Denver Center Theatre Company Artistic Director Kent Thompson on New Plays and New Play Development
In anticipation of the Denver Center Theatre Company’s upcoming Colorado New Play Summit (Feb 10-12) and to coincide with the world premieres of THE WHALE and TWO THINGS YOU DON’T TALK ABOUT AT DINNER, the DCPA blog talked with Artistic Director Kent Thompson about new plays and new play development.
DCPA: You’ve selected 3 brand new plays to produce this season. What was it about these plays that convinced you to stage them?
Kent Thompson, Artistic Director: Great writing—all with lots of humor yet serious issues underneath. The Whale is the best new play that I’ve read in years—improbable leading character (600 lb. man) desperately trying to re-connect with his estranged daughter. The Whale starts so dark and troubled and ends up very moving, even redemptive. Two Things You Don’t Talk About At Dinner does the reverse—starts as a comedy. Sort of reminds you of those (in hindsight) hilariously dysfunctional family holidays we’ve all experienced. But it reveals a sobering truth about the US today—even with our closest friends and families we can’t talk about politics and religion. Great Wall Story is like one of those news room caper movies of the 1940s—except this one is based on a real journalistic hoax that happened in Denver!
DCPA: Since we are the first audiences to see these plays in full production, what should we expect?
KT: Terrific performances—and new, edgy ideas. If you like to see funny, relevant, emotional, and sometimes dark new stories, come see them. Maybe the new plays are the Showtime/HBO shows of our season.
DCPA: Why are new works important to Denver audiences? To theatre in general?
KT: These new plays are part of our contribution to the whole field called “The American Theatre.” We’re trying to create new stories that stick in your mind—unforgettable memories. Denver sees these stories BEFORE they go on to New York, Los Angeles, around the country, even the world. I hope we can create a play that becomes a classic—so my grandchildren are forced to read it in high school!
DCPA: So every play gets a start somewhere. Which plays that have started in Denver have gone on to big success?
KT: Lots—The Laramie Project, Quilters, Black Elk Speaks. More recently, Octavio Solis’ Lydia (Yale Rep, Mark Taper Forum in L.A.), Jason Grote’s 1001 (New York, California, DC and elsewhere), Mama Hated Diesels (all over the country).
DCPA: What are commissions and why do you offer them?
KT: We contract a playwright to write a new play—occasionally on a topic/book/etc. (Plainsong, Eventide, Just Like Us). More often, the playwright chooses what to write about. We offer to support playwrights so that they have time and resources to concentrate fully on writing. In return, we get the option to produce the world premiere.
DCPA: How many scripts are sent to you in a year?
KT: Hundreds. From agents, directors, producers, other theatres. We read and read and read all year long.
DCPA: What is the process for play development?
KT: Depends on what the play needs. Most often, we bring together a director, a dramaturg, the actors, and the playwright to work on the play for a week and then hold a couple of public readings—when the playwright gets to hear the play in front of an audience. This nearly always accelerates the process of revisions and making the script ready for production.
DCPA: So you have this annual Colorado New Play Summit. What is it and why should I care?
KT: At the Summit each year we produce 2-3 world premiere productions and do public readings of 4-5 others. You should come see how plays are created—from first draft through production! Plus, theatre professionals and press come from all over the U.S. to see this annual event. It shows off Denver, Colorado and DCTC.
DCPA: Apart from those companies devoted exclusively to the development of new work, how does the Denver Center compare nationally in regard to the number of new plays it produces each year?
KT: We produce 3-4 new plays and musicals a season out a total season of 11 to 12 (depending on the year). So a quarter to a thirdof our season is made of mew plays. Most major regional theatres produce 1 or maybe 2 a season—so Denver is where it’s happening in American theatre!
