Diary of a Playwright: Doug Williams tracks his thoughts as he prepares for his first professional production

By Douglas Williams

Douglas, the playwright of MOON CAVE, kept this diary of his writing adventures during the rehearsal. At this point, Doug had already been working on this play on his own and with Azuka for about a year and a half!


Here we go! Last night our stage manager, Lauren, sent out our rehearsal schedule for MOON CAVE. So official. I put the calendar up in my cubicle at work [I work fulltime in the office of a beer wholesaler] and made note of all the rehearsals I’d be able to attend — it’s a little more than half spread out over the entire three weeks. Most of the time I’ll be leaving straight from my day job and showing up halfway through. Hopefully traffic isn’t too much of an issue.


Just got back from Azuka where we read the most recent draft of the play We don’t start rehearsal until February 10th, but I’m really trying to get the play as close to finished as possible before we officially start. After hearing it again tonight, I am feeling great which is sort of unexpected. Usually when I leave readings I’m all depressed about how much work I have left to do. Instead I feel like we’re really close. Excited to get into rehearsals in a few weeks.

Reading MOON CAVE at an early rehearsal.


Tomorrow is our first rehearsal and whooooooa. My stomach is doing somersaults. I’m trying to anticipate what it’s going to be like working in a way that is completely new to me. Usually I’m in a room by myself working on a play. I can write something down and say “Okay that’s weird but I’ll worry about it later” but now it’s crunch-time. I hope I’m able to still get good writing done while attending rehearsals and working full time. Luckily Kevin [Glaccum] put together a kickass team to put this play together with me.

I haven’t done a ton of work on the play since our last ready. I sent everyone the rehearsal draft this morning. Took off work tomorrow so I can be there for the entire day.

Rehearsal Draft: 92 Pages


We’re officially off and running! Yesterday was our first rehearsal. We got a look at Colin [McIlvaine]’s set design (which was awesome), at Katherine [Fritz]’s costumes (which were equally as awesome) and started work on the play. I feel really lucky to start rehearsals having a director and actors who – because we’ve had more than one developmental reading — are already really familiar with the play. I know that’s a unique spot to be in as a playwright. There’s a shorthand already there and ideas about the play and performances are already pretty detailed.

After we wrapped for the day I sped home, cracked a beer and got to work cleaning up the places where I saw problems. After about two hours I had 35 new pages for today’s rehearsal – without even touching the ending. I pushed off meetings I had scheduled to film and edit a video for Orbiter 3 (not sure why I thought I would have time to do both in one day).

New Pages: 35


The cast is unbelievable! The more I’ve been able to sit in on rehearsals the more I understand that not everything, or even most things, need to be fixed with more writing. Questions that Taysha [Canales] and Kevin [Meehan] have with the text do not mean I have to go home and fix it. That’s just how we discover what the play is about. Still, I have been touching up things here and there. Mostly clarifying or just cutting things that have already been established.

We have these four dream-like scenes that occur in Richard’s head. I’m still trying to figure out the best way to have those come across. Kevin [Glaccum] thinks what might be best is to wait for a stumble through so I can see it in context, but on the whole the big lesson I’ve learned thus far is: LESS IS MORE. I need to step back and let everyone else do their job.

That being said — New Pages: 25

Rehearsing MOON CAVE: Kevin Meehan, Taysha Canales, and Kevin Glaccum.


I brought my laptop to work today so I can write during downtime. I have some pages to get ready for rehearsal tonight. 15 days to our first preview and we’re starting to freeze scenes. I haven’t been to rehearsal for a few days but Kevin called me last night to go over questions that have been coming up. Got some really great notes. Going to do my best to address them now so I can have the script updated for tonight.

New Pages: 20


Yesterday I was really struggling to churn out new pages. I showed up to rehearsal a little depressed and worried that I might not be able to get the play where it needs to be. Then we did a stumble through and I was blown away. Kevin and the actors have been doing so much great work. Seeing the play on its feet really was incredible. I feel totally energized. The first 50 to 60 pages of the play actually feel really tight – I don’t think I’ll be making huge changes to those scenes from here on out. But the last two scenes definitely need some focus. I’m starting to feel the pressure but maybe that’s a good thing.

New Pages: 0 – Took the night off!


It’s Saturday so I got to be at rehearsal the entire day. It worked out because we had our designer run today. In a way, our designers are the first audience we’ve had for the play. Their presence really seemed to electrify the actors and clarified the story in a lot of ways. When we finished the run, Nick Kourtides, our sound designer, got out his equipment to record some whispering that occurs throughout the play.

We needed dialogue that isn’t currently in the play so it wouldn’t give away things that happen later. So I went into my email and pulled up the first draft of FF, which was written over a year ago. We pulled a scene from the end and had Kevin [Meehan] read and record that.

Everything is really coming together, but I still have things I need to clean up (and also need to take a hard look at the ending). It’s funny reading my old entries where I was pretty sure the play was almost there after the reading we did on the 27th. I thought I knew exactly what this play was about before rehearsal, but seeing it over and over taught me a lot. Still a ways to go…

New Pages: 21

photo (2)2/25/15

All that’s left is the ending. I woke up early yesterday to sift through the notes I got last rehearsal. I emailed the new pages, and later spoke to Kevin and Sally about how they sounded in rehearsal (I couldn’t make it because of work). I drove the 45 minutes back to my apartment with the radio off so I could absorb all their thoughts. When I got home I talked to my girlfriend Martha about what I had come up with and sat down to write.
I’m at work now. In the next few hours I will be finishing the new pages and send them in before rehearsal starts today at 4 PM. I’ll get to rehearsal at 7 PM — hear them out loud, get notes, go home and repeat the process. I’m hoping that by the end of rehearsal tomorrow the entire play is pretty much frozen. Tech is this weekend and previews are a week away. Time to finish the damn thing.

New Pages: 12


That’s it. I just emailed over my last new pages for MOON CAVE. Tech starts tomorrow so, besides small line changes that might occur, the play is finished. Half of me is really relieved and the other half is a little uneasy. As long as you’re in the rewriting process you always have the safety net of “Well, I’ll get it to where it needs to be at some point.” Not anymore. Luckily we have an amazing team that is bringing this thing to life. Seriously, Kevin’s direction and the work Taysha and Kevin have been doing have made my life so much easier. They’re transforming my words into something so much better than could have anticipated. I can’t wait to the finished product.

New Pages: 5
Final Draft: 84 Pages

Originally Posted by Phindie: http://phindie.com/diary-of-a-playwright-doug-williams-tracks-his-thoughts-as-he-prepares-for-his-first-professional-production/


Meet Barrymore-Nominated Set Designer Dirk Durossette

My name is Tamanya Garza and I am a freelance director and producer here in Philadelphia as well as a the President of the Board of Directors for Azuka Theatre. I recently had the opportunity to spend a few minutes inside of the brain of Dirk Durossette our fantastic (and recently Barrymore nominated) set designer for THE (curious case of the) WATSON INTELLIGENCE.

Tamanya: First, tell me a bit about the shows you have designed for Azuka and the elements you liked most about the shows you have designed with us.

Dirk: I have designed five shows for Azuka over the past seven years and I’ve worked both with Kevin and Allison. Two considerate and talented personalities who really know how to work with a designer.  Every show has been very different.  Their seasons showcase a diverse choice of plays that have allowed me the chance to really explore the visuals and the worlds of some very interesting stories.  Every show I’ve worked on at Azuka has been a very gratifying experience and I’ve always been treated like an artist and not just an artisan.  They also put together great teams of designers who work very closely worth one another.  I am very proud of every show I’ve done at Azuka.

Tamanya: What was it about last season’s Skin & Bone script that most piqued your interest?  What was most challenging?

Dirk: SKIN & BONE was a new play and I love working on new plays.  It was funny, heartbreaking and surprising. After reading it, I had definite ideas immediately.  I knew the characters needed to be surrounded by something that really spoke to their world views.

Tamanya: While we’re on the topic of reading a script, what are the steps of your personal process when turning a script into a design?

Dirk: When I first approach a script, I rely on the characters to tell me what the world of the play needs.  What they say about where they are, their attitudes towards one another, and how they move around the space.  Even if they say nothing directly about the space they are in, their words and actions still produce visual clues for me.  It can be very subjective and intuitive obviously. I try to hold off on research, and quickly sketch, in pencil, my initial impulses.  Then I get into the research and problem solving.  I like to work big and general then whittle down to the specifics.

Tamanya: Considering that there are so many memorable elements of the WATSON design which one are you most looking forward seeing onstage and why?

Dirk: My hope for the WATSON design is that it will feel very specific to many different places while serving as a visual anchor for the overall arc of the story line.  I hope it feels like a place in motion.  I’ve used forced perspective to create a sense of depth and movement.  The hints of train station architecture, contrasted against warm interior wood tones hopefully will feel natural and appropriate.

Tamanya: Congratulations on the nomination for your exciting work on SKIN & BONE. How does it feel to get that call that you’ve been nominated?

Dirk: It feels good to be nominated and that people were affected by the play. I really paid attention to details on this one and Jaqueline Goldfinger, the playwright, created characters that really helped me shape the room and choose textures and colors. Allison and I worked very closely and and her guidance was very helpful. It was the first time I had designed in that space and that always makes me feel a little nervous. And while it may seem cliche, this really was a team effort.  The work of the lighting, costume,and sound designers along with the scenic artists, carpenters, and electricians all has to coalesce to make the production what it is.

5 Questions Inspired by Tigers Be Still with Trevor Fayle

We asked the cast and crew of Tigers Be Still to answer 5 questions inspired by the play. Here’s how Trevor Fayle, who plays Zach (with a Z), responded. 

1) What is a movie that you could watch over and over again?
I could watch The Empire Strikes back twice a day if given the chance.  Because I am Trevor Fayle, King of the Nerds.
2) Which TOP GUN character do you most identify with and why?
I can’t say I much Identify with any of them, but if I had to pick one I’d say Kenny Loggins, because I too have a fondness for zones of a dangerous nature.
3) How do you take care of yourself after a break up (or when you feel down)? 
 Me after a bad breakup is not a pretty sight.  I watch a lot of anime, blast linkin park like it’s 2005, and develop a healthy love for the acoustic guitar.
4) Describe your first job.
My first job was teaching kids how to ski.  Pizza! French fry!
5) Have you ever been up close and personal with a wild animal? How did it go for you?
 For sure.  I grew up in the untamed wilderness of western Massachusetts.  I have a lot of stories about bears, deer, moose and geese.  Believe it or not the latter involves the most danger.

This will be Trevor’s second show with Azuka, and first one on the Azuka stage! He could not be happier to be here working on the production of Tigers Be Still! Previous credits most recently include Emma at the Lantern and Owners with Inversion Theatre Co.

5 Questions Inspired by Tigers Be Still with Felicia Leicht

We asked the cast and crew of Tigers Be Still to answer 5 questions inspired by the play. Here’s how Felicia Leicht, who plays Grace, responded. 
1) What is a movie that you could watch over and over again?
There are a bunch.  Ones that I have watched countless times? Jaws, Empire Strikes Back, Moonstruck, The Iron Giant, just to name a few.  But if we’re going with guilty pleasure 80s romantic movie, I’d have to say: Dirty Dancing.Image
2) Which TOP GUN character do you most identify with and why?
I’d have to say Carole (the Meg Ryan character).  She has nothing to do with the flying, and she loves Goose (who is by far my favorite character in the movie.)
3) How do you take care of yourself after a break up (or when you feel down)? 
Depends on the type of heartbreak.  In some cases, I haven’t wanted to eat a thing, and just want to watch fluffy, brain candy TV and movies to distract myself.  But that’s more of the exception.  My usual pick-me-up is the fluffy viewing material combined with eating all my favorite foods: spaghetti and meatballs, chocolate, etc.  And soup.  I always find soup comforting.
4) Describe your first job.
My first job was babysitting, and my first paid gig involved caring for a three year old and a one year old from 6:30pm until one in the morning, when I was only twelve years old.  I couldn’t believe it.  I knew myself to be fairly responsible for a twelve year old, but I still couldn’t fathom how parents could possibly entrust their two small children to someone so young, well into the middle of the night.
5) Have you ever been up close and personal with a wild animal? How did it go for you?
I can’t really say that I have.  I always enjoyed the zoo as a kid, but was not much hiking, camping, or generally venturing out into the wild.  The beach and the ocean have always been my preferred type of nature.  The closest experience I have is probably having a school of dolphins swim right past me, less than ten feet away, while I was swimming down the shore.  I just wish one of them had taken me for a ride.
Felicia is a recent graduate of Villanova University’s Graduate Theater program where she was an acting scholar and a recipient of the Brian G. Morgan Award. She has performed regionally with Philadelphia Artists Collective, Shakespeare in Clark Park, Commonwealth Classic Theatre Company, Plays and Players, and the National Constitution Center among others, and has also co-created and performed original works for the Philadelphia Live Arts, Philly Fringe, and Berkshire Fringe Festivals. Next up, she will be appearing in Revolution Shakespeare’s Five Kings.

5 Questions Inspired By Tigers Be Still: Jared Michael Delaney

We asked the cast and crew of Tigers Be Still to answer 5 questions inspired by the play. First up, Jared Michael Delaney, who plays Joseph.
1) What is a movie that you could watch over and over again?
The Thing (the John Carpenter version). Don’t know what it is exactly, but I’ve seen it a million times and love it every time.
2) Which Top Gun character do you most identify with and why?
I don’t know if I identify with him exactly, but I like Viper (played by Tom Skerritt, probably because I like Tom Skerritt as an actor so much.)  And you cannot deny the Iceman.
3) How do you take care of yourself after a break up (or when you feel down)?
The saddest of sad songs and the angriest of angry songs.
4) Describe your first job
My first job was washing dishes at a Denny’s-like diner. It was a living hell, particularly on Sundays, when it was the post-church senior citizen discount brunch rush. But we listened to Rock 107, The Mountain, in the kitchen, so I received a thorough education in Bad Company, Foreigner and other mid-late 70s bands that sucked. So call that a win.
5) Have you ever been up close and personal with a wild animal? How did it go for you?
I once encountered a wild California Brown Bear in Lake Tahoe in a hotel parking lot around 1am. It was the size of a Volkswagon and as he shuffled across the parking lot, he seemed to turn towards me, give an indifferent shrug and continue on his way. I learned the next morning that this particular bear came down from the mountains every night to forage through the trash. The hotel owners told me they used to chain lock the garbage cans, but the bear would just break the locks. So they stopped locking them. Let’s repeat that: the bear used to BREAK THE STEEL LOCKS, cause he could. So I, in turn, am grateful for his indifference on that evening.
Image: Roberta Olenick/All Canada Photos/Getty Images

Jared is the Associate Artistic Director of Inis Nua Theatre Company and co-founder of Revolution Shakespeare. As an actor, he has worked regionally with the Folger Theater, Arden Theatre Company, Philadelphia Theatre Company, Walnut Street Theatre, Sierra Rep. Theater, River Valley Rep., Pennsylvania Shakespeare Festival, Lantern Theater, Theatre Workshop of Nantucket, the Theatre at Monmouth and Azuka Theatre, among others. He has twice been nominated for “Best Ensemble” at Philly’s Barrymore Awards (winning once). As a playwright, he has had three short plays produced as part of the Philadelphia FringeArts Festival. The Hand of Gaul, his first full-length play, was produced by Inis Nua Theatre Company in April 2013

From the Actress–New Plays with Maureen Torsney-Weir

By Maureen Torsney-Weir
So what’s it like to live in one of Jacqueline Goldfinger’s fabulous, complex, characters? In short – it’s like getting the best Christmas/birthday/pick your holiday present ever!!! I’ve been blessed to play Midge in Skin & Bone, Jackie’s second play in her southern Gothic trilogy that premiered at Azuka Theatre just 2 weeks ago!
Drucie McDaniels (left) and Maureen Torsney-Weir in Skin and Bone
I work a lot on new plays. I love new plays and I’ve learned a lot about acting by working in new plays. When my children were young,  I couldn’t do more than one play a year but I could do play readings. I signed up with a bunch (well, four) of playwright groups in New York and Connecticut (where I lived at the time) to agree to perform in their reading series. What an education!!! The plays would come in the mail and I’d have a week (or less) to work on the character that I was playing for the reading. I learned to see what the playwright intended, and not to want to rewrite their play. I learned about structure, language, character development, and most of all, how the story was being told to the audience. Jackie is a master of all of the above. I especially love her use of language. There are so many wonderful interior rhythms. It’s a joy to work on this play.
There are lots of clues to Midge’s character and some are more obvious (like her family traditions) but some are delicious little treats hidden within the lines. For example – several times Midge mentions  phrases like: “you can have it next year” or “I’m gonna die here…” which lend an urgency to her wanting to keep her home and a desperation to her fights with Ronnie. The play is full of treats like that, but I don’t want to give it all away. You’ll have to come and see us!

Twins & Things: A Quick Interview with Skin & Bone Playwright Jacqueline Goldfinger

Azuka is thrilled to be presenting Skin & Bone, the second installment in Jacqueline Goldfinger’s Southern Gothic Trilogy. As Azuka’s first-ever playwright-in-residence, Jackie developed Skin & Bone over two years with the company following Azuka’s premiere of the terrible girls, the first in the Southern Gothic Trilogy. Her play Slip/Shot received the Brown Martin Award and a Barrymore for Best New Play. As our playwright-in-residence, Jackie was obligated to answer some odd questions for us. Thanks Jackie!

Azuka: You grew up in Florida but now live in Philadelphia. Obviously these two places are very different, but what have you noticed that they have in common?

JG: Philadelphia actually has a very Southern vibe. It’s a cool city. It loves soul music and soul food. It’s not as crazy busy as NYC or other major northern cities, and not as uptight as New England. It feels like a Southern city in a northern geography.

Azuka:  Did your own relationship to your sisters influence your writing of Midge and Madge?

JG: I have two younger sisters. Midge and Madge aren’t based on my sisters but their relationship, the interdependence of sisters in an isolated place, definitely is. Not only were we geographically isolated, but our family was very politically and socially liberal in a very conservative part of the State, so there was this constant feeling of needing to have one another’s back.

Azuka: In earlier drafts, Midge and Madge were not written as twins. How did having your twins influence their characters? 

JG: During the development process I realized that the sisters needed a very special bond to keep the secret that they do – and with twins they are not only exceptionally close but they can emotionally, physically and spiritually mirror each other in interesting ways.

Azuka: Without giving anything away, the characters in this play are a bit extreme, but is there a certain character onstage that you relate to? Or pieces of yourself you see reflected in the characters?

JG: I wish I had Midge’s sass. I don’t. But it would be cool. I have definitely wanted to tell folks off and not done it where Midge has no problem saying whatever is on her mind. So that makes her an extremely fun character to write. Mostly, I write characters, not that I want to be, but that I understand. I don’t write hip-uptown-Abercrombie-and-Fitch characters who live in small boxes. I write characters who dare to live life, even when they don’t have much to live for, and you can see the legacy of their vast potholed journeys in how they move through the world.

Azuka: We’re so proud to have you as a playwright-in-residence here! What’s coming up for you?

JG: There’s going to be a reading of my new play for families, “Enter Bogart,” a 45-minute broad comedy, at White Pines Place on March 23 (http://www.whitepinesproductions.org/) and a reading of my brand new comedy for adults, “Trish Tinkler Gets Saved,” on April 7 at Theatre Exile (http://www.theatreexile.org).