After Happy: Pirates, Pipelines & Punchlines at Central Works - a Talk with the Playwright - Patricia Milton

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Hey folks, welcome to Green Room On Air. I'm Ray Renati, your host.

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Thanks for dropping by. Hey, if you like this program, don't forget to like and subscribe.

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please subscribe there.

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All right, on with today's show. Today, our guest is Patricia Milton.

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She is the resident playwright at Central Works in Berkeley, California.

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She's written numerous plays for them and has won several awards for her playwrights,

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her playwriting in the Bay Area and in the United Kingdom.

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I am very proud to have her as our guest today.

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And she has a new play that is on right now. And it's at Central Works.

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And it's called After Happy.

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It runs through March 29th at Central Works, and you can get your tickets at

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centralworks.org, and I'll put the link in the show notes.

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Let's get on with the show and with our guest, the renowned playwright, Patricia Milton.

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Oh, good afternoon, Patricia. Thanks for coming on the show in the green room here. How are you today?

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I'm doing great. Thanks for having me, Ray. You bet. You have a new play coming

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out that's going to be produced at Central Works in Berkeley, right?

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Yes. It's called After Happy, and it's comedy.

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And I got the idea from two different articles that I read.

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One was about a pirate festival, an annual pirate festival that takes place

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in Lake Charles, Louisiana.

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And i saw some

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pictures of it and it looked absolutely wild and i thought it was very funny

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it's in celebration of the actual pirate jean lafitte who was actually like

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a horrible person i don't know why they're celebrating.

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But anyway and the other thing i read

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was about a an oil company executive

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also in louisiana who was

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starting a greenwashing kind of

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a scam actually to buy a

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forest and say that the

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forest was eating up all of his greenhouse

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gases so that his oil was now net zero carbon and so the play talks a little

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bit about the whole greenwashing thing with carbon offsets which is That's a big problem right now.

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So you're dealing with current events in a comedic way.

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Yes, exactly. We need that. All my plays do that.

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Pretty much I have a comic point of view.

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My worldview is comic and usually the characters that I write are comic.

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I have written two series plays and they're.

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So serious. I didn't enjoy writing them, so I stick to comedy.

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Great. Well, comedy, I think, is really hard to write.

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But for you, maybe it's easy. Yeah, it comes naturally to me.

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And to me, there's something very healing and very...

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It just really brings people together to sit in a room together and laugh.

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There's nothing like it yeah and i think we really really really need that now

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no i agree the world has become a very serious and uh crazy daunting place and

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laughing sounds like the best medicine yes yes that's in the play,

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not in the hospital but so are you the resident playwright at central works Yes.

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It's Gary Graves and myself. Oh, okay.

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Great. How did you come together to start writing plays for them?

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Well, I've been a playwright, let's see, wow, since probably 2009.

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I mean, I was a playwright when I was a little kid. I wrote plays and put them on in the garage.

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Yeah. I stopped for a really long time to make money and have a career and everything.

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But I started again in 2009, and I had a writing partner.

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So I co-wrote plays with my writing partner, Andy Black.

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And Andy and I had very similar kind of artistic visions and so on.

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So we wrote a bunch of plays together, including musicals.

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And then I kind of went off on my own. I like to write plays that feature women,

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women protagonists, and usually more women than men.

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I like to give women actors parts because often they're the girlfriend or mother.

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They don't get a lot to do, so I like to have them be very active in the play.

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And i took a course at berkeley

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rep school of theater they teach playwriting and

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the instructor there is gary graves so i

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wrote a play there and gary liked it and

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he had a they had

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an opening for a play to be

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written by a playwright and he asked me to do it

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now this was when they

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were using what's called the central works method which

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is you select a topic and

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you select the actors you cast it and you don't you haven't even written a word

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and then over a course of several months you write the play with the actors

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with the director and then it goes out so i had never done this before.

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I don't think I'd do it again. Was there a lot of improvisation involved?

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You know, there really isn't. The actors, they have a lot of input into their characters. Yeah.

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So they can say, well, I don't think my character would do that. Okay.

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Or they would do research. So that was about the financial meltdown.

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One of the actors had been with, I think Chase, JPMorgan Chase,

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so he had a lot of background in that. Okay.

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But, so, and other people did, you know, just read newspaper articles and so on.

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So, there was some financial institution that had a moat, that had a moat around

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him, so he used that. Wild.

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And are you attending rehearsals for the play?

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Yes, I did. Well, we've opened. We did open. Oh, you opened,

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right, like last weekend, right?

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The last day of February and through the last Sunday in March.

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So we still have some time here.

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Yes, and I do always attend rehearsals and I do rewrite during rehearsals,

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which is hard on the actors, But if it creates a better show, they're happy to do it.

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And I get feedback from them saying, can I say this instead?

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Well, that's great that you do that because a lot of playwrights don't want

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to touch a word of anything they've written after it's done.

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The thing I love about playwriting is it is collaborative.

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So you collaborate with the director, obviously.

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To me, the play is a blueprint. And I am, I mean, I want the words to be said

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as they're written, but if an actor comes up with a great idea,

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you know, I'm going to take it.

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Well, that sounds a lot like writing for film or television. Have you ever done that?

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Because I know they change the scripts a lot on the set quite often.

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Well, and there's usually not improvisation on stage. Right. So, you know. Yeah.

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Yeah. You don't want to do that to your fellow actors.

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Yeah, exactly. I know. Throw them way off. Yeah.

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Yeah. And a lot of times actors have really, really good instincts about a scene

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and what their character wants. Yeah.

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Maybe better than me because I'm not an actor. I see.

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Hey, do you have any ideas of what you want audiences to take home with them

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after the play or to think about?

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Well, I do try to, I mean, I hate to say, you know, I want to educate,

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but I do a lot of research for all of my plays.

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I spend, you know, months researching. It's one of the things I really love.

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And if I ever stop writing, I'm going to keep researching because I really love

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to learn about all kinds of interesting things. Yeah.

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So I did research climate change. It's very depressing.

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But this whole idea of

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greenwashing is very very interesting and

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i hope people will be skeptical when they

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hear oh we're we're putting out greenhouse gases but see we're net zero because

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we're doing xyz it's just it's not happening yeah yeah it's it's a myth right

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It's not even a myth, it's just a lie.

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Yeah, exactly. Yeah.

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And what's kept you with Central Works all these years? You know,

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there are a lot of reasons.

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I love the theater. The theater there is intimate. It's very small. It's a small space.

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And it is a thrust stage.

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So the audience is actually on the stage. Right there.

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And I find that very exciting.

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If you go, say, to Berkeley Ref or any of the larger theaters,

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ACT, something will happen on stage, and it takes a second to get to you. Right.

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There's like a half second before you get it. Yeah.

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And that's not true at Centerworks. It happens at the same time as the actors get it.

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Yeah. So, to me, that's what I love about theater, is that everybody in the

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room is going through the same experience at the same time.

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And there aren't very many art forms where that happens.

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Maybe music, dance, are the other two.

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I was thinking about that. I just saw paranormal activity at ACT.

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I don't know if you've heard about this.

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And I was sitting pretty close, and there are moments where it's set up where

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things happen, like, one right after the other to create the fear.

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But I was wondering if the people, like, way up in the balcony had the same

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experience I had being just a few rows back. And I was thinking, probably not. Nope.

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Yeah. Absolutely not. I don't think so. Yeah. And Aristotle said that one of

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the things that you need in theater is spectacle.

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And Centerworks is so small, we don't have any backstage space to put,

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you know, sets or anything.

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So we're very spare as far as sets go.

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So the spectacle is the acting. Yeah.

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You know, that you're right there with the people. And it's really, really great.

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All this spectacular acting. This cast is wonderful.

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Wonderful, yeah. Interesting. I just saw a streetcar at ACT,

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and they did it without any props or set or anything.

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And there were people on stage, and then there was us way out of the audience.

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And I have to say, I wasn't too thrilled about it because I was so far removed.

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But I bet the people on stage had an amazing experience. Yep.

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I didn't. And that's not to say anything bad about the actors or anything.

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I just, I didn't, I couldn't see what was really going on with the, with the actors.

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And when there's nothing else like set or props or sound, well,

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there was sound, but set or props that they're interacting with,

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then it's hard to really get a good feel unless you're just listening to the

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words and enjoying text. Tennessee Williams' words.

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So you were missing the spectacle. Yes. Having the actors in your face.

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I've written several plays that are set in the Victorian era that have sword

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fights with umbrellas, the lady captives.

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Yeah. And that's really fun close-up, having a sword fight right there in the- Yeah.

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It's really, really fun. And there's also fan fighting, which was a thing in the Victorian.

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They had these iron fans that make this really loud noise.

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And that was fun, too. So you have to make sure it's safe, but it can be a lot of fun.

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Well, I'm the same way. I really enjoy intimate theater where there's a small

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space and everyone's super close. It's a completely different experience.

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I think it's better as well I just love it I even like musicals that are done

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in a small space you don't often see that but.

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Not all musicals work in a small space, but there are more that will than you think. Mm-hmm. I agree.

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How do you- Also, when I'm writing, I think of the space, and I take that into consideration.

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Oh, okay. So there's three doors.

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So I always think of that, where people can come and go.

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I'm very used to the space. My plays have translated to other stages that are

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a regular stage, so it's not a problem, but I always keep that in mind. Yeah.

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Now, you said you started writing plays when you were a little girl in your garage.

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Tell me more about that. Do you remember any of the plays?

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You know, I think it was, I had a big family, so I made them act, right?

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And I think we based them on like television shows at the time,

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you know, so like, I don't know, at that time, Get Smart or something like that.

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And then we'd make our parents come and watch.

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Oh, I love this. Yeah, and I wrote plays in high school and college as well.

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Yeah maybe that's where you got your knack for comedy they had all those hilarious

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sitcoms back maybe in those days yeah yeah yeah.

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So, how many people are in this show? Is there three or four actors,

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it looked like? There's three actors, all women.

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Okay. Absolutely wonderful.

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Jan Zweifler, who is the co-director of Centerworks.

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She plays the Noble Oils executive.

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I'm sorry, the executive. And she is put in charge of the Pirate Festival.

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She needs to find a pirate queen.

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Which she doesn't have. And then her niece shows up unexpectedly,

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and we don't know why she's there.

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But we do know that she fled after the hurricane, Hurricane Happy blew through

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their town, and she was recently arrested in Portland for a pipeline protest.

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So we understand that she's on the other side of the climate position than her

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aunt and then there's a third character.

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Named Steph, and she is the niece's friend who shows up in the middle of the

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play and kind of throws a wrench in the action.

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And to find out what the wrench is, you need to go watch the play.

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That's right. That's right. Well, it was funny because I was writing a play

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and I had the two characters, the niece and the aunt, Cat and Brenda,

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and I knew there was somebody waiting in the car.

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And I didn't know who it was. Sometimes when you're writing something,

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you just know, like somebody's got a briefcase, and you know there's something

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in it, but you don't know what it is.

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I love to write not knowing that, and then it comes to you. You realize what it is.

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So it was Steph out in the car. She comes in.

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What do you like about writing plays over say

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other forms of of writing like novels or

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tv or film like what is it about writing plays

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that attracts you well i think i just

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said about the collaboration yeah like that

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i'm sorry i don't know why i am oh that's fine yeah

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the collaboration i was curious about that oh

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i understand collaborating now but like how do you write a

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play with someone else i mean do you sit down together and

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write it and just come up with stuff or do you write

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your own pieces and then meet and fit them together how does that work no we

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do we actually did they they have things now where you can be on the internet

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yeah like google docs and you could be in two different places and write at

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the same time okay but andy and i wrote together they're in the same room.

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I see. So we would take turns, one of us would be typing, and we would be talking back and forth.

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So we would talk through the scene. Yeah.

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So you pick a scene that you're going to do, and you talk through what happens

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in the scene, and then we just go through.

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And start filling it in and writing it. Yeah, yeah. And then there's a lot of

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rewriting always. Yeah.

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And we also have, and it's

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really important to have actors come in and read while you're writing a play

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so that you can hear it and hear where it's slow or people don't know what's

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going on or different things like that.

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And you can do rewriting from there. yeah i

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also like plays because it's

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the other part of collaboration is you collaborate with

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the audience so the audience

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brings their own ideas their

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own background their own just everything

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their own lives to the theater and so you know sometimes that's good sometimes

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they hate your play because they were expecting something else or your play

00:20:28.834 --> 00:20:31.294
hit a raw spot or something.

00:20:31.574 --> 00:20:34.314
But I love that. I think it's really great.

00:20:35.314 --> 00:20:42.274
You don't spoon-feed them at all. In a movie, you are spoon-fed because the

00:20:42.274 --> 00:20:49.734
camera goes, oh, look at this, and just shows you what the director wants you to see.

00:20:50.414 --> 00:20:53.174
But in a play, you can look anywhere you want.

00:20:53.954 --> 00:20:56.094
If you're in the corner, you can look backstage.

00:20:58.674 --> 00:21:02.294
I think that's really great, and you have to use your imagination.

00:21:03.768 --> 00:21:11.348
You know, they bring their imaginations and, you know, it's really play, you know?

00:21:12.128 --> 00:21:17.968
I mean, that's why they call it a play, right? Yeah. So it's very fun to have

00:21:17.968 --> 00:21:20.028
that as your job, play, you know?

00:21:21.968 --> 00:21:26.488
The audience has sort of a life of its own as if it's its own entity.

00:21:27.288 --> 00:21:31.108
I know as an actor, it always feels that way. You know, this audience is like

00:21:31.108 --> 00:21:37.208
this, this audience was like this. And you get a feeling as though it's one

00:21:37.208 --> 00:21:40.788
organism, and it's really amazing.

00:21:41.208 --> 00:21:47.528
Well, there have been studies that the heartbeats of audience members,

00:21:47.528 --> 00:21:50.568
they get the same rhythm.

00:21:50.848 --> 00:21:53.268
They synchronize? Yeah. Wow.

00:21:54.188 --> 00:22:00.768
That's amazing. Yeah. I'm sure they do in a concert also, I'm sure. Oh, yeah. Yeah.

00:22:01.548 --> 00:22:06.608
So, it is full. So, the show runs for how many more weeks?

00:22:07.168 --> 00:22:12.208
Let's see, four more weeks. So, it's through March 29th. Okay.

00:22:12.788 --> 00:22:18.848
And, yeah, I just want to give a shout-out. My director is Gary Graves. Okay.

00:22:19.108 --> 00:22:26.168
And the actors are Jan Zweifler as Brenda, Laura Dunnigan as Kat,

00:22:26.628 --> 00:22:30.348
and Steph is played by Raison Aspaugh.

00:22:32.305 --> 00:22:35.385
Fantastic so and then is it

00:22:35.385 --> 00:22:38.345
what are the days every week that it shows

00:22:38.345 --> 00:22:42.245
sure thursday and friday at 8 p.m saturday at

00:22:42.245 --> 00:22:49.065
7 and then we have a sunday matinees at 5 p.m sunday matinees are very popular

00:22:49.065 --> 00:22:56.505
so get your tickets fast for those thursdays are pay what you can and you can

00:22:56.505 --> 00:22:58.905
do that online or at the door.

00:22:59.145 --> 00:23:02.085
So you can just go online and pay whatever you can.

00:23:02.565 --> 00:23:06.865
And it's in the Berkeley City Club. And if you have not been there,

00:23:07.185 --> 00:23:10.325
that is an absolutely beautiful building.

00:23:11.105 --> 00:23:17.325
Just amazing architecture by the woman who designed San Simeon.

00:23:18.105 --> 00:23:23.205
Really, really amazing. It is beautiful. I did a couple readings there many,

00:23:23.205 --> 00:23:28.665
many years ago, and I still remember how wonderful it was in there.

00:23:29.065 --> 00:23:34.485
Yeah. I live down in the South Bay, so I should get up to Central Works and see something.

00:23:34.765 --> 00:23:37.525
Maybe I'll go see this. Come on up. Yeah.

00:23:39.805 --> 00:23:43.305
Great. So I will put all of the information in the notes so people,

00:23:43.445 --> 00:23:46.125
if you're watching this, you can just go ahead and click on that,

00:23:46.245 --> 00:23:49.025
and it'll send you right to the website where you can get tickets.

00:23:50.385 --> 00:23:56.845
Sound good? Very good. All right. Thanks for visiting the green room today, Patricia.

00:23:57.565 --> 00:24:01.865
Thank you, Ray. Okay. Have a wonderful weekend. You too.