When I first started to write plays back in 2002, I went into it with no expectations. It was just something I wanted to try my hand at--just another piece of the writer puzzle I'd been working on since I was ten years old. Even when I'd set up my first readings, of "Bob's Date" (in a Masonic temple) and the first act of Dinner for Several (outside on an abandoned tennis court), I had no expectations. It was just fun. And suddenly, people started liking it.

I still honestly have no expectations for my playwriting. I continue simply to do it, writing what comes to mind and feels honest and full enough to turn into a script, and then I either mail it off to festivals or use my network of friends to get it up on a stage somewhere, whether or a reading or an actual production. If it happens, I'm pleased. If it doesn't, I'm still pleased because I've still managed to create something worthwhile. And it's just fun.

This semi-Zen mindset has served me very well. Expect nothing, accept everything, and let the enjoyment of the gift continue. It's worked so far, and this past year was yet another case in point.

The year kicked off with a double-whammy when "Writer's Block" premiered in two different theatres on the same weekend. Theatre Cooperative in Somerville and Acme Theatre in Maynard both turned in solid versions of the piece. I still get a chuckle when I think about TC's Minion snacking on RingDings.

Around this time I also sealed the deal with Braden and Karen Weeks at AYTB for what would become Death & You: A Beginner's Guide. In fact, that show's director, Thomas Martin, was the gentleman who directed TC's "Block." Getting the go-ahead for this project also helped me fire up and finish "One Last Thing," which would become my first New York production.

In February work began on the premiere of One Before Forty. To say that it got off to a lackluster start would be a grand understatement. Over the course of two nights I saw a total of two men--and the script calls for four. After a lot of searching I was able to pull it together and I once again got to remind myself of just how much I don't enjoy directing. But it did give me the chance to work with three of my favorite local talents: Diane Colburn, Karen Gibson, and Ed Benjamin III. Thanks as well to Anthony Huntington III and Steve LeBlanc for stepping in and stepping up, too.

That took us through to April, which was an interesting month. Two days before OBF opened in Medway, my daughter, Thalia, was born. So I missed the premiere of my own show. (I took it in the following weekend, and it was worth the wait.) Also on that second weekend, Death & You opened with AYTB at the Devanaughn Theater in Boston. I had hoped D&Y would get me some notice. But despite decent crowds and some bits of pre-opening publicity, not a single reviewer turned out for it. But I sat in the audience one night and the crowd response to every show was very good. My thanks to the AYTB folks, as well as Thomas, Greg, Jenny and Michael for their time and talents.

Away in Michigan, "Writer's Block" and "Waiting..." went up at a community college, courtesty of contacts made through an online bulletin board.

Then it was on to May and my first appearance in the Boston Theatre Marathon. Vincent Siders and Jeff Gill brought a killer premiere of a 10-minute version of "Brushstroke" to the event. At first I was a bit appalled at how many laughs the piece was getting--it's not a comedy. But there came a certain point where Vincent cranked the intensity knob to 10, and the laughter cut out. This performance was so memorable, it triggered an opportunity I should be able to talk about in a few months.

Also in May, Stacey the Director-Wife opened her version of One Before Forty at Curtain Call. It bothers me not a whit that my wife is a far better director than I, so her versions of my shows wallop mine, quality-wise. And this one she managed to pull together, with the invaluable help of assitant director Toni Ruscio, while going through one of the worst pregnancies on record. And her cast has the dubious distinction of being one of the probably very few casts of any show to be directed by a woman who was actively breastfeeding her child during rehearsals. This cast got a lot of recognition for their talents at the 2006 EMACT Festival, including Best Actor (Gordon Ellis), Best Supporting Actor (Dan Walsh) and Best Ensemble, along with nominations for Best Director (Stacey Shanahan), Best Actress (Margaret Kelly), Best Supporting Actress (Rachel Fisher-Parkman) and an additional nomination for Best Supporting Actor (Bryan McNeany).

In June "Writer's Block" went up as part of the Heartlande Theater's Play by Play 06 Festival. July brought the first performance of the full-length version of "Brushstroke" in Somerville, and a revival of "Bob's Date," with friends Woody Farrick and the aforementioned Toni Ruscio in the cast, produced by the Hovey Players.

Then we jump to September, and my first off-off-Broadway entry. "One Last Thing" premiered as part of TheatreRats' 2nd Annual Chester Horn Short Play Festival, and Stace and I took the ride down. (Despite me throwing out my back just before leaving the house that morning.) This was a brilliant production, done with an all-female cast with the lovely Lori Jean Ramsey taking the part of the entity Charles and imbuing it with a marvelous bit of pixie-ish glee. The show was voted as audience favorite for our track, and Lori Jean was voted best actor.

That wrapped up performances for the year--and what a way to go out! In the rest of the year, the suggestion of a night of short plays helped me fire off some new work that I hope to premiere in 2007. I'm already looking at several productions in January, February and March. I hope in the coming year to find my next full-length idea--something that unfortunately eluded me in 2006. Along the path, however, wherever it may lead in the months to come, I will continue to work by the mantra that has brought me so much these past three years: expect nothing, accept everything.

My blessings and thanks to everyone who was involved in any of my productions this year. I appreciate your support, your belief in my work, and your time and talents.

peace & power,
John
..js..

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