The PlayGround Experiment

A safe place for Playwrights, Actors and Others Creatives to Meet And Play!

CBA # 10 Perfecting your Practice: How to Continue Developing your Art

Perfecting your Practice:

How to Continue Developing your Art

What does the idea of “Practice” as an artist mean to you?

What skills/craft make a well balanced performer/writer?

Actors: What are the tools every actors should have in their toolbox?

Playwrights: What are the tools every playwright should have in their toolbox?

Actors: What does your current practice/preparation consist of?

Playwrights: Are there any practices, preparations you do prior to beginning a new play?

What is an ideal practice/work environment?  How does one create a productive space?

What are the biggest distractions / obstacles you face? How do you circumvent them?

Are there red flags that you are being ineffective in your development process of your artistry?

Creative Goals vs. Career Goals?  Is there difference?

How do you measure the success of your practicing?

FInding the time for your practice:

Actors/Playwrights: How do you keep consistent and scheduled?

Are there any special ways you treat yourself for accomplishing a consistent and positive skill/craft development?

Help a sister or brother out.

Actors: Are there any  training studios or teachers would you recommend?

Playwrights: Are there any  training studios or teachers would you recommend?

Actors: Research? What are your go to places for information on craft development?

Playwrights: Research? Are there any go to places for information?

As a creative, how could a balanced personal practice of your art make you a better artists? Is there anything you learned tonight that you think you could implement tomorrow

CBA #9 Life as An Artist: Strategies for Surviving, Striving and Thriving

Life as An Artist: Strategies for Surviving, Striving and Thriving

What does your life as  an Artist look like currently?

How does a “survival” job work best to keep your artistic life moving forward?

What are the best jobs, industries, gigs that you have found?

Artistpraneur? What are you doing to create income from your skills outside the typical “survival jobs”

What is a successful artistic day for you with your full-time/part-time survival job?" (i.e., how/where do you make time for the art?) What would make the perfect balanced day?

How much of your artistic life do you share with day jobs, fellow employees, or even applications for employment?

Keeping Healthy: Physically and Mentally

What tips, tricks, and remedies do you swear by to keep healthy with the non-stop hustle of an Artist?

What is the difference between taking a mental break and procrastinating?
What are your best  practices for rebooting?

Writers: What are best practices, tips, tricks for writer’s block?

What are some resources that you have found helpful re: Healthcare, physical wellness, mental wellness?

Actors: What resources are you finding the best results with getting information/auditions?


Where are you finding out whom to submit to? Who the movers and shakers are in the producing world? And who to avoid?

Finding your own Tribe and building community is important:

What are you looking for when searching other artists to be with?

Beside The PGE, what other groups, companies, events have you found?

Finding a Balance:

Have you used “Mastermind Groups” in the past? If so what has worked and not worked for you?

How would you define a successful artistic life?

Is there something you learned tonight that you can implement to make success feel closer and accessible? 

CBA # 8 Marketing Your Art: Getting the word out without losing your friends

Marketing Your Art: Getting the word out without losing your friends.

What Art are you looking to Market?

(i.e. My Brand as an Actor, My Brand as a Playwright, My latest…)

 How are you currently branding yourself in various mediums?

What platforms are you using to promote yourself and your work?

(FB, Twitter, Instagram, Snapchat, Grindr, Tumbler, Websites, Email lists, phone trees, smoke signals)

Old school Methods: Postcard, Flyers, headshots, resume, reviews.  Are you still using these? Best practices.

Public Figure vs. Private Person: Do you separate? When and what?

Is it necessary to have a separate "artist” Facebook page other than your personal profile?

What are the no no’s, and pet peeves?

Facebook events: are they even necessary?  What are you using for RSVPs and invites other than Facebook to get people to know that you're presenting a show/have an event?

When sending out information when is it appropriate to send personal DMs, Messenger, email, texts, phone call vs. group message?

When is an appropriate time to reach out to industry connections (i.e. casting directors, agents, theatre companies, producers etc.) about the work you have done so far and about upcoming events that you are involved in? What is an effective way to do it?

What platforms are you using to raise funds?

(Kickstarter, Go Fund Me, Indigogo, tin cup, street corner)

When asking friends, what approaches work best?

How do you choose whom you give money to?  What do you do if you cannot give financially, but still want to be a supportive friend?

How do you tell your friend who is marketing too much that it's overwhelming/annoying and not lose a friend? How do you know if you are that friend?

CBA #7 Nevertheless she Persisted” Women in Theatre


“Nevertheless she Persisted”  Women in Theatre

The Bechdel Test:   What is it?

How is it changing how we look at plays?

What are some examples that pass the test?

What are some that don’t pass, but still have a strong feminine storyline?

The use of Actress? Gender Identifier or Outdated Label?

Who are the current women writers that are positive guides?

Who are the women actors who broke the mold of feminine expectations?


What are the female stereotypes that should be outlawed?

How do we stay away from these archetypes of femininity?


What are warning signs in a Character Breakdown that the character is a stereotype? What are you looking for in roles you want to play that tend to be missing?

When does changing gender of a role work to serve the play?

Is genderblind casting a useful tool to create more work for women actors?

Is there a point where it takes away from the playwright’s intentions?

Why do many institutions/programs/grants feel women should only write plays about women’s stories/struggles?  Shouldn’t women creating new work be enough? How do all artists continue to create work that celebrates multi dimensional female characters and story lines?



CBA #6 LGBTQ Theatre

LGBTQ Theatre:

From Message to Movement to Mainstream?

Define what LGBTQ theatre is to you.

What are some of the plays that were/are game changers?

How has LGBTQ theatre evolved? If it hasn’t why do you think it hasn’t?

Who is most/least represented in LGBTQIA+ theatre? 

What are the reasons do you feel of this lack of representation?

How has the LGBTQ been misrepresented in art? 

What are the most common stereotypical pitfalls?

What are the do’s and don’t of casting for LGBTQ characters?

How do we consider roles that may not be in line with our orientation or preferred gender?

Who is allowed to play this character?

How can playwrights and other artists that are not LGBTQ continue to have authenticity with in the work?

Is the LGBTQIA+ even in the mainstream? If not, is that okay? 

CBA #5 Politics and Theatre

Politics and Theatre

What does the phrase “Political Theatre” mean to you?

What are some examples of good, impactful, effective political theatre?

(i.e. Shakespeare, Brecht, etc.)

Is there a specific genre/genres that are more conducive to this type of storytelling?

Are there examples of bad and ineffective political theatre?

What role does/should POLITICS with a capital P play in the making of Theatre?

 (Mirror, Truth Finder, Influence, or Other)

Is there a line between Political Messaging and Political Agenda?

What role does a playwright’s personal POLITICS play in Theatre?

What role does an actor’s personal POLITICS play in Theatre?

Is left leaning/right leaning Political Theatre merely preaching to the choir? What ways can we create work that resonates beyond Political Partisanship?

In a heated Political Climate, how do we as individual artists use our art, skills, voice to respond, educate, empathize, love, and inspire?

CBA #4 What does New Development Mean?

What does New Play Development Mean?

Playwrights: What are your goals when beginning a development process?

Actors: If you are lucky enough to be at the beginning stages of development, what would you like to get out of such an experience?

Playwrights: What are the pitfalls you have found when working with companies developing your work  at the earilest stages of writing?

Actors: When working on new works what are the issues that come up that stifle your creative choices?

Playwrights/Actors: During readings and workshops, actors aren't often expected to provide input. If they were more formally included in the process, what should their role be?

How much input do you feel directors, producers, artistic directors should have and what is and isn't productive in new play development?

What would your dream development scenario be?

CBA # 3 Why Playwrights & Actors Speak A Different Language?

Why Playwrights & Actors Speak A Different Language?

Why do you think actors and playwrights don’t speak the same language?

Playwrights: What are the questions you love to get from actors?

Actors: What are the questions you love to get from playwrights?

Playwrights: What are the behaviors from actors that are pet peeves?

Actors: What are the behaviors that define a playwright as difficult?

Playwrights: What is the best way for actors to give line suggestions, alterations to scene, suggestions for plot?

Actors: What is the best way for a playwright to help with line readings, character help, scene misinterpretation?

Discussion of The PG Evolution Play Analysis Questionnaire.

What your utopian relationship between a playwright and an actor?

CBA #2 - Diversity And The Artistic Production

From Page to Stage

Thursday, August 18, 2016
6:00pm  8:30pm

How do we define diversity/equity/inclusion?  Why is the default for a character without any ethnic specifics always non-ethnic (white)?

When a character race/gender/able-bodied specific, is it appropriate to be played by someone other than written? When is it not? Is it OK for Emma Stone to play an Asian in “Aloha” etc.?  

Who should have final say in casting when diversity is involved? Playwright? Director? Producer? Your Mother?

How do we get Actors of Color to show up to calls that are not specifically to their “type”?

In order to change the current climate of Diverse casting, which is more impactful: Producing plays about diverse communities or casting roles more diversely?

What can we do to encourage theatres, casting directors, and producers to go outside their casting comfort zone?

CBA #1 - Diversity And The Artistic Process

From Thought to Page

Thursday, August 4, 2016
6:00pm  8:30pm

What does diversity in theater mean to you?  What does diversity actually look like on stage?

What are stereotypes? When is it justified to use them, if ever.

If you're not part of a marginalized group (woman, person of color, lgbtq, etc), then what do should the role/responsibility be, if any, in working towards a more diverse theater? 

When writing can your characters be cast ethnically/racially diverse, if those characteristics are not central to the characters?

What can we do, as an artistic community, to promote inclusion from the earliest stages of development that can influence professional levels?  

What can we do to foster an intersectional approach to diversity in theatre creation?