Estelle Parsons on Broadway in "August: Osage County"
Theaters might make more money. A friend and artistic leader at a major regional theater remarked on the marked success of Molly Smith Metzler’s plays Elemeno Pea, a play about sisters. Or what about Tracy Letts runaway hit August: Osage County (a play with incredible parts for women including three sisters), or Lynn Nottage’s Ruined, or Margaret Edson’s Wit, or John Patrick Shanley’s Doubt or Steve Yockey’s Bellwether (with seven parts for women)?
Cate Blanchett in "Streetcar Named Desire".
We wouldn’t lose our classics. Shakespeare’s plays are notoriously under-femmed, but not all of them are. Give me Much Ado About Nothing orTwelfth Night or wacky Midsummer. Or re-imagine the Bard for us. I saw a truly fresh and powerful production of Julius Caesar at Oregon Shakespeare Festival last year in which Caesar was unapologetically played by a woman (it might have been the best show I saw all year, including my own). I didn’t think “Oh look at that woman playing a man’s part.” I thought, “Oh my god she’s channeling Benazir Bhutto.”
Ibsen also gave us stunning women’s stories. So did Shaw, Chekov, Williams, Miller. And don’t forget the female playwrights of those same eras. Complex parts for more than one token women are there for the planning.
We might inspire new classics. I’m not telling playwrights what to write.Wait. Hell yes I am. And I’m hoping they get commissions to do so. Please write those complex and shocking and profound parts for our great female actors. Lead roles, supporting roles, lots of roles. Imagine writing for Stockard Channing or Viola Davis or Amy Morton or Meryl Streep. How about putting all of them in the same play. Oh my god, I just died a little thinking about it.
However, the now famous study by social scientist Emily Glassberg Sands about gender bias in theater says that though female playwrights write more roles for women, they are aware that plays with female protagonists aren’t as likely to be produced as plays with male protagonists. “One way women have compensated for writing female stories is to write fewer [female] roles, which make their plays accessible to more theaters,” the study finds.
So American theater might need a theatrical version of the The Bechdel Test for movies which names the following three criteria: (1) it has to have at least two women in it, who (2) who talk to each other, about (3) something besides a man.
There are bright spots however. Chloe Bronzan and Robert Parsons of Symmetry Theater in San Francisco have already put into practice their own version of the Bechdel Test. They built their company around the precepts: “We will never produce a play with more male than female characters,” they said, “We will never have more male than female union actors on our stage and we will produce plays that tell stories which include full, fleshed out and complex women that serve as propellants to the human story being told.”
"Menopause: The Musical"
We won’t lose our audiences, but we might just gain new ones. Another Artistic Director colleague noted that if theater companies counted Menopause: The Musical as part of their actual season (as opposed to the touring or rental production it usually is) it would be the best-selling show in their histories. Why? Women go to the theater and they bring their friends if they have shows that reflect their experiences. A dear friend connected with August: Osage County‘s fierce females so much that she flew from Atlanta to New York three times just to see it as many times on Broadway.
As Hanna Rosen has pointed out in her articles and lectures — there is a definitive rise in women as breadwinners and moneymakers in this country. I live in the Bay Area and am delightfully surrounded by brilliant women running major intuitions, businesses, and government orgs. Smart institutions will notice this and deliver. Women are already your majority, and women share experiences with other women, so it shouldn’t be hard to bring new women into the theater patronizing community.
Sean Daniels again:
“I think there’s a hidden thinking in here that men won’t watch women centric plays, but women will watch men centric plays — which really just sells everyone in that equation short. There are men watching The Hunger Games, but eventually there won’t be ladies watching dude filled plays and seasons.”
Viola Davis in "Fences".
We might help the world. Women are always underrepresented in positions of money, power, and personal safety. This comes, as most inherent biases do, from a lack of understanding and empathy. If we see more stories of women on stages across the country and the world we can change that.
Maybe what we really dream of is the day when plays by and about women would stop being “women’s plays” and start being — oh, y’know — really successful, moneymaking, audience-supported, universal, true, bold, smart plays. Everyone wants those plays, no matter what your gender.
Theater audiences want the designers of theatrical seasons to pay attention to the women onstage. Count them (as Valerie Week is doing in The Bay). The women in your audiences will.
“It’s frustrating that we have to have this conversation in 2012. But I’ve experienced this in my conversations about plays with colleagues across the country. Colleagues dismissing a play because its female protagonist was ‘unlikable.’ Producers should recognize that ‘we just choose the best plays’ is no longer an adequate defense: no one believes that there’s a shadowy cabal of avowed misogynists determined to keep women offstage. We need to be brave and rigorous in examining the shadowy, unconscious ways gender bias influences our decision making.”
Theater should be in the complex and necessary business of illuminating the human condition, of inspiring empathy and community, of provoking understanding, of entertaining and surprising and exposing and making beautiful the complete world of our time.
You know what helps that?
Telling everyone’s stories.
Lauren Gunderson is an award-winning playwright, screenwriter, and short story author living in The Bay Area. She received her MFA in Dramatic Writing at NYU Tisch, her BA from Emory University, is an NYU a Reynolds Fellow in Social Entrepreneurship. Her work has received national praise and awards. She writes for The Huffington Post.