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Although my primary passion has always been for writing theatre, these days I am passionate about writing screenplays, mostly shorts, for Deaf characters. My full-length screenplay Signs of Love is a romantic comedy between a really hot Deaf man and a rather nerdy hearing man and how their worlds collide. There just doesn’t seem to be an abundance of films with gay Deaf characters as the romantic lead. I recently attended the Sign Light International Deaf Film Festival in LA where I got to see such amazing films by Deaf filmmakers that it was extraordinary. One of the things that moved me was that at so many of the Q & A’s there was discussion about the challenges facing Deaf filmmakers breaking into the hearing filmmakers’ worlds. It struck me that being that I have a skill for writing and have been living with my now husband, who is Deaf, for thirty-three years, that I have a certain kind of unique ability and perhaps I could make a contribution.

 

But back to the future, or rather the past but really the present and hopefully the future....the theatre!

​My story as a playwright began when I was in fourth grade and my parents gave me a gift of a light blue typewriter. I couldn’t figure out why they gave it to me but I went up to my bedroom and wrote a eight page play about a couple, Jack and Judy getting married and then getting divorced. My parents, Jack and Judy, who were fighting over getting a divorce thought it was amazing and it somehow landed in the hands of my elementary school teacher. For some reason I could never fathom, the school had me and a girl go to all these classes and perform it, with all the maturity that only children of that age group have.

One day a friend asked me if I had any play that he and an actress could do for his theatre company to show them their talent. I told him he could use this silly play I wrote called Super Romantic! The next day the phone rang, and it was the theatre company asking me to become a member of their Playwrights Unit. Me? A playwright? The thought had never even crossed my mind. Then they did a full production of that play as a curtain raiser for an Author Miller play. It was a little intimidating. Kind of like being the opening act for Elvis. Then something happened. Opening night, I was hiding backstage when I heard the audience all burst into an enormous laugh. And then another and another and another and it struck me that had caused all these people to laugh and in an instant, I was addicted to playwriting.

Over the years I had many plays produced and received much love for them. I’ve had the good fortune to have one my play Vagabond optioned by The Farm ( we grow theatre) and was paid a decent amount of money. My play Falling Awake was nominated for Most Outstanding New Play by The Midtown International Theatre Festival, where several of my plays were produced along with my play Ticket to Eternity at the New York International Fringe Festival. 

I went to NYU Tisch School of the Arts where I earned my BFA & MFA in Dramatic Writing, where I got to study with the brilliant Gordon Farrell, playwright of The Lifespan of a Fact and author of The Playwrights Vision, which I have read about forty times. I used notes for his class for the fifteen years I taught playwriting at Marymount Manhattan College.

So, I admit I’m a little addicted to rewriting and cutting and will rewrite up until whatever director I’m working with demands that it’s too close to opening night to give the actors new scenes. They say the only way to get a playwright to stop rewriting is to take his computer away from him and I confess that seems to true with me, also. Writing is such a transcendent experience for me and seems to come from a Power much greater than myself. 

However, once you get into production, for me, then it’s time to step back and let the vision of the director and the actors take over, often discovering that there is much more to my plays than I realized. I usually only attend rehearsals as long as I am still rewriting. After that, I prefer to let their communal vision take over and find out how what I wrote comes to life in the hands of other Artists.

One of the reasons I write comedy is I once had a therapist and I said to him, “Why is it everywhere I go, I’m always making other people laugh and I’m always crying?” He said, “That’s because you have no sense of humor about yourself.” Last time I ever saw him! But it got me to thinking, he did have a point because when I write I’m funny. At the time, I was going through an ordeal with sleepwalking. I started to keep a diary so when something would happen that would traumatize me, I would be thinking how I could make it funny in writing.

 

That journal eventually got turned into a one-man play (Sleep With Me At Your Own Risk) (which I'm now, of course, rewriting) and was produced several times, published, created a lot of laughter and touched people’s hearts. I often take a part of myself and exaggerate it to make it a comedy. I worry chronically about my husband’s wellbeing and health, which turned into Chronic Love, the romantic comedy thriller screenplay about a serial killer with an anxiety disorder so bad that he has to murder all his girlfriends to protect them for the world. Speed bump! I write to touch people’s hearts and  and create as much laughter as possible. 

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