K. Frithjof Peterson Saginaw, MI

An Interview with the Playwright

How did you hear about “The Seven”?

Through the Dramatist Guild.

What was the impetus/basis/inspiration for writing the piece?

I knew some really interesting people who were into racing pigeons. The more I learned about what they do, the more a stage metaphors started to form for me in terms of lineage, sacrifices, worth, beauty, discipline and growing up. It felt like a really good subject for a short play because I could unfold an entire world and a story around this gruesome lesson. Reading a lot of ten-minute plays as the drama editor for Third Coast, I find what I’m often craving at the end is an interesting world for characters to move through. Sometimes that gets sacrificed in the short form. The pigeon concept gave me the opportunity for that world as well as a nice metaphor for the characters and plot to unfold with in.

Is this play representational of your writing style? Is it similar to or different from your other plays?

The play has a working class vibe that is present in most of my work and my shorter work tends to feel more naturalistic or based in realism as in this piece. In my longer work my tendencies are less naturalistic.

What is the role of the short work in your playwriting career?

Short works are a great way to meet other theatre artists and playwrights. There are some really wonderful opportunities out there like “The Seven” that give you the opportunity to work with extremely talented artists and see your work come to life. That networking is essential to the growth of contemporary playwrights both professionally and artistically. The medium is also a great place to experiment with ideas or characters. You can take bigger risks in the short form than are sometimes afforded in full-lengths.

What is your favorite play? Who is your favorite playwright?

References to Salvador Dali Make me Hot by Jose Rivera. I’ll always love Edward Albee and Sam Shepard, but right now my favorite playwright is a toss up between Connor McPherson and Sarah Ruhl. I feel like both of them are wonderful reminders for audiences of why we go to the theatre and what can happen theatrically that just can’t happen in film or television.

What is your next playwriting venture?

My latest full-length, Bad Henry, is currently going through a couple different development opportunities that have really helped the play grow. Then it’s time to sit down and start on a couple 10-minute play ideas as well as a full-length that finds Joan of Arc, Stanley Laurel (of Laurel and Hardy), and a soldier from the current Iraq conflict trapped in the belly of whale and waging war on God.

Is there anything you would like to add?

I can’t thank FUSION enough for providing amazing opportunities like this for contemporary playwrights. Without support like this, it would be so much harder to get up everyday and do what we do.