Philip Dawkins Chicago, IL

An Interview with the Playwright

How did you hear about “The Seven”?

I think I heard about it through the online newsletter, THE LOOP, but then my friend Gary Houston also sent me info on the contest after I’d submitted. He’s worked with ya’ll and had good things to say. So I said, “Thanks for the info, Gary, I’m already on it.”

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

I work with teens and youth a lot, and it always comes as a shock to me that I no longer speak their language. I'm that old guy I never understood when I was a tweener. Every time I try to have a conversation of substance with one of my students, I think, "There has to be a middle ground here. There has to be something we can talk about. . . " In some cases, I think maybe the most can get said when nothing gets said. It's when I'm not trying to communicate, but when I'm trying just to "be" with the kids, just listen and absorb. . . that's when communication happens. Blah blah blah, a long way of saying "I was inspired to write this play by my students."
That said, I think young audiences are perfect for short plays; it fits their attention span and it keeps things moving. Let the adults sit through two hours of Ibsen, ten minutes of “unknown” works just fine for my students.

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

Yes and no. I’m all over the place style-wise. I’d say it’s semi-typical of my TYA writing.

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

Honestly, so many theatres ask for short pieces that I was forced to begin writing them. I’m glad for the impetus though, because it allowed me to explore stories that didn’t necessarily require a two act structure. I like to let the characters and the stories inform me how they’d like to be told. Sometimes it’s as a short play, sometimes it’s as a long piece. It’s all relative. What’s long? What’s short? I’m more concerned with what’s complete, what’s finished, what’s a whole piece? If it’s ten minutes or ten days, I just want a fully fleshed out theatrical experience.

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

Favorite play? That’s like asking me to pick my favorite ice cream flavor. I mean there are SO MANY (at least 31!). I’m a big fan of Hugh Whitemore. Breaking the Code and Pack of Lies are some of my favorites. No one writes a monologue like Lanford Wilson, and for breaking my heart over and over, I’m a big fan of Rogers and Hammerstein. There are a LOT of really great local Chicago writers doing a bang up job. I like Joe Tracz a lot, you don’t know him yet, but you will.

What is your next playwriting venture?

I have a reading coming up in NY with Orange Hanky productions called THE HOMOSEXUALS. Um. . .it’s decidedly not family fare. Also my children’s play, EDGAR AND ELLEN: Bad Seeds is being published with Playscripts International (go find it online. It’s big fun.), and I’m working on completing a few operas with my creative partner Eric C. Reda and our company Chicago Opera Vanguard.

Is there anything you would like to add?

Well, I’m always in favor of adding a dream ballet.