John Rosenberg came to Philadelphia from California, put on a bunch of great plays in a converted industrial building in Kensington, then left Philadelphia for California. We became friends, and I asked him to write about his thoughts on the city and its theater.
– Christopher Munden, editor
i love love love love love love love love love philadelphia. when i think of philly i think yes yes yes yes yes yes yes yes. My lady friend for eternity is from philadelphia so what is not to love? It is white wine and 24 packs of tall cans of becks for $20 and parliaments my wife bought and fuck i should really eat something i didnt eat dinner i should eat a cheesesteak from little petes before going to bed for work the next morning. it is quarters of xanax when i got to work, 30 minutes of work spread over eight hours while working on a play and then printing out a copy after my boss left and regional railing it home and hooray my wife wants martinis and then smoking all her cigarettes and watching tv and working on a play.
philly is where i figured out for the most part how i wanted to try to do whatever the fuck it is i do, which is write plays and find actors to be in them and then put on the play and hope the actors die before i have to pay them.
philly is where i hit the fucking lottery and got the chance to have my very own theater i could rent for $6000 a year in kensington.
philly is where i got not legally married to my wife.
philly is where a dude asked to rent the theater and then stole all the fucking lights but got caught by a neighbor.
philly is where my wife’s father threatened to kidnap a site reviewer from the pew foundation.
philly is where i was on a ladder in the papermill theater trying to turn on a ceiling fan for a fucking actor and the fucking ladder collapsed because i am an idiot and i fell 15 feet onto my elbow and there was a piece of my elbow floating but i didnt have health insurance so I just left it the fuck alone for three months
philly is where a critic got stopped by the police after one of our shows because they thought she was a prostitute.
philly is where a cast got an outstanding fucking review and a fight broke out during a pick-up rehearsal.
hello! i hope you are working on a thing. maybe in your head or in whatever medium you do shit. but i hope you are working on a thing. i hope you are working on the thing and planning on putting it on somewhere in philly. i hope you pay to put it on and don’t wait for someone else to do it for you. unless your shit is super good or you got it like that.
i really think it is fantastic when people make stuff and then put it on. it is the fucking best.
it is hard to do and hard to earn respect but it is the best. it is YES YES YES.
there are people who are straight up and down real motherfucking talented artists and get their shit put on by the pew foundation or fringearts or the powerhouse theater companies in town and win barrymores and shit. People like Gaby Revlock and the young dude who does shit with the people that i cant remember his name but he is a nice dude and knows how to go about getting his shit done. Not Brad. Fuck. What is his name? I can do this without looking it up. He wrote the play shitheads that azuka is putting on.
i dont have the courage to send my shit out so i like to do it myself.
chris the brit asked me to write this thing on my time in philly. What is heehaw is i just did my taxes from my time in philly. i should have done them before, yes, but i dont have the courage to send my shit out.
My wife and I did seven full length shows and a bunch of shorter things from september 2010 to feb 2014 in a warehouse in kensington called the papermill. i think we spent about $30,000 and made about $1.00 in ticket sales.
there is a way to talk about this stuff without it reading like glory days shit and you had to be there bullshit. i am sure there is, but i am unsure how to do that. maybe by mentioning i think i made about $1500 in ticket sales and spent over $30,000 to play make believe. this does not include late penalties from the irs. i am also sure that my shit is never gonna be as great as it was there, so boo-hoo for me, hooray!
the papermill is still there as of this morning. You should rent it and put on a play. Why the fuck not?! Rent it and tell people to see the show! take the market frankford line and get off at somerset. ask anyone where the local theatre is, because you are there to see people play make believe as they trot lightly on the boards. they will point you in the right direction.
i miss that shit hella but thank the fuck god i got out of there before someone got fucked up. THANK FUCKING GOD. i used to say that the papermill was the most dangerous theater in america and that shit was slightly true. you could get fucked up coming to see a hella fresh theater show in soooooo many various ways. you could get in a car accident, but whatever. you could get your ass beat getting off at somerset. highly unlikely, but i also did my shows during the day. you could decide that you wanted to take the edge off before a show and get pills or a bag of something and there was no better place to do that than at the somerset stop. you could be a season subscriber to hella fresh theater and die from the fucking mold or the asbestos. you could come see a show in the dead of winter that we heated the theater using open flamed propane tanks and this thing best described as a jet engine/banshee and one of the actors could have kicked it over and KABOOOOOOOOOOOOOOOOOOOOOM. you could have died from boredom from the bad shows i put on or attempted to drink away the pain from the show you saw OH MY GOD I SHOULDNT HAVE SMOKED IN BED AFTER THAT TERRIBLE SHOW BUT I WAS SO DRUNK BUT NOW I AM IN HEAVEN AND CAN SEE ALL THE THEATER I WANT FOR FREE.
i consider myself a philly playwright, whatever that means, hooray. i would get sick before every show i put on. i would feel terrible until the actors for the show got to the theater. it is a terrible thing to say, but actors make me feel safe. i love them. i look forward to when i will be able to use cyborgs and not have to pay them.
my time in philly was shaped by my friendship with josh mcilvain. he interviewed me for the fringe back in 2010 because of the space in kensington. we saw each other’s work and saw enough in each other that we respected so we became friends. josh is a super real playwright and is a great fucking writer and knows what he is and what he isn’t. we read each other’s stuff, gave notes, took turns directing each other’s shows. the thing i miss most about philly is working with josh. he has his eye on getting put on by companies and shit because he isn’t a moron, but josh is devoted to making new shit and putting it on. his nice and fresh series is an awesome vehicle for artists looking to show their new polished work. if you are gonna do a nice and fresh, don’t be a useless talent, help set up and clean after the show.
Doing theater in los angeles is like in philly, except it isnt. there is a theater alliance here in los angeles and it seems as stupid and worthless as the philly shit with the barrymores and large companies acting like they care about the work and the idea of community in theater. there are people banging out great work, people putting on stuff just to get noticed and people using it as a step ladder, just like philly.
i have put on three shows in our apartment in los angeles. All of them are plays that take place in apartments. i dont think it was good because it was in an apartment. it was good when it was good and bad when it was not good. actors have a few great shows, a few not great shows. one actor kept sleeping in our backyard without our knowledge or consent. I am right now trying to figure out how to turn our living room into an russian airport for a play called let it snowden.
but hooray! kiss my dog pussy with the negativity and just do some new work! everyone is a champion! If you are working no a thing and want someone to read it or want to run an idea by someone, email me at firstname.lastname@example.org.
Previously published by Curate This.