Episode 245
Jack Canfora, Award-Winning Playwright and Artistic Director, New Normal Rep
Join our conversation on how live theater can be “modernized” and used to challenge the negative contemporary cultural side effects like extremism and alienation with Award-Winning Playwright, Jack Canfora.
For centuries people have found inspiration, beauty, and expression in live theater. The Ancient Greeks were the first to wade into the waters of this novel art form, using dance, song, and choral chants to play out their mythic past.
Today, many see live theater as a dying art as multimedia storytelling modalities, like streaming TV, film, and the internet, hold a monopoly on our attention. In the face of this threatening final nail in the coffin, Jack is dedicated to presenting both new and underproduced plays via the internet, in ways that maintain the essential dramatic spirit while using the theatrical experience to explore the historical, cultural, and psychological forces shaping life in America and beyond in the 21st Century.
He shares on Unlocking Your World of Creativity how to reshape our storytelling imagination to better understand the beauty and potential this ancient art form still holds.
Topics Jack Discusses:
- Re-Lighting The Storytelling Campfire: Why Sharing Stories Is The Glue That Holds Cultures & Communities Together
- Live Theater Is NOT Dead (It Just Needs Some Reimagining): How To Make Theater More Available, Affordable, & Widely Attended
- “Democratizing” The Theatrical Experience: Bringing Theater Home To Underprivileged, Underserved, & Ignored Audiences
- How This Ancient Art Form Can Evolve To Keep Up With The Era Of Netflix & Chill
- Breaking Down The Barriers That Are Preventing Underproduced, Lesser Known Playwrights From Making On-Stage
- Using The Theatrical Experience To Change The Culture Of Modern Alienation To One Of Belonging, Empathy & Human Connection
More About Jack:
John Lawrence "Jack" Canfora is an Award-Winning American playwright, actor, musician, and teacher. After receiving his dramatic training at the London Academy of Music and Dramatic Art, he began his career as an actor in regional theater, working mostly in Shakespearean roles such as Mercutio and Macbeth. He’s been hailed by the Associated Press as “White-hot Entertainment” for his off-Broadway plays including Poetic License, Place Setting, and Jericho, a New York Times “Critics Pick.” He was nominated along with Edward Albee, Elaine May, and Teresa Rebeck for The Newark Star Ledger’s Best Play, 2007. Jack is the recipient of two Edgerton Playwriting Awards, for Jericho (2010) and The Source (2018). He won the 2016 Webby Award for Best Writing in a Web Series. Jack is also the Artistic Director of New Normal Rep.
Copyright 2024 Mark Stinson
Transcript
auto-generated transcript
Mark Stinson, host: [:But we've left out of the conversation until now. Broadway Productions, Broadway plays, and that's gonna be the topic of our conversation today. And I'm so happy to welcome our guest, Jack Canfora. He's an award-winning playwright and producer himself. Jack, welcome to the show.
Jack Canfora, Playwright: Oh, thanks so much for having me, mark.
Mark Stinson, host: So happy to be here. Yeah. It's a burning conversation. I know among, creators of all media how to adapt, not only the content, but the delivery of our work. And you're doing a lot in this area. What's your perspective on this?
Jack Canfora, Playwright: First of all, o obviously I agree with you on that.
am a, I'm a theater person. [:But after a while we, it really gained a momentum of its own. And. In those days, people would, just started the idea of streaming plays and they would be usually a stage reading thing, which, and by that like they'd have like music stands or they'd sit in their apartments and just read the scripts on Zoom, or they would just be a a repeat of a actual play that would had been recorded live.
But we thought that there was probably a way to use the medium to its best advantage the streaming. Medium, which is to we had to find a new way to do it though. So we worked on finding something that we thought used the the limitations, so to speak, of streaming. To its best advantage, which meant that we would try and create a space in which that wasn't like a Zoom meeting.
And [:You are looking at them and what it did and what it does according to those who have watched it and we've gotten a lot of feedback on it, that it is a very intimate experience because the character is talking in your direction. Even if she's not, he or she isn't talking to you. And many people have said it feels like they're in the scene.
So there's a real intimacy to it. And again, we're learning as we go. Because it's a pretty brand. It's the Wild West. It's a brand new field in a lot of ways in terms
Mark Stinson, host: of exactly. You're trying to create this experience and it does sound like, and I saw one, but the experience of being closer, to the act.
n the small theater and even [:But you've created a different kind of experience and a different way to deliver that show, maybe.
Jack Canfora, Playwright: Yeah we think so. We're not pretending to be television or film, first of all. And which are both, I love them both, but it's different. And we're also not really pretending to be theater because like you said there's something, there's a lot to be said.
I, I'm a person of the theater. I love it and I. Not to be said for a shared communal experience with a in a sort of the audience in a sort of dialogue with the actors, unlike say, movies where you're not in a dialogue with him, obviously, unless you're, unwell. And so you're and so the actors, it's a feedback loop, but the actors get something from the, a audience and vice versa.
acy and Use of language like [:Whereas theater, there's certainly a very visual aspect of theater, no question, but it really relies a lot on language to tell the story. So playwriting is different than screenwriting in a very big way. Not only just in. In terms of compensation, but it's it's, it really does a lot with language.
And so we wanted to keep that. And so we wanted to give people a taste of some of what theater has to offer. And I think the problem too with, you talked about Broadway, but it just theater in general, is that there are, they're two big problems with people it getting it on their radar culturally.
And most people don't even think about it. I live about an hour outside of New York City, which is arguably the center of. Theater in the world, right? In the western world. And most of us don't think about it. So it's really not on a lot of people's radars. And I think there are two big issues with that, and that's one is geography and people are necessarily anywhere near a good professional theater.
ensive, incredibly expensive [:Just TV and film have things that theater can't. But I think we can provide some of those things to people because we we do not charge a lot for these films. In fact, we have a. A podcast. I said a film, but it's a play. We have a podcast version, basically a radio play that's for free that's streaming now.
And so we feel that we can help overcome both of those hurdles. It's really an historic opportunity if you have internet access, basically you can watch us and
Mark Stinson, host: That's, it's interesting you said that at the beginning maybe pandemic times, that this was the necessity, to get the work out.
and availability. How to get [:Jack Canfora, Playwright: to the work. That's what we're hoping to do, in our way.
What I liken it too, in a weird way is Cause I liken everything to baseball. And in the thirties when baseball started being broadcast on the radio and then in the fifties and on television, the owners were very hesitant about that, thinking that if we give it away for free, they're not gonna wanna come and see the game.
But in fact, out the opposite effect, that millions of Americans now could listen to these games and many more would then, take a long drive to, see how it would be in, in reality to actually go to a ballpark and watch a game. And I think it's the same here for theater, is I think that people just don't.
People don't, it doesn't occur to them because it's not part of their world. And by making it very accessible, I think that we can hopefully encourage people to really u view that as something that is gonna be part of their their diet culturally.
Mark Stinson, host: And you talked about, of course, the expense of going to a show sometimes.
Yes. People who might never, [:Jack Canfora, Playwright: Exactly right. And our first season, which had four plays, it's, it was a diverse four full length plays. We had a lot of readings and available for free to people in shorter parts.
But they were, it was from a very diverse group of actors and writers and directors. And so we love the idea of making it as inclusive as we can make it to as many people all you want. All you really need to do is want to watch it and show up. And right now we're streaming the first. Play of that season, which happens to be a play I wrote called Jericho, that's streaming for free.
So you just go to our YouTube page which is new normal rep. And you can watch it for free and, and go to any pod platform and type in new normal rep and step nine, number nine, which is the number name of apply, and you can listen to that for completely free. So we're really just trying to get people enthused about it.
t was not necessarily, yeah. [:Jack Canfora, Playwright: echelon ab Absolutely right.
They, they, they're called them the Groundlings. They'd show up and they'd stand the whole time and they'd, and they would shout things at the the actors. And it was a very interactive experience. And if you ever, I've often thought frankly that If a lot of PTAs really knew what Shakespeare was writing, and a lot of this plays they would be, the scoreboards would be having another, yeah.
Yeah. Because Shakespeare was not above coming up with some body and funny stuff to appease everyone from, literally kings and queens to, commoners, commoners and people just who'd come in and pay a half penny. And watch the play. So it was very much a thing of the people and I in, in America, even, in New York, for example, in the forties and fifties when there were a lot of what you would think of as like the classic American plays, like streetcar, name, desire, death of a Salesman.
Broadway is a really, became [:I think that we really are excited about this medium in terms of spreading the word.
Mark Stinson, host: And again, availability, accessibility. You've also talked about maybe lesser known works or works of newer writers, newer actors, newer producers. How does this impact the content creator side of it?
Jack Canfora, Playwright: It, it does in a very positive way because, as a playwright, I'm at a big disadvantage from, say, a novelist or a poet, right? Because we're a short story writer, because when they write their story, It's done. It is. It exists and you can read it or not read it. It can be read or not read, but it exists when I write my finish my script.
ot of money even, Relatively [:A mountain in theaters, it's relatively cheaper and therefore a little bit more democratic.
Mark Stinson, host: And what about that Broadway dream? Hey, I'm gonna come to New York. I'm gonna get the job, I'm gonna try out, I'll make the cast. Yeah. How does that change in this new world?
Jack Canfora, Playwright: I think that's still the dream.
years, [:Which is, anyone can upload something onto YouTube, which is great. On the other hand, it's harder to get heard above the noise, right? Cuz you're, there's such an inundation of it. But by doing it this way, by doing some theatrical works this way it definitely allows people to get some their work heard and get their work out there.
Even in addition to the four full productions we did, we had what was called incubator, which we would allow. Basically for those who don't know, like writers, playwrights go through a lot of readings of their plays to hear them out loud, and it's invaluable. It inevitably sounds different when it's heard out loud, as opposed to when you're writing it in your head.
t out loud, what we offer it.[:For all our subscribers and to watch for free. And it's, I think for people, a lot of people, it's fascinating to see how plays are developed, right? And so they can offer their feedback. And I know as a writer I find hearing it, you can't put on a play unless you've heard it several times probably.
And learn some lessons from that. And so it's, we hope to. Provide another avenue for people to do that. Yes. And it's, and it's a, there's the old networking thing too. The more people you meet, the more people you get to know. The more people can get to know one another and share each other's work.
Mark Stinson, host: Yes. Be in the same room, or in this case, the virtual room.
Jack Canfora, Playwright: Nice. Exactly.
Mark Stinson, host: And I'm glad you underscored this word company. I can think of no better example than the theater. Where collaboration and company and cooperation makes a complete difference? Yes. Let's talk about that for a minute, because I think so many people who even listen to our podcast think of that creator, the lonely writer, right?
ement create in their craft. [:Jack Canfora, Playwright: gosh, no. And in fact for me being a playwright is, I talked about a disadvantage of being a playwright, but being a playwright's a lot of is perfect for me in the sense that I like my alone time.
And so it does involve a lot of alone time, but it doesn't, but I also like working with people and collaborating and that's the only way plays ever get done is, when you're. Working with other people, hearing other actors, hearing actors read it out loud. In terms of this company, it is a, it is an actual, what we call a repertory company which used to mean that people would run things in repertory, which means they'd do two or three plays at once and do the same basic group of actors playing different parts.
out early on is that if you [:Who, with whom you collaborate well whom you respect their talent and intelligence. And you also like, and that's tough to find all three of those categories filled, right? But you find them, you, I try to hang on to them as much as I can. And I think we have built a nice company based on that. And so I, and I, and it, I think it seasons and enriches the work too.
It really, it makes ev everyone better. Everyone knows each other's rhythms and each other's strengths and areas where they need to be watchful and things like that. And I. Believe me, the actors I've known for years are not at all shy about telling me where I need to be watchful. So
Mark Stinson, host: yes, let's say there's an open conversation,
Jack Canfora, Playwright: yes, very much a dialogue, very much, but you're also
Mark Stinson, host: debunking some of this maybe ego it, it might be a room of self-confident and, strong people.
But. If they don't get along, then they're not gonna make that long-term commitment. They're not gonna be on your team for a long time. No, it's, or be a part of that company. Yeah.
ah. Exactly. Because I think [:She was, golden Globe winners, Emmy nominated actress. She was on the cover of TV Guide in the eighties with LA Law. She's done a lot of great stage work too. Marsha Mason, the Academy award nominated actress directed Jericho. So there are a lot of really a accomplished people in our company and other actors who work very regularly.
And. So it's not that no one like has egos. Of course they do, but no one, certainly Jill and Marsha among them no one is put on any heirs. And I think that's another advantage of a company, right? Because we've get got to be, corny, little cliche. It's a cliche for a reason. We're a little kind of a family a lot of ways and.
ways, cutthroat sort of game[:Mark Stinson, host: Folks, my guest is Jack Canfor is a award-winning American playwright, actor and teacher himself. And let's talk about Jack, the storytelling aspect. Almost all the creators who have been guests on the show do somehow come down to telling a story, creating an experience, whether they're in hospitality or singer songwriters.
They're creating art and they're creating a story. I'd love to hear your perspective on creating the connection with the audiences and really relating these
Jack Canfora, Playwright: stories. First of all I'm gonna focus on a word you just used, connection. I think that's incredibly important because that's the whole part of things.
o, and she also directed the [:I think CS Lewis said that we write or we read to know that we're not alone. And I think that's, and that's storytelling. I think narrative is the, it's the basic language of human experience, right? That's why dreams are narratives, strange narratives very often, but they're narratives.
And so we all need stories, I think, to make us feel, I don't think it's a luxury, I think we know we all need stories and we all tell a thousand stories ourselves every day. What, even like about our own lives, right? We are the stars and other people play different roles and So I just think narratives are so important for the exact reason you cited earlier, just connection.
ease. I would probably think [:And I think there are a lot of things that conspire to that. And I think one of the only ways, or one of the best ways I should say, Fighting against that is forming all sorts of different SI types of communities and bi and finding, having common experiences that kind of bind us. And, storytelling is that on every sort of level?
Sporting event, sports, I love sports. They're narratives. They're narratives and TV shows and things that we can all talk about around the proverbial water cooler, right? These are all inevitably narratives and we're a pretty gossipy species and telling the story is no matter what kind of story it is the way we know that we're not alone them.
We have a common experience of things,
Mark Stinson, host: I love this visual of sitting around the campfire. It's
Jack Canfora, Playwright: fantastic. Yeah. She came up with a good one. I'm I give her credit for that. She's very yes. Good.
Mark Stinson, host: Super well, Jack how can we connect with you and learn more about this work and the works that you're producing and publishing?
, and you can see really all [:Radio play step nine, which is available on any podcast platform. If you just like I said, if you just do a search of new normal rep and step nine, the number nine, you'll find it. We're very proud of it. It's an eight part play, basically an old fashioned radio play. We're very proud of it. And for me, you can follow new normal rep at on Twitter at normal rep and you can follow me at Jack Canora on Twitter.
And and I have plays available on Amazon, so I would love it if everyone bought, nine or 10 copies. There
Mark Stinson, host: you go. Just to have on hand. I love that. Jack, it's been such a great conversation. I don't think I could let you go though without looking out. And Parascoping a little bit into the future, and we've talked a lot about new and perhaps unappreciated work, but also new work.
What's on the horizon for you? What do you see around the corner?
Jack Canfora, Playwright: [:It's about it's a, we, it's about Mozart and Beethoven and that they, we think that they knew each other briefly, and so this is a play on, on that, but it's also very, Down to earth, I think and hopefully funny and touching. The, as for the new normal rep ourselves, we have a lot of different plans taking shape, but right now it's grant application season for me.
And so that a lot of that is contingent on our. On our budgets. We'd love to do some more full productions, which we hope we will, we think we'll get to do soon with new sorts of voices and continue to do both radio plays and also these readings, which are really fascinating and fun for people to be a part of.
And great for other actors and and more importantly writers to to get their work out there.
hat might say, gosh, in this [:Jack Canfora, Playwright: What I would say is that every, it's always a challenge. It's always an uphill climb a little bit to be creative and be a, get your content out there. Having said that, I think in a lot of ways there's never been a better time ever. I think the shortest, the simplest thing is to do it as what I think Hemingway said.
And that's that's what you need to do, just. Produce your own stuff. Get together with your friends, create your own content and put it out there. Put it out there, and then the marketing and how to get it seen. That's something that, frankly, I'm still trying to work out myself, but you won't get anywhere unless you have the courage to just put it out there.
And you'll learn as you go And And just and make as many alliances as you can with people. Not in a sort of Machiavellian way, but in a way that make your own community of creators if possible. And they will do nothing but help you and and you help each other. Yeah, do it. Do it is what would be my words of
Mark Stinson, host: encouragement.
as been Jack Canora. He's an [:Jack Canfora, Playwright: enjoyed it. This has been great, mark. I really appreciate it.
Thanks for having me on. Yes, indeed.
Mark Stinson, host: And listeners, come back again next time. We've stamped our creative passport in New Jersey, outside of New York City. We've been talking about Broadway and theater, but boy theaters in every town. So if you have a chance, go support the theater. And if you can't go, then check it out online.
And these new channels that people like Jack are creating. Let's continue to have conversations with creators like this. We're gonna find the encouragement to get inspired for new ideas, but also we're gonna learn how to organize those ideas, and most of all, how to gain the confidence and to get the connections to get our work out into the world.
So until next time, I'm Mark Stenson and we're unlocking your world of creativity. We'll see you soon.
