Tell us about your new play Wincing at the Light.
Wincing at the Light is first real attempt at fusing together my two biggest interest – theater and sports. From it’s blurb: ‘When a professional hockey team comes calling, Ben has to celebrate. His zealous festivities leave him with an upset girlfriend, a lovelorn best friend, an under appreciated teammate, and an ankle device monitoring his movements to a probation officer. As their final playoff game approaches, Ben not-so-deftly navigates the temptations that could potentially undercut his future and leave him with all or nothing. Wincing at the Light is a comedic portrayal of what can happen when loyalty, friendship, and love are forced to face off to decide the true winner.’
I grew up a sports nut – playing hockey, baseball, football, everything really. I continued into college and finally hung up the skates when overnight hockey trips were dropping the GPA to dangerous levels. While difficult for some to fathom as material ripe for staging, I ask them to think of the high drama involved in an athlete’s day to day sports life – trades, injuries, travel, contract negotiations are all commonplace events. The play comes at a time when the extremes of this lifestyle have been placed forefront the media’s eyes (*coughTigerWoodscough*). The sports world may not be the most obvious source material, but indeed was one that helped provide the right balance of calamity and truth to this little family.
How did you become a playwright? What are some other plays that you've written?
Once I’d settled in NYC, I knew right off the bat that I never wanted to go the ‘bartender/waiter’ route here. I have the utmost respect for those who do, but I’d been working in restaurants for a solid six consecutive years prior to that. So, I temped. Once one gets over the chameleon like skills needed to jump from firm to firm, boredom quickly sets in. I had in my mind a story I thought needed to be told and without a real idea of how to structure it, started writing Fragments, which became one of my more successful pieces to date. It took time, readings, and patience and eventually the play was edited from a monstrous 120 something pages down to a more manageable 60. Some other produced pieces include: Necessary Adjustments (A family satire on a wedding gone terribly wrong), Bludgeon the Lime (Featuring several couples sent away to a tropical island to resolve their troubles through ‘isolation therapy’) and Quiet Bed (A full length play comprised of four vignettes – each exploring differences in bedside manner, expectations, and lies. – for more info on any/all plays and work visit www.michaeltweems.com)
Tell us about some of your writing.
While I feel like my writing has grown by leaps and bounds since earlier works, I’m always excited about the ability to mature and grow as a writer. A good deal of my work focuses on the dynamic of relationship and the dialogue, often cited as well done and realistic, is what drives that. Despite my ambitions, I recognize that I’m not in a place where I’m a mature or seasoned enough playwright to write a big sweeping drama, but make steps every day to expand from my comfort zone.
What's it like being an actor in the big city?
It’s daunting to say the least. Imagine a world where you could be entirely happy doing one particular job day in and day out everyday of your life. Imagine there are a few thousand other guys who are taller and handsomer and smarter and who have more credits than you and who are going for the same exact role as you and have probably played said role to rave reviews. We call those weekdays.
What type of acting roles do you prefer? What are some of the roles you've been in?
I love originating roles – having that clean slate and nothing to compare to. Just innovation. I can’t pick between comedy and drama – as each is equally settling. There’s nothing like a big dramatic scene to get the blood going and the audience on edge, but at the same time it’s always a treat to make people laugh. Some favorite roles played – ‘El Gallo’ in The Fantasticks (My first musical lead), ‘Rob’ in Twilight of the Golds (Probably the most solid dramatic work I’ve done and great cast), ‘Justin’ in I, Undertow (a chance to not only originate a role, in a play by a good friend and incredible writer/director – Blake Bradford, but to reprise it and grow with the character), dual roles in Office Hours (being directed by my wife and being part of one of the funniest scenes I’ve played), and Cliff Roney in Floyd Collins (my first leap as an actor – as I had only started a few years before and in this beautiful musical, found myself sharing the stage and holding my own against people who would go on to work on Broadway).
What makes you so creative? Is it natural, learned, or both? Do you techniques to help you along?
I think it’s a two pronged attack – both having the stories to tell and the storytelling abilities to do so. I grew up in an environment that fostered creativity, imagination, and the arts and later in life have been blessed with friends, actors, writers, and directors who have been instrumental in fostering a community of artists looking to make the best work possible. I’m not sure that I maintain any ‘techniques’ but certainly have my tools that help me along. It definitely involves planning/plotting, not setting the story/characters in stone/and having a kick butt editor. I hate grammar.
Believe in writer's block?
Absolutely. It’s a beast. Some days are the dream – flying along and knocking out a scene, resolving a plot point that might’ve been bugging you, or just getting a chunk of pages done. And others you just stare. And stare. I do believe it’s something that can be rectified, but that part takes incredible patience. The best advice I’ve heard, though it’s not been 100% for me, has been to just write anything. Write a review about a song, a poem, a two minute play. It’s frustrating when you have your eye on the prize, but valuable.
What advice do you have for someone looking to create a living from their creativity?
Any opportunity to share your work and words is valuable. My first production came from a blind submission. I had an incidental meeting with the producer at a short play festival (for which I wrote) and the end result was them producing several of my full length plays. At the same time, always protect yourself and integrity to the utmost degree. Finding the right director is always the key – someone with whom you can have an honest, direct give and take. Someone you can trust to say that ‘maybe this line didn’t work’ or ‘this part is clunky’ but in a way that is a solid unified vision and which doesn’t sacrifice the story.
Also, for those starting off or who consider yourself without resources – I’ve stuck pretty staunchly to a formula. Essentially: 1.) Write play. 2.) Have those nearest and dearest (though honest and constructively critical read and give you edits) 3.) Sit on it for a few weeks, a month even. Let it sit in your brain. 3.) Edit. 4.) Invite actors/directors/friends who aren’t even in theatre over – have pizza and cheap beer. Read it together and take notes at the end. I’ve gotten such incredible feedback from people in all modalities. 5.) Edit and let it sit for a while. 6.) Repeat step #4 if you feel it’s needed, if not then send your baby out into the world.
Rejection will come in spades. It will sting like crazy at first, but your skin can toughen. This isn’t to say you can’t get upset sometimes – I still get rejections for festivals or publications that I really want. Some people even choose to glorify this in a mechanism of coping/resolution. Just don’t stop.
Diversify. As you can imagine, there’s a small percentage of writers who can make a living from their writing alone. Expand your horizons. Write a short story, a poem, check out freelance gigs - anything. Always be increasing your body of work. I currently write four music reviews per month for new album releases, have dabbled and loved sketch comedy writing, and it’s helped my body of work infinitely.
As you may know I hold two black belts and own a small martial arts school, I can't help but notice on your resume it says your trained in stage hand-to-hand combat... what was that like?
It’s a lot of things – equal parts scary and fun. It’s really all about being in safe hands and communicating with your partner. I’ve had my share of bumps and bruises (minor concussion, torn ankle ligament, fell through a cheap table) that were results of miscommunications in fight/movement scenes and really no one’s fault in particular, but something that can take you out of a scene and play. And on the other hand, I’ve been with such excellent fight partners and choreographers that even while amidst rehearsing and fully immersed in the character/scene – they were cognizant of my body hitting the ground safely.
Do you consider yourself an underground artist?
If we’re to define ‘underground’ as edgy and out of the mainstream, my answer would probably be no. I’m far from the other end of the spectrum (safe/mainstream) but think I just fall in the middle. I’m beyond lucky to have been granted the productions for my work and the opportunities I’ve been able to create.
What's on your recommended reading list? Favorite author?
A few favorites of the top of my head: Austin Grossman - ‘Soon I Will Be Invincible’; Michael Chabon – ‘The Adventures of Kavalier and Clay; Charles Baxter – ‘Through the Safety Net’ (amongst many others of his); Tom Robbins – ‘Fierce Invalids Home from Hot Climates’ (amongst others); as well as the works of Tim Dorsey, Ann Beattie, John Updike, and Pablo Neruda.
Listen to music while you write? Who?
I usually do listen to music while I write. If I get frustrated and hit a wall or the aforementioned (gasp!) writer’s block, I shut it off and go into hiding or self isolation. A few favorites – Dave Matthews Band, The Killers, Dianna Krall, Eddie From Ohio, Dispatch, and many others.
What's your secret for memorizing lines?
My secret would be handwriting all my lines. Seeing them in my own (chicken scratch) penmanship somehow personalizes it for me and makes it feel a bit more organic.
What's next for Michael T. Weems?
Lots! My full length play Wincing at the Light goes up in NYC at the end of this month (February 25th-27th). I have a few pieces being published soon – the premiere of my short story ‘Upside Down Sky’ and several poems. Currently about ½ way done with my first rough draft for a new full length – a modern American take on arranged marriage. Lastly, a new world. My wife, two sons, and I are moving permanently to Texas in a few weeks.
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