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Diana Amsterdam

PRACTICAL PLAYWRITING:
How to Write for Commercial Production
A ONE-DAY INTENSIVE for writers presented by
Theater Resources Unlimited and The Drama Center

Saturday March 13th, noon to 6pm
Th
e Players Theatre,
115 MacDougal Street, Studio 3C


coach Roy Havrilack

What often holds playwrights back is that they rarely consider the person who will buy and produce their product: the producer.  With all the work, hope and sweat they invest in considering character, theme and plot, playwrights rarely take into account produceability.

This half-day intensive will be taught by Diana Amsterdam of The Drama Centre, TRU's new Program Director for Playwrights. With segments of the workshop taught by presentation coach Gillien Goll, who will help writers capture the essence of their piece in an effective synopsis, and learn how to present themselves successfully; and a panel of commercial producers will offer feedback on writers' pitches as well as suggest appropriate markets for the works. Panel will include Danna Call (Communications Skills Coach for Dramatists Play Service); off-Broadway producer Patrick Blake (The Exonerated, In the Continuum); and Broadway Cheryl Wiesenfeld (A Steady Rain, The Exonerated, Legally Blonde, Elaine Stritch: At Liberty).

Besides thanking you overall for the entire session yesterday, I wanted in partcular to thank you for three things: 1) advising me to use a casting director to get actors attached to my musical Banjo Boy, which can give it traction; 2) forcing me to think more deeply about what one of my main characters wanted...you forced me to summarize what I had broken down into three parts; and 3) forcing me to move the desperation of my protagonist up closer to the beginning, in which my solution was to move his key "I Want" song up to the second song in the show, which creates just the force of propulsion I was seeking at that point in the show. I am going to scrub through the entire script to better apply your precepts. ~Randy Hobler

Thanks for a fabulous, infomative and very practical day. Clearly, TRU is making a significant contribution to to theatre community in New York. ~Richard MacDonald

I just wanted to thank you for all the tremendous information you gave on Saturday's seminar. I can't tell you how much I learned and how grateful I am to have had this opportunity. ~ Kathleen Kaan

Great workshop, full of significant realizations (like, I'm a lousy marketer), and delicious opportunities for growth. I have long resisted taking workshops, feeling they would consume my valuable writer's time, but I now see I badly need this input and exposure. ~Jean Hart

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TRU's Seminar for Playwrights provided a panel of brilliant theater experts who really listened to each participant and gave excellent recommendations to each. The specific topics were extremely helpful, conceived and presented. In one day at TRU's Playwriting Seminar you can learn what playwrights really need to know: deep insights into play structure and character, how to speak about your play, the specific costs of production, the varied theatrical opportunities throughout the country, how to make it more likely a play will be produced. I feel I benefited greatly from the experience and can most definitely recommend it! ~Janet Conrad

It was a helpful workshop and well run. Even though my work was a musical, the Practical Playwriting workshop was most helpful in guiding me towards a massive rewrite. I am finding the handouts most helpful, without them I would have lost my way and forgotten most of what I learned. Though I was aware I must keep the costs down, this workshop stressed the cost element enough to make me try to be more frugal in some areas. ~Arlene Corsano

After attending this TRU seminar, I feel more equipped to bullet-proof my manuscripts and keep my drama-dreams safe from unspeakable peril. Don't miss enrolling in this one. ~LindaAnn LoSchiavo

The seminar was well rounded and quite informative. I'd certainly recommend it. ~Steve Kunstler

• WHAT IS PRODUCEABILITY? The fact that producers always ask this question, and playwrights hardly ever do, causes a serious disconnect between the commercial producer and most playwrights.

• WRITING TO A MARKET - We will ask each playwright questions he or she has probably never considered before: Who is your market? Who is going to buy tickets? Who is this play written for?

• WRITING VIABLY - Creating writing that holds the attention of the audience with a strong storyline and defined events. This module will cover such primary writing elements as: arc, desire, motivation, conflict, and the clear delineation of theme.

• WRITING ECONOMICALLY - Number of characters, number of sets, extravagance of sets: all these are serious considerations for most commercial producers.  Does the play require a casting director, or can it be done successfully by seasoned unknowns?  Is there a  chorus of thirty that can be pared down to two?  Are you kidding yourself when you think one actor can play eight parts?

Click here for Curriculum
Click here for Faculty Bios (faculty subject to change)
CLICK HERE for Application as Word doc
CLICK HERE for Application as PDF


Our curriculum and instructors are as follows:

Saturday, March 13th

12:00-1:30 How to Write a Play that a Producer Can Love - taught by Diana Amsterdam

1:30-2:00 When and How to Submit Your Work - practical guidelines - taught by Diana Amsterdam

2:00-2:30 Break

2:30 -3:00 Cost and Other Commercial Considerations - taught by Diana Amsterdam

3:00-4:15 Getting to the Essence: A Good Synopsis and How to Pitch It - taught by Roy Havrilack

4:15-5:45 Identifying Your Market - an inter-active "pitch" session with feedback from Diana Amsterdam with Danna Call, Ken Waissman, Cheryl Wiesenfeld and others to be announced.

Cost: $175
- $25 off for all current paid TRU members -

CLICK HERE for Application as Word doc
CLICK HERE for Application as PDF
CLICK HERE for Faculty Bios

You may send a check to:
Theater Resources Unlimited, 309 W. 104th Street 1D, NYC NY 10025.

On-line payment (Paypal or credit card) at www.truonline.org/store-new.html
The Players Theatre, Studio 3C
115 MacDougal Street (below West 3rd Street)

TRU WORKSHOP FACULTY

DIANA AMSTERDAM is the CEO and Artistic Director of The Drama Center which originated at the Writers’ Voice at the West Side YMCA, where she taught playwriting for four years, and founded the Master Playwrights Class.  She also taught an original and highly popular dialogue-writing class.  TDC’s reading series was standing-room; and the development of the play The Prophet of Borough Park culminated in a showcase production.   Diana continues to coach playwrights through The Drama Center; and she is intensively developing plays with three outstanding student playwrights.  Diana is the author of 8 plays published by Samuel French and Playscripts.  Her work is produced worldwide and has been translated into French, German and Portuguese.  Her play Fast Girls has just been optioned to be made into a feature film.  She is anthologized by St. Martins Press and Smith & Krause.  She is the recipient of a New York State Council on the Arts award; winner of the BBC American Radio Plays Contest; winner of a Masque Award in Montreal, and a former member of the MCC playwrights group.  She has been commissioned to write original plays by MCC, Shake-a-Leg Foundation and the BBC.  Diana's Carpentry of Writing Series is an ongoing seminar & workshop in her hometown of Brooklyn, New York. She is the originator of the Story Construction method which will soon go live at The School of Story Construction. www.thedramacentersite.org

PATRICK BLAKE is a writer/producer based in New York and San Francisco. In New York theater, he has produced In the Continuum at Perry Street Theatre, Noah's Archive, Joe Fearless, The Exonerated (Lucille Lortel, Drama Desk, Outer Critics Circle and Court TV's Scales of Justice Award) and The Soap Myth at Southstreet Seaport. He also produced Dirty Works at the Edinburgh Fringe Festival. He was Executive Producer for the short film, The Igloo, and the feature film Mr. Smith Gets a Hustler.
DANNA CALL, Playwright/Actor/Communication Skills Coach for Dramatists Play Service. Danna is a playwright, producer and performer with over 15 years of experience in theatre and film. She co-produced, wrote and performed with eX’s & Oh’s productions and PACT Theatre Company, as well as being a company member of Carousel Theatre Company.

Her plays I’ve Hit an Iceberg and Safety First were produced by Manhattan Theater Source’s Estrogenius Festival and are published in their anthologies. I’ve Hit an Iceberg is also published by Dramatic Publishing. Her play Issues was produced by PACT. Danna wrote, produced and performed the one-woman shows Carole Lombard: Reel Life, Off Her Axis and Spreading the Good Word of Cheese at Carousel Theatre, Don’t Tell Mama and Trilogy Theatre.

Her short, comedic screenplay, Finding a Match, was produced by SkyTown Entertainment and was a participant in the 2008 Big Apple Film Festival. Danna is also an in-house writer for SkyTown Entertainment. She presently holds a position at Dramatists Play Service in nonprofessional licensing and has worked with BusinessTalk, Inc. coaching lawyers in communication and presentational skills.

Danna holds a B.A. in Theatre Arts from Emerson College.

ROY HAVRILACK has been training attorneys and executives in presentation, marketing and management skills for several years.  He has taught and coached attorneys and partners at top law firms including Sullivan & Cromwell, Milbank Tweed, Gibson Dunn & Crutcher, Brown Rudnick, Allen & Overy, Shearman & Sterling, and White & Case.  He has also worked extensively with senior executives at leading financial institutions such as Merrill Lynch and Deutsche Bank.  Other clients include Avon Products, Inc. and Gemini Systems. 

Roy has worked as a Client Services Manager for BusinessTalk, Inc., a training consultancy whose clients include Microsoft Corporation and leading accounting firms.  Roy is co-president of SkyTown Entertainment, LLC, a video and film production company that produces corporate sales and industrial videos, as well as short and feature-length films.   In addition to his experience as a trainer, Roy is also an actor in NYC. He starred in the award-winning independent film, “Say That You Love Me”, and was a recurring character on “One Life To Live”.

Roy holds a BA in Theatre Arts from Oneonta State University.

CHERYL WIESENFELD - Broadway: A Steady Rain, Legally Blonde; Dirty Rotten Scoundrels; Caroline, or Change; ‘night, Mother; Elaine Stritch: At Liberty (Tony). Off-Broadway: In the Continuum; Shockheaded Peter; The Exonerated; Talking Heads; The Waverly Gallery. Ms. Wiesenfeld was the recipient of Theater Resources Unlimited's 2007 "Spirit of Theater" Award for her ongoing generosity to young producers in the New York community, as well as her selfless support of the work that TRU does. She is one of the founding Mentors in the TRU Producer Mentorship Program, and to date has mentored six aspirants, including guiding one production to win four Audelco Awards, and helping another production find success in regional theaters.

Click here to return to Curriculum
CLICK HERE for Application as Word doc
CLICK HERE for Application as PDF

Click here to pay at the TRU Store.

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