CONNIE SCHINDEWOLF
INTERVIEW

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CONNIE SCHINDEWOLF

October 30, 2022

How long have you been a playwright?


Though I dabbled in playwriting earlier, I didn’t become a serious playwright until 2006.

When did you realize you wanted to become a playwright?


During the summers while I was teaching theatre, I spent a lot of time reading plays to direct the next school year or for our students to direct in our student-directed one-acts.  I read so much junk, that I thought, “I could write better than this”!  Then in the 80’s I had a professional playwright join my drama classes in a program called “Playwrights in Residence”.  He spent several weeks with us and gave us playwriting tips.  I hesitate to say he that he taught us how to write a good play because I have mixed feelings whether that is possible or not.  But from his advice, I had the strong desire to write when I retired from teaching.


How long does it take you to write a play?  10-minute, one-act, full-length.


It varies a great deal.  I have written a 10-minute in a day, though it usually takes much, much longer, and I have spent almost 10 years on one particular full-length.

What is your work schedule when you’re writing?


Totally varies.  If I’m really involved in what I’m writing, it can be almost nonstop until it’s finished.  Unfortunately, I do not write every day.  I’m not one of those people who can start writing in a journal every morning and become inspired.  I will go months without writing a word, and then I’ll see something in a newspaper, hear something someone says, or observe someone, and then it just starts flowing.  And by flowing, I don’t mean dialogue but my planning notes. In the background I like to have tunes from the 70’s or a Lifetime Movie.  The movie reminds me that I can write dialogue better than that so it gives me confidence.

Do you know how many plays you’ve written?  Is there a favorite?


I have written 73 short plays and monologues, 4 one-acts, and 8 full-lengths.  I have been produced in 26 states, 6 countries, and 4 continents.  I am published by Next Stage Press, Applause Books, JAC Publishing, Pioneer Drama Service, Nigel Publishing, and Smith & Kraus. My favorite is usually the one I’m working on at the time.  Right now that is a full-length play, Of The Lake.

Do you have a favorite genre?


I love dramas but so many theatres want comedy so I write those too. I feel comedies are harder to write if you want to get the correct rhythm.  I love to experiment with magical realism.


What has been your most rewarding experience as a playwright?


I have been fortunate 5 times to get in a festival or playwright’s retreat where they treat you to travel and housing.  Spending time (and I mean a lot of time) with other playwrights is exhilarating.  You can talk nonstop playwriting and hear them critique your play, not just at a talkback but late night sitting around with a glass of wine.  You discover shared enthusiasm and frustrations.


It has also been rewarding to me to have had 14 plays selected by Theatre Odyssey for their festivals.


Do you have a favorite playwright?


Tennessee Williams-love his poetic language


Beth Henley-Stepped out and covered topics most women playwrights were afraid to, especially in Crimes of the Heart


Lauren Yee- A contemporary playwright whose work I first saw at Urbanite, and I’ve been following her ever since.  She has an edgy, dark comedy style I’ve come to admire.


As it states on our Home Page SAPS has grown from a small group to over eighty members.  What is your position on this growth and your approach toward new members of the group?


We must be doing something right…more and more people want to join.  No, it’s not the small group it used to be where we could sit around a table, read a play, and have a more intimate discussion.  If that’s what you want, you will be disappointed.  My advice is to arrange your own private reading in your home if that meets your needs.  What we do have is a large group of skilled people to help playwrights make plays better.  We’re blessed to have many, many, talented actors and now directors as well. We get help with casting, directing, and a talkback with theatre people.  I value the comments of playwrights, and actors, because they understand compelling characters.  We offer in-person and online workshops and we have educational speakers who always seem to please.  Some new members are disappointed because they are actors and they are not given many opportunities to read, or they are beginning playwrights who want to be taught playwriting.  I feel badly that we can’t meet everybody’s needs, but we do what we can to “make plays better”.

Would you like to share some personal info about yourself?  Are you married?


I have been married for 49 years to Ray.  I have 1 daughter, Jamie, who lives with us for the time being, 3 stepchildren, 3 step-grandchildren, and 5 step-great-grandchildren (with one on the way) and a grand-kitty named Grits.  Grits also lives with us and is jealous when I’m writing so she will bat at the keyboard.


I taught theatre, including playwriting, for 25 years in the St. Louis area.


I have a Bachelors degree in Theatre Education from Truman University and an MA in Speech Communication from Southern Illinois University (Edwardsville).


How long have you been living in Florida?


Since 1999 but we would summer on Longboat Key starting in 1983.

When you are not writing, what are some of the things you like to do?

I attend church (Kirkwood Presbyterian) weekly, teach Sunday school occasionally, and lead a monthly service group to Our Daily Bread to feed the hungry in Bradenton.


From April 15th until October 31st I am busy saving sea turtles on the Manatee County section of Longboat Key.  I’m one of those crazy people who are on the beach at civil twilight looking for turtle tracks and marking nests.  In 1969 our group had 9 nests, this year we had around 1200…so we must be doing something right.

In Order for our group to learn who you are what is one last thing you’d like to leave them with?

You can have a superb play but no one is going to come knocking at your door to produce it.  You have to be willing to do the marketing, and it’s time-consuming.  Just be prepared.


Write, write, write, read (plays), read, read, and attend as many live productions as you can!  Classes and workshops help, but you must find your own routine and your own rhythm for your voice. Be proud of yourself even if it’s only a line, a bio of a character, or sharpening your pencil that day.  Never let a negative comment from a talkback discourage you from being the playwright you want to be.  Learn from your mistakes.  My first plays used to be preachy. I was told that in talkbacks and then I heard it myself when my plays were read.  It took me a long time to learn that and it wasn’t overnight.  That’s not the only thing I’ve learned, and I have much more to discover. So playwrights, put down the script during your reading, and listen.

CONNIE'S WEBSITE

Find Connie's website at Home (connieschindewolf.com)

 
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ARTHUR KEYSER
INTERVIEW

 

How long have you been a playwright?


Since 2009

When did you first realize you wanted to be a writer?


When I was seven or eight years old. I wrote stories that I would take to school.

How long have does it take you to write a play? 10-minute, one-act, full-length.


Including never-ending rewrites, it can take years.

What is your work schedule when you’re writing?


I have no work schedule. Sometimes I go for days without writing. Other times I can lose myself on my computer and write for hours and hours.

Do you know how many plays you’ve written? Is there a favorite?


Full-length plays:


Implosion -- read at Berkshire Theatre Group in Stockbridge, MA in 2011 as part of its Summer Festival of New Plays.


Before Steepletop -- finalist in the 2017 Festival of New Plays at the Players Centre For Performing Arts, Sarasota. Selected as the best play at the festival and was performed August 21-26, 2018.


Harry's Angel -- published in August, 2017 by ArtAge Senior Theatre Resource Center. World premier was performed in Orlando, FL. in December, 2017.


Short plays published by ArtAge Senior Theatre Resource Center, Portland, Oregon and available for sale online and in its catalog:


Starting Over

Grown Up Games

Tech Support

Mothers' Day

New Car Shopping

The Visitor

School For Wives

It's Not About Pot Roast

Blind Date

The Wisdom of Ganesha

The Prize

High School Reunion

A Brief Encounter

Molly’s Secrets

Switching Sides

We Interrupt This Program


Plays selected as finalists in the Theatre Odyssey Ten-minute Play Festival:


Mid-life Romance (2010)

The Visitor (2012) -- awarded second prize.

School For Wives (2014)

High School Reunion (2015) -- awarded Best Play prize.

We Interrupt This Program (2018)

Crime and Punishment* (2021) * now titled Everybody Lies Sometimes.


Books:


Short Plays By the Dozen (2015) -- a compilation of twelve short plays, published by ArtAge Senior Theatre Resource Center.


An article written by me and published. Sarasota Area Playwrights Society: From Small Beginnings -- an article published in the Jan/Feb issue of The Dramatist Magazine


I’ve written many more, which have not been published and which rest in peace in my bad play file. My favorite play changes every day. It’s usually the one I’m rewriting. No play I’ve written is ever finished.

Do you have a favorite genre?


Any play that’s well written, holds my interest and demonstrates creativity. Playwriting is a difficult mountain to climb.

What has been your most rewarding experience as a playwright?


Meeting actors, directors, backstage people and anyone involved in theatre.


Do you have a favorite playwright? Why is he/she your favorite?


This is a tough question. I admire any playwright who can write a play which keeps me glued to a production, when I’m in the audience.

As it states on our Home Page SAPS has grown from a small group to over eighty members. What is your position on this growth and your approach toward new members of the group?


I refuse to answer this question on the grounds it may incriminate me.


In order for our group to learn who you are what is one last thing you’d like to leave them with?


Writing a play is easy. Writing a good play is the hardest thing a writer can do. Playwriting is obviously just one of the many creative arts. We all approach the discipline differently. For me, the best analogy is what a stone sculptor does. She or he begins with a block of granite and then chips away at the block of granite. I always overwrite and then I rewrite multiple times to find the play I’m searching for.



Personal


Would you like to share some personal info about yourself? Are you married?


I am currently married to Ellen Kramer. We were married in New Zealand. We’ve been married for twenty years, but we’ve been together for almost twenty-two. She’s twenty-six years younger than me. I have four children, all from previous marriages. Ellen was never married before. I also have ten grandchildren and two great grandchildren.


My mother and father were both born deaf. If you’ve seen this year’s Academy Award movie, CODA, you have some idea of the dynamics of a family structure where the adults are deaf, and the children can hear. I have a brother, also not deaf, four years younger than me. At a very young age, I assumed the responsibility as translator for my parents. One difference in our case was that we never used sign language. We always lip read. Despite that, and despite the fact that we were very poor, my memories of growing up are all so wonderful.


How long have you been living in Florida?


Nineteen years


When you are not writing, what are some of the things you like to do?


I read up to five hours a day, both fiction and non-fiction, on my Nook electronic reader. Reading is an activity I began when very young and I was never able to break the habit.


Watching shows streamed on Britbox, Acorn, HBO Max and Apple TV+.


Watching the Rays baseball games.


Spending two to three hours a day, browsing through the dozens of websites, which I have on my computer, free of charge.


Exercising my brain, by playing an advanced version of Free Cell solitaire, a game where luck plays no part.

 
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INTERVIEW WITH DON &

JENNY ALDRICH WALKER

 

INTERVIEW

TELL US ABOUT HOW YOU FOUND SAPS (or SAPS found you).


JENNY: After a play at Home Resource, I attacked Arthur about joining SAPS. I thought it was only for playwrights so I used my programs as my rational to join.

DON: Jenny dragged me to a meeting. I have learned over the years that her instincts are worth following


WOULD YOU LIKE TO SHARE SOME PERSONAL INFO ABOUT YOURSELF? PETS? TRAVEL?

JENNY: We met onstage, at an audition, and have been married 29 years.  It was a second marriage for both of us and we just fit together perfectly, sharing our hugs and humor, onstage, backstage, offstage and everywhere. We have no pets, except for a few plants (and the vacuum). Don says if I need to walk or cuddle something, he’s ready. 

DON: I like other folks to have pets – I’ve been responsible for cats and dogs in the past and prefer to leave them in the past. Love to travel – wish we’d started sooner. (Me, too)


HOW LONG HAVE YOU BEEN IN FLORIDA?


DON: Moved here in 1991 from Connecticut with my employer, World Precision Instruments. (Now retired after 30 years with the company as writer, editor, photographer, graphic designer, webmaster.)


JENNY: Thirty-six years ago, I made my third & FINAL move to Florida.


WHEN YOU ARE NOT WORIKING IN THEATRE, WHAT ARE SOME OF THE THINGS YOU LIKE TO DO?


JENNY: Go to the theatre! Movies! Art Museums and concerts. Just muck about together- we have fun everywhere, even in Wauchula.

DON: Loaf. But I still do some Photoshop work for WPI, which enables me to maintain access to all the Adobe software.

HOW LONG HAVE YOU BEEN AN ACTOR? DIRECTOR?

DON: I was in a lot of plays in high school and college, but my working career has been as an industrial writer/editor. When the company I worked for in New Haven decided to move to Sarasota I moved along with them—and soon discovered the many local theaters. Auditioned for a role in Murder on the Nile at the Players but wasn’t cast – which was my luckiest break because I then auditioned for Veronica’s Room at Venice Little Theater and got the male lead, opposite Jenny Aldrich, now and forever my leading lady.


Our next time together was Same Time, Next Year at the Golden Apple Dinner Theatre. Following that we were together in Rumors, Natalie Needs a Nightie, Wife Begins at Forty, Oklahoma, Barefoot in the Park, California Suite, How the Other Half Loves, Amorous Ambassador, Crazy for You, Funny Money, Plaza Suite and High Spirits. (ETC) For Banyan Theater, Melliss Kenworthy directed us in Painting Churches; and we were also in Cosi and The Last Romance (directed by Dan Higgs) and Greetings (directed by Bob Trisolini). And we have been onstage together in several Theatre Odyssey plays.


My directing experience includes shows for Banyan Theater—A Lesson from Aloes, Time Stands Still, The Price, and My Old Lady. I have acted and directed for Theatre Odyssey. And I was especially pleased to direct Arthur Keyser’s play, Before Steepletop, at The Players.


JENNY: I’ve been acting all my life and directing since I was seven or eight, putting on shows wherever I could.  There was a respite I called the Dark Ages, when my kids were small. I did both in college, was an Associate Director of ETC, a theatre group in Philly, founded two children’s theatres, served on the board of three theatres. So, I’ve done just about everything, including a dire stint as a professional stage manager. My last directing stint was the runner-up for Theatre Odyssey’s radio plays.

WHY ACTING?  WHY DIRECTING?


DON: We all like stories because we can imagine ourselves within those other lives. And we like to tell stories and make up different ways of being in the world. Didn’t we all play pretend as kids? Acting and directing are just more active ways of taking part in the storytelling.


JENNY: Doing those things for most of my life kept me sane. I always felt so alive on stage and safe—which may sound strange to some people.

Somewhere, you learn, the playwright creates the script, the actor creates the character, the director creates the play.  I love them all.

WHAT HAS BEEN YOUR MOST REWARDING EXPERIENCE AS A THEATRE ARTIST?


JENNY: Would have to be—meeting Don. He is my reward for surviving my life till I met him. Then, too, the five solo shows I’ve written have been a blessing (and a curse). I also like to produce and I’m so proud of being able to pay other actors in the shows I’ve written and/or produced. Loved Blanche in Streetcar, Margo in Applause, and the actress in California Suite with Don.


DON: Apart from working anywhere with Jenny—which are treasured times—my times onstage at Asolo Rep were special. Especially special was Twelve Angry Men, where I was in a masterclass of very talented actors, including Jimmy Clarke, Doug Jones, David Howard, David Breitbarth, and others—and directed by Frank Galati.


HAVING SEEN YOUR IMPRESSIVE RESUME’S AND YOUR WEBSITE, WHAT WOULD YOU LIKE TO HIGHLIGHT?


JENNY: My programs, I love the research, the shaping, the presenting. Lillian Hellman was not finished when I presented it to SAPS or at SaraSolo. I had a disaster that year and was just trying to survive by doing what I do. I also enjoyed being a member of Actor’s Equity.


DON: Sorry to overuse “special,” but being in the cast of The People Downstairs at American Stage is also especially rewarding. I had been involved in the play development, participating in private and public readings, but was unable to join the cast in what would have been its premier but was shut down by the COVID pandemic. Eighteen months later, as the show is finally in production, I am at last in the role I had originally sought.


DO YOU HAVE A FAVORITE PLAYWRIGHT?  IF SO, WHY?


JENNY: Well, Tennessee Williams and Albee, of course but Neil Simon, too. They all write great plays and great characters to play but Simon fed me.

DON: I wish I’d read more in my young and tender years—when I had time to read. Among the many plays on our own shelves (now greatly reduced as the result of a move) I confess to having read very few. From our own experience, Neil Simon has provided roles for us in several at the Apple. His characters are always well drawn, and their language very particular


DO YOU HAVE A FAVORITE ACTOR/ACTRESS? WHY IS SHE/HE YOUR FAVORITE?


DON: Jenny is my favorite (what a surprise)—always a pleasure to work together. She keeps me honest.


JENNY: Don, of course!  Then Jimmy Clarke because he was so alive on stage and Peter O’Toole—he can play GOD.  I got to be GOD in a reading once and I even got to direct Robert Turoff as God at Starlite—that was brilliant casting.


DO YOU HAVE A MEMORABLE SAPS STORY?


JENNY: I remember when Jan & I did monologs for Annie & Blake’s visit to SAPS.  Mine was very personal and I was afraid and pretty convinced I wasn’t going to do it but then I did and many members reached out to me to tell me it was meaningful and brave.  Later, I did it at American Stage for their story time in the lounge, also scary (& fun!)


AS IT STATES ON OUR HOME PAGE SAPS HAS GROWN FROM A SMALL GROUP TO OVER EITHTY MEMBERS. WHAT IS YOUR POSITION ON THIS GROWTH? WOULD YOU LIKE TO OFFER YOUR ADVICE FOR NEW MEMBERS?

JENNY:  In the beginning of our time, we remember sitting around a conference table, reading SAPS plays. There were just a few members when we joined. My advice--see below.

“There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and will be lost.”
― Martha Graham


DON: Although a character in The People Downstairs says, “Playwriting is even more unpleasant than embalming,” I’m not surprised that so many people are interested in this kind of storytelling. The more voices we hear, the better for all of us.

Go to the theater and see more plays—see what makes them tick, and what resonated with you. Read more plays.

 
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George Loukides

Founder of The Sarasota Area Playwrights Society

 

INTERVIEW WITH GEORGE LOUKIDES

JUNE 4, 2021

WHERE WERE YOU BORN?

I was born in Plainfield, N.J. My Greek mother was born in what was called Asia Minor (Turkey). My Greek father was born on the island of Mitilini also known as Lesbos which, I guess makes me a Minor Lesbian.

 

WOULD YOU LIKE TO SHARE SOME PERSONAL INFORMATION ABOUT YOURSELF?

I lived in NJ until I went to College at McGill University in Montreal, Canada. I was a pre-med major at McGill. The first time I saw a corpse, I decided I didn’t want to go into medicine. But I got involved with the theatre there and wrote my first play. I graduated with a Bachelor of Science from McGill. I then attended Graduate School at the University of Denver and received a Master’s Degree in Theatre.  I did my thesis on Censorship in the Theatre.

 

During the Korean War I was drafted and stationed in Salzburg, Austria. I got involved with an Army theatre company and we toured with Born Yesterday. I played the Barber. After the war, I moved to New York and was there for twenty years. I worked in Manhattan as a Teacher and Supervisor of Special Education. While I was a Guidance Counselor, I put on a show with the kids in Special Education. But other than that, and seeing all the shows in town, I wasn’t involved with theatre much. I had to make a living.

 

I retired early and from New York I moved to Charleston, South Carolina where I started to direct. I directed Ain’t Misbehavin’, Raisin In The Sun, My Sister Eileen, a lot of plays. I found I enjoyed directing more than acting. I didn’t like the memorization needed for Acting. Here’s a story, I was in the play, ‘Wait Until Dark’. I played one of three bad guys and my line, after seeing some photography equipment laying around, was “I always wanted to be a photographer”. Instead, I said “I always wanted to be a policeman”. I froze. I realized  my fellow actor was not going to help me so I had to make up lines until we got back into the rhythm of things. We actors all have our stories of mishaps in the theatre, right?

 

ARE YOU MARRIED?

No. I had a partner, Sam, for fifty-five years and he passed away. After that heartbreaking experience, some neighbors at Villa Grande of Sarasota where I lived, hosted a brunch where I met my current partner, Bart. We have been together for about ten years.

 

DO YOU HAVE PETS?

No.

 

HOW LONG HAVE YOU BEEN LIVING IN FLORIDA?

Let’s see, after South Carolina where I lived for seven years, I moved to Alexandria Virginia and lived there for twenty years. I directed a lot of shows there. After that I moved to Sarasota, Florida. My mother and father lived in Bradenton so I knew the area. I discovered that there was going to be a new ‘Continuing Care Community’ with a theatre, in Sarasota, called the Glenridge. As happens I got involved and consulted with them on how to build a theatre and then I ran the theatre for them. I started a theatre company called the Glenridge Players. Now my good friend, Bob Turoff’s son, Ben Turoff, works there. I’ve known Bob Turoff since our days at The University of Denver. We hadn’t seen each other for thirty years until I moved to Florida.


WHEN YOU ARE NOT WRITING WHAT ARE SOME OF THE THINGS YOU LIKE TO DO?

I enjoy traveling. I’ve traveled around the world and can talk about that all day. I go to the theatre a lot. I volunteered as an usher at Florida Studio Theatre. For five years I was a volunteer at the North Sarasota Library in the bookstore. I enjoyed it because, and you didn’t ask this question but, my second profession was as a rare books dealer.

AS THE FOUNDER OF THE SARASOTA AREA PLYWRIIGHTS SOCIETY, CAN YOU TELL US HOW IT BEGAN?

When I was living in Alexandria, Virginia there was a theatre company called Signature Theatre and I got involved with a play reading group. One of the people in the group wanted to start a play reading group of her own, which we did. Afterwards, I took a playwriting course. Then I went on vacation to Majorca and wrote a full-length play. I came back from vacation and gave the play to a theatre and they picked it for a production. And I thought ‘Boy, this is easy.’ Needless to say, the play never got off the ground. The next year I wrote another one-act play and won a contest. Long story, short when I got to Florida and at the Glenridge I decided to start another play reading group. And so began the Sarasota Area Playwrights. That was fourteen years ago. There were about ten of us and we would meet at each other’s homes and read our plays.

From that ten it grew tremendously quickly. We had ten, then fifteen, then twenty. There was nothing formal. Playwrights brought their plays and people volunteered to read. There was a lot of bringing the plays back after rewrites. Since the early days the group has had a great period of growth for which I believe Arthur Keyser is largely responsible. When it got to be over twenty people or so we started to meet in other places. Arthur found the space for us.


HOW LONG HAVE YOU BEEN A PLAYWRIGHT?

I wrote my first play in 1993 if you don’t count my college efforts.

 

WHEN DID YOU FIRST REALIZE YOU WANTED TO BE A WRITER?

I never wanted to be a playwright. I acted and directed. Then I took a playwriting class. I wrote two plays that were both chosen for production and I thought to myself ‘this is so easy’.

And it went downhill after that.

 

HOW LONG DOES IT TAKE YOU TO WRITE A PLAY?

It varies. But it could take a year to write a ten-minute or one-act play. Then again, my first full-length play I wrote in a week.

WHAT IS YOUR WORK SCHEDULE WHEN YOU ARE WRITING?

I have no schedule. When it moves me, I will sit and write. I do a lot of my writing in my head when I am in bed sleeping. I think of something and jot it down when I get up in the morning.


DO YOU KNOW HOW MANY PLAYS YOU’VE WRITTEN AND IS THERE A FAVORITE?

I think I’ve written about a hundred plays. There are a few favorites. My favorite play is a play I wrote having to do with the Japanese internment during World War II. It’s a One-Act play called The Rice of Strangers. It developed when I was a volunteer at the National Archives in Washington D.C.

 

DO YOU HAVE A FAVORITE GENRE?

I tend to write historical plays or plays with social meaning.

WHAT HAS BEEN YOUR MOST REWARDING EXPERIENCE AS A PLAYWRIGHT?

The writing and production of The Rice of Strangers. The Japanese Americans during WW II were sent to internment camps or what was commonly referred to as concentration camps. They lost their homes and businesses. Years later, during the Regan administration there was a movement within the administration to make reparations to the Japanese for all they had lost. After researching taped interviews and archived photographs, The Rice of Strangers was born.  What made this my most rewarding experience is that the play was published in the National Archives Magazine and produced at the National Archives. After the first year it was produced (it was produced two years in a row) the audience was filled with survivors of the concentration camps. And they came up to me, thanking me, with tears in their eyes. They said they couldn’t talk about it with their children but now that I had written the story, they could pursue it and tell their children about it. That was very touching. It was also used by a teacher in The University of California who was teaching a course on Japanese American History. It was also produced at three Universities.

 

DO YOU HAVE A FAVORITE PLAYWRIGHT? IF SO, WHY IS HE/SHE YOUR FAVORITE?

I do not have a favorite playwright although I consider A Raisin in the Sun, the best American play ever written so I guess you can say that Lorraine Hansberry is my favorite playwright. And then possibly, Euripides, because I think Medea is a masterpiece.


AS IT STATES ON OUR HOME PAGE SAPS HAS GROWN FROM A SMALL GROUP TO OVER EIGHTY MEMEBERS. WHAT IS YOUR POSITION ON THIS GROWTH AND YOUR APPROACH TOWARD NEW MEMBERS OF THE GROUP?

I think it’s wonderful that actors, directors, and playwrights have an opportunity to engage in their craft.


IN ORDER FOR OUR GROUP TO LEARN WHO YOU ARE WHAT IS ONE LAST THING YOU’D LIKE TO LEAVE THEM WITH?

I’m very proud of what SAPS has accomplished over the years and I know that our goal of helping playwrights make their plays better will continue for years to come.

THE RICE OF STRANGERS IS AVAILABLE FOR READING BY CLICKING THE LINK BELOW. 

George would appreciate your comments. Please send to gloukides@aol.com