Behind the Curtain.
Introduction: William Mastrosimone shares his views on theatre in an exclusive Interview with Puja Goyal
(Source: Vijay Times, LIFE: Centre stage)
Copyright © 2005 Puja Goyal
WILLIAM MASTROSIMONE (Playwright) made his debut with THE WOOLGATHERER in 1981, which later won the Los Angeles Drama Critics ward for Best play of 1982. His play EXTREMITIES won the New York Outer Critics Circle Award for Best Play of 1982-1983, the John Gassner Award for Playwriting, and later became a feature film. NANAWATAI! Opened at Den National scene and later became a film called THE BEAST and won the 1988 Roxanne T. Mueller Award for Best Film at the Cleveland International Film Festival. He recently completed a screenplay for Columbia Pictures, ARK OF AFRICA. He wrote various other screenplays and stage plays for which he has received numerous awards, like, SINATRA, WITH HONOURS, THE BURNING SEASON; his other plays include, A TANTALIZING, SHIVAREE, A STONE CARVER, THE UNDOING, SUNSHINE, CAT'S PAW, BURNING DESIRE, TAMER OF HORSES and LIKE TOTALLY WEIRD. Mr. Mastrosimone is a 1989 recipient of an Honorary Doctorate of Humane Letters from Rider College.
What is your take on choosing a subject matter to a play?
I can say with confidence that I have never consciously chosen themes to suit the marketplace. My choice of themes has more to do with the forcefulness of the impact of a person I met, or perhaps of an idea. This has been quite consistent since I began writing in the mid 1970s. But I must admit that it seems to me the themes choose me. By that I mean that I become carried away by the force of personality or idea. The words "carried away" are very real to me. Being carried away is part of my articles of faith in writing. Ten years ago I wrote a play called BURNING DESIRE (which I have not allowed to be performed). The play is autobiographical. It happened to me. I tried to help someone close to me to break a heroin habit. In doing so, I acted without wisdom, without knowledge, and suffered for my arrogance. The major theme was the power of romantic illusions in our lives, illusions like "love will conquer all," and "truth will always triumph." My next play, LIKE TOTALLY WEIRD, was about the pernicious effects of American culture on the young. It's about two young boys obsessed with violent movies. They visit the home of their favorite writer/producer/actor/director, uninvitedly, appearing "in character" as the psychotic characters of their idol's latest blockbuster. This was not just a metaphor for Hollywood. For me it was personal because I am in the business and I saw the unconscionable exploitation of the young. I also saw how the government came down on other industries (like the automobile and pharmaceutical industry), and I wanted Hollywood to examine its conscience, as I have. I don't say this from a high horse because I have written my share of violent movies. (Go wga.org and search for my article "Confessions of a Violent Movie Writer"). My next play was about a man who betrayed America, BENEDICT ARNOLD. This was an instance of how a forceful personality and intriguing story made an impression on my mind. BANG BANG YOU'RE DEAD. This play was a response to the phenomenon of kids killing kids in the late 90s in America. Again, the themes chose me. More aptly, what was happening in my world engaged my moral sense. SLEEPWALK, about teen suicide, is in the same vein thematically.
Has the audience responded to these themes?
I only know what I observe. In the case of BANG BANG YOU'RE DEAD (both play and film) I know I hit the mark I aimed for because of the thousands of emails I received where young people told me things like "I was going to kill some kids that did me wrong, and then kill myself, but I saw your play/film and changed my mind." The oil magnate John Paul Getty was once asked the secret of his great success. He said, "Rise early, work hard, and strike oil." The implication, of course, is that luck plays a big part in success. Well, I have definitely struck oil--as well as a sensitive nerve with the play/film. And that was based upon my instinct. Being true to one's deepest feelings is the way to the universal.
Has the audience had any influence in defining the storylines used in theatre?
In my newest play SLEEPWALK; the audience plays a tremendous part in defining the theme of suicide. As I am still rewriting the play, I play close attention to the young audiences. They tell me where I hit and miss. As the problem of suicide does not possess me, I am reliant on those who do suffer from the temptation, and thus I am their pupil, not their teacher.
What do you think about the progress of theatre?
I believe the process of theatre is a dialectical triangulation between the soul of the writer, the subject matter/themes, and the audience. The elements of this Hegelian triad affect each other.
DreamScope Theatres will be staging Bang Bang You're Dead again and his new play Afghan Woman in July 2005. While Afghan Woman will premiere on Broadway and Bangalore at the same time, the royalties and ticket sales earned from "The Afghan Women" are being donated to the Afghanistan operations of International Orphan Care, on whose board the playwright William Mastrosimone serves.
(Source: Vijay Times, LIFE: Centre stage)
Copyright © 2005 Puja Goyal
WILLIAM MASTROSIMONE (Playwright) made his debut with THE WOOLGATHERER in 1981, which later won the Los Angeles Drama Critics ward for Best play of 1982. His play EXTREMITIES won the New York Outer Critics Circle Award for Best Play of 1982-1983, the John Gassner Award for Playwriting, and later became a feature film. NANAWATAI! Opened at Den National scene and later became a film called THE BEAST and won the 1988 Roxanne T. Mueller Award for Best Film at the Cleveland International Film Festival. He recently completed a screenplay for Columbia Pictures, ARK OF AFRICA. He wrote various other screenplays and stage plays for which he has received numerous awards, like, SINATRA, WITH HONOURS, THE BURNING SEASON; his other plays include, A TANTALIZING, SHIVAREE, A STONE CARVER, THE UNDOING, SUNSHINE, CAT'S PAW, BURNING DESIRE, TAMER OF HORSES and LIKE TOTALLY WEIRD. Mr. Mastrosimone is a 1989 recipient of an Honorary Doctorate of Humane Letters from Rider College.
What is your take on choosing a subject matter to a play?
I can say with confidence that I have never consciously chosen themes to suit the marketplace. My choice of themes has more to do with the forcefulness of the impact of a person I met, or perhaps of an idea. This has been quite consistent since I began writing in the mid 1970s. But I must admit that it seems to me the themes choose me. By that I mean that I become carried away by the force of personality or idea. The words "carried away" are very real to me. Being carried away is part of my articles of faith in writing. Ten years ago I wrote a play called BURNING DESIRE (which I have not allowed to be performed). The play is autobiographical. It happened to me. I tried to help someone close to me to break a heroin habit. In doing so, I acted without wisdom, without knowledge, and suffered for my arrogance. The major theme was the power of romantic illusions in our lives, illusions like "love will conquer all," and "truth will always triumph." My next play, LIKE TOTALLY WEIRD, was about the pernicious effects of American culture on the young. It's about two young boys obsessed with violent movies. They visit the home of their favorite writer/producer/actor/director, uninvitedly, appearing "in character" as the psychotic characters of their idol's latest blockbuster. This was not just a metaphor for Hollywood. For me it was personal because I am in the business and I saw the unconscionable exploitation of the young. I also saw how the government came down on other industries (like the automobile and pharmaceutical industry), and I wanted Hollywood to examine its conscience, as I have. I don't say this from a high horse because I have written my share of violent movies. (Go wga.org and search for my article "Confessions of a Violent Movie Writer"). My next play was about a man who betrayed America, BENEDICT ARNOLD. This was an instance of how a forceful personality and intriguing story made an impression on my mind. BANG BANG YOU'RE DEAD. This play was a response to the phenomenon of kids killing kids in the late 90s in America. Again, the themes chose me. More aptly, what was happening in my world engaged my moral sense. SLEEPWALK, about teen suicide, is in the same vein thematically.
Has the audience responded to these themes?
I only know what I observe. In the case of BANG BANG YOU'RE DEAD (both play and film) I know I hit the mark I aimed for because of the thousands of emails I received where young people told me things like "I was going to kill some kids that did me wrong, and then kill myself, but I saw your play/film and changed my mind." The oil magnate John Paul Getty was once asked the secret of his great success. He said, "Rise early, work hard, and strike oil." The implication, of course, is that luck plays a big part in success. Well, I have definitely struck oil--as well as a sensitive nerve with the play/film. And that was based upon my instinct. Being true to one's deepest feelings is the way to the universal.
Has the audience had any influence in defining the storylines used in theatre?
In my newest play SLEEPWALK; the audience plays a tremendous part in defining the theme of suicide. As I am still rewriting the play, I play close attention to the young audiences. They tell me where I hit and miss. As the problem of suicide does not possess me, I am reliant on those who do suffer from the temptation, and thus I am their pupil, not their teacher.
What do you think about the progress of theatre?
I believe the process of theatre is a dialectical triangulation between the soul of the writer, the subject matter/themes, and the audience. The elements of this Hegelian triad affect each other.
DreamScope Theatres will be staging Bang Bang You're Dead again and his new play Afghan Woman in July 2005. While Afghan Woman will premiere on Broadway and Bangalore at the same time, the royalties and ticket sales earned from "The Afghan Women" are being donated to the Afghanistan operations of International Orphan Care, on whose board the playwright William Mastrosimone serves.
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