There is a bond between the lives of playwrights Jocelyn Bio and Martina Majok and their work. “I think Martina and I, the sisters of these playwrights, are a group of people and the stories for which we’re trying to improve our work,” Beoh said, referring to the new episode. Of diversity Stagecraft Podcast.
Listen to this week’s “Stagecraft” podcast below:
On stage, they both tell stories about people whose lives often don’t get theatrical spotlights. Outside the stage, they attend each other’s inaugural night party. And right now, they’re all seeing new, long-delayed dramas “” Sanctuary City “for Majok and” Nollywood Dreams “for Bio-finally opening Broadway.
The coveted shutdown has stopped both shows just as they are coming to life. The “Sanctuary City” played a handful of previews before dark, and the “Nollywood Dreams” show was a week away. In Stagecraft, Bio and Majok discussed returning to projects that the epidemic forced them to abandon.
A play that follows two unauthorized young adults in Newark, “Sanctuary City” finally opened September 21 – with the same cast, in the same theater, on the same set and even with the same physical programs. “It was weird that people were saying,‘ How does it feel to open? ’” Said Mazok, who won the Pulitzer Prize for Drama for his play “Cost of Living”. “I still think we didn’t open, because I’m just waiting for another shoe to fall off, I guess.”
Meanwhile, “Nollywood Dreams” has resumed rehearsals for a young woman from Lagos hoping to become a star in the Nigerian film industry and will begin previews on October 21. So far “When people stepped into space, it felt like a rapture,” he said. “The scripts were open, the water bottles were still sitting there, pencils. Only everyone disappeared. ”
Majok and Beowulf, who are working with Florence Welch on a development project including a new musical version of “The Great Gatsby”, who is adapting “Once On This Island” for Disney Plus, had other writings to keep them occupied during the epidemic. They both deal with their confidence as they choose to embark on their play activities.
“I did not take it [the play] I attended the rehearsal until I got out of the drawer, and oh, my script is printed here, ”Majok said. “I don’t know if it’s just because I’m sad, but I’m not disappointed. I just waited to see. Maybe I was also guarding my heart, thinking: Maybe it’s not going to happen, and I can’t deal with the roller coaster of hope and despair again.
“I’m actually afraid to read the last draft of my writing again,” Beowulf said of “Nollywood Dreams”. “I’m a little scared to know if this drama means anything now.”
After the shutdown and everything that happened in the intervening months, Majok said the “sanctuary city” took on new resonance. “It seems to me that the thing I see in the play is how people take care of each other, especially in a time and a place and a situation where they don’t want to improve in the country they are in,” he said. “I was always aware that this could happen in the play, but now it has come to the surface more. When the characters in the play are kind to each other, I feel it more deeply in my heart and soul.”
To listen to the full conversation, listen to the link above or download and subscribe to “Stagecraft” on podcast platforms including Apple Podcast, Spotify and Broadway Podcast Network. New episodes of “Stagecraft” are released every week.