David Bowie became a part of my life, one summer, in San Francisco. I was doing a summer program at San Francisco State with other young actors. I was enthralled and terrified. Margaret Cho was in my class. These kids were hardcore. I thought I was awful. And I was pretty awful, we were devising and self generating and I felt very much at sea.

There was another kid who was in the same boat as me. She went to school with Margaret in SF and I could tell, we were both, aliens in this strange new land. She was tall, had her close cropped hair dyed bright orange and wore scads of glitter makeup. She was shy and funny and cool and she invited me to visit her house in the Mission district, which back then was where the poor people lived. It was run down and a magnificent place to get into trouble. She lived with her dad, they both smoked tiparillos, so the house smelled strongly of tobacco and incense. And cat. 

Up in her room we chatted, did our hair, putting on so much Aqua-Net that we burned our very own hole in the ozone layer. She put the needle on “Ziggy Stardust and the Spiders from Mars” 

I couldn’t move. I almost didn’t breathe. What was this sound? This otherworldly sound, this sound that glittered before my eyes like a mirage! I saw that sound. I remember it as clear as anything. It was gold and silver and ohmygod…

Bowie. 

Bowie came into my life, he invaded my soul. A life giving parasite alien presence of fun, and naughtiness and brilliance. He didn’t care. Or he did. Or he cared so much. Oh he was so much. So original, so beautiful.

And brilliant. The Pied Piper of the freaks and weirdos. Our patron saint.

Saint Bowie, the man who fell to earth.

Bowie has always had a place in my life. A perfect song for any moment. An exhortation to be brave and fearless and do things with style and wit and grace.

I don’t believe in heaven or hell. But I believe in Bowie. As his massive energy takes its leave from us and back into the star stuff, I sit with tears in my eyes and say thank you for letting me be a part of your life. You taught me so much.To lead a theatrical life. To lead. To innovate. To never stop dancing. 

There's a Starman waiting in the sky

He'd like to come and meet us

But he thinks he'd blow our minds

There's a Starman waiting in the sky

He's told us not to blow it

Cause he knows it's all worthwhile

He told me:

Let the children lose it

Let the children use it

Let all the children boogie.

  

An interview on Grand Central Stage
What does it take to be a writer? As an actor, how do you create your own projects? We asked accomplished and award winning writer, actor, and producer Diana Burbano (Silueta, Fabulous Monsters) about her creative process and what it takes to be a successful playwright. 

Diana teaches playwriting and acting at South Coast Repertory check out her classes at

http://www.breathoffire.org/2015-10-week-summer-playwrig…/…/

http://www.scr.org/…/fundamentals-of-acting-act-i-basic-ski…

You can also check her out at 

https://newplayexchange.org/users/734/diana-burbano

http://m.imdb.com/name/nm0120750/

1. What started your passion for writing?

I started to understand that if I wanted to act in spectacular roles written for women like me, I was going to have to write them. My first play, Silueta, a collaboration with Tom Shelton and Chris Shelton, was written expressly as a two hander that Tom and I could perform together. The play took on a life of its own as it started to win awards and get readings around the country. That led to my becoming a part of the inaugural writers circle for the Latino Theatre Association/ Los Angeles. For them I wrote a play about women in Punk Rock, “Fabulous Monsters”, And my writing career took off from there.

2. When people give you feedback on your writing, how do you decide what notes to incorporate? 

I try to listen and absorb. I will take feedback from a dramaturg, from a fellow playwright, from a seasoned actor, and if it rings true to my ultimate vision for the story I am trying to tell, I will incorporate it. I’m always especially excited to work with actors who can really get into the skin of the characters. I take it seriously if someone says, “Would she really say that?” Because they are inhabiting and breathing the life. Sometimes one of my actresses will say something, and I realize that the character needs to go in a different direction, so that she can be truthful to her intent. Audience feedback? I’m a bit less eager to receive. Everyone wants to rewrite your play and tell you how to make it better. It’s cool! Write your own plays! I was once at a audience talkback for Silueta and a lady said she didn’t believe the story was at all plausible. I had to tell her it was a true story. She was mad. I do have certain people I LOVE and will always ask to be in my plays. A good actor gets under your skin and you realize that you are writing roles just for them.

3. How important are festivals like the Fringe? What are the best festivals you recommend? 

I absolutely LOVE festivals. I think they attract the smartest, savviest audience members. (Young ones too! Not knocking our older patrons, but…) The Hollywood Fringe is exciting, as is New York, Edinburgh of course, is the gold standard. (Tom still talks about his time in Edinburgh, drinking and telling stories in a pub and realizing his show was about to go up, he had to pelt through the streets to make curtain.) This is where the fearless work is done.

4. How important is following a structure/formula rather than trying to create your own story telling style? 

Plots are important. Plotting plays might be my least favorite part of it, as I like to write, write and over write. But I learned a lot from Luis Alfaro and the questions he asked me as I was working on “Monsters.” Why? Why is this happening, What does the character want? Is she going to get it? You have to have a good idea of where to begin and where to end. And for pete’s sake, get that inciting incident in there! Audiences aren’t too patient with the meandering playwright anymore. O’Neill would be in trouble! I kid, I kid. 

5. Is self producing a project the best way for a new playwright's work to be seen? If not, what would you recommend?

Ya know, I don’t know. I put a lot of my energy into submitting plays to theaters that i think might be interested in my work. I am so collaborative, I wouldn’t want to be the lead on one of my own projects. On the other hand, self producing is autonomy, and you can do EXACTLY what you want to do. However there is the sad fact that it is so damn difficult to get press for your play. I know projects where that’s where the majority of the budget went, and it still didn’t bring in the audience. If I could figure out the secret to getting butts in seats? Then yes absolutely I would self produce.

6. What do you do when you personally get writer's block?

I am an avid and obsessive researcher. Usually if I don’t have inspiration I read everything I can get my hands on on the topic. If that still doesn’t spark anything I write the worst, lousiest, rotten, cringe inducing whatever, just to get something down on paper. I write arguments with myself, or with people I love. I keep going through the muck. Writing seems to breed more writing and eventually I can get on track.

7.What piece of advice or information do you wish someone had told you when you started writing? 

I think I was pretty lucky. I’ve done MANY original plays and musicals as an actor. I’ve been on the other side of the table and observed how the writers and composers behaved in the room.Also, I have had a lot of people helping me out, and have some unbelievably generous fellow writers that i consider friends. One piece of advice I would give; find a community, a writers circle, people you trust. Writing is really lonely and tedious. Getting in a group imposes deadlines and gives encouragement where needed. Good friends can also be gentle when something is not as good as you want. Always work with people you like and trust. I can’t give you any better advice than that! 

8. As an actor, what are your feelings on writing for yourself or creating your own project? Any advice for those wanting to take that leap? 

DO IT! It is unbelievably empowering. Especially since as actors we tend to be at the bottom of the totem pole. Nothing but good comes of embracing a topic passionately and creating the perfect role for yourself. The surprise for me was that OTHER people wanted to play the roles i wrote for myself! So clearly there was a need. There are lots of examples. You could do a play about your favorite historical personality, a news item that gets under your skin, based on music you love. If it feeds your passion. It is the right thing to do

What does it take to be a writer? As an actor, how do you create your own projects? We asked accomplished and award...
Posted by Grand Central Stage on Friday, January 8, 2016

From Howlround. I am proud to be on this fierce list!

“Where can we find Latina/o plays?” “Who’s writing?” “What’s new in that crazy scene?” At a tipping point for the American theatre—during which the centralizing theme of last year’s TCG Conference and this year’s LORT Conferences is equity and inclusion, the TCG-led Diversity and Inclusion Institute is creating momentum across the country, seemingly every theatrical union (AEA, SDC, USITT) and organization (TCG, LORT, Broadway League, Grantmakers for the Arts) have crafted statements and action-plans towards creating equity and inclusion in the American theatre—well, these questions are more than questions. They are crucial inquiry towards the creation of an American theatre that accurately reflects the citizenry of the United States in the twenty-first century.

On November 1 2013, I published a HowlRound post titled “Towards a Hub for Latina/o Theater Artists” detailing the void left by the 2003 and 2004 losses of the Hispanic Playwrights Project (HPP) at South Coast Rep and the Latino Theatre Initiative (LTI) at the Mark Taper Forum. HPP, under the curatorship of José Cruz Gonzalez and then Juliette Carrillo and LTI, under co-directors Luis Alfaro and Diane Rodriguez, created magnetic centers for new Latina/o work. They not only provided a nexus for artists to cross-pollinate, they provided theatre decision-makers from around the country a yearly roster of Latina/o plays and writers to take note of. When HPP and LTI disappeared, that easily accessible roster of new plays and artists disappeared as well and the crucial questions raised above became challenging for the average theatremaker to answer.

The totality of the plays submitted for consideration represents the depth and breadth of artistic ambition within the Latina/o theatremaking community.  

It is my hope that Carnaval 2015—which is an initiative of the Latina/o Theatre Commons (LTC) and will run July 23-25 at the Theatre School at DePaul University in Chicago—will make answering these questions easy. The morning after the submissions window closed at midnight on January 31, the LTC Selection Committee* awoke to an embarrassment of riches: eighty-eight new plays by some of the most exciting voices in the American theatre. The LTC had committed early on to producing readings of eight plays and the winnowing process was grueling. The committee went through three rounds of readings—reducing the selections from eighty-eight, to thirty-six, to nineteen plays. Last week the LTC announced that twelve plays would be featured in Carnaval 2015—eight in readings, and four others to be honored and distributed to all attendees. Frankly, the committee, despite the one weekend time limitation of the Carnaval, did not want to settle on eight. The field is too rich. The twelve plays to be showcased at Carnaval 2015 are just the tip of the iceberg. 

The totality of the plays submitted for consideration represents the depth and breadth of artistic ambition within the Latina/o theatremaking community. The selections for Carnaval 2015 point to a deeper pool of talent. Carnaval 2015 intends to call attention to that pool and encourage theatres to both update their literary rosters and reinvigorate their curiosity about the new Latina/o theatre. With these goals in mind, please allow me to introduce you to thirty-six plays and writers that everyone should know.

For a complete list of submissions, or for copies of complete scripts contact LTC Producer Abigail Vega here.

• Mando Alvarado, Parachute Men
• Elena Araoz, Two Arts and a Noise
• Ari Belathar, La Danza del Venado
• Ricardo Bracho, When the Chunt Comes
• Diana Burbano, Fabulous Monsters
• Fernanda Coppel, King Liz**
• Migdalia Cruz, Satyricoño
• Georgina Escobar, Sweep
• Joann Farias, Adventures in Pornography
• Estela Garcia, Remedios Varo: La Alquimista
• Amparo Garcia-Crow, Appeal: A Musical in Two Acts
• Anne Garcia-Romero, Mary Peabody in Cuba
• Isaac Gomez, The Women of Juarez
• Magdalena Gomez, Perfectamente Loca/Perfectly Insane
• Vicki Grise, Siempre Norteada: Always Late, Always Lost
• Andrea Herrera, Pearl of the Antilles
• Darrel Alejandro Holnes, The Homecoming
• Melinda Lopez, Back the Night
• Carlos Morton, Brown Buffalo
• Matthew Paul Olmos, the livin’ life of daughter mira
• Marisela Treviño Orta, Wolf at the Door
• Milta Ortiz, Mas
• Christina Quintana, Evensong
• Jelisa “Jay” Robinson, Back with the Black and Down with the Brown
• Diane Rodriguez, The Sweetheart Deal
• Emilio Rodriguez, Swimming While Drowning
• Marco Antonio Rodriguez, Barcelo on the Rocks
• J. Anthony Roman, In Justice
• Elaine Romero, Wetback
• Octavio Solis, Mother Road
• Caridad Svich, This Thing of Ours
• Andrea Thome, The Necklace of the Dove
• Karen Zacarías, Into the Beautiful North
• Martín Zimmerman, Stranger

***

*The LTC Carnaval 2015 Selection Committee included:

• Juliette Carrillo, Director, former Artistic Director of the Hispanic Playwrights Project
• Jose Carrasquillo, Director
• Sandra Delgado, Actor/writer/producer, Co-Artistic Director, Collaboraction Theatre
• Teresa Marreo (Spanish-Language plays), Associate Professor of World Languages, Literatures and Cultures, University of North Texas
• Irma Mayorga, Assistant Professor of Theatre, Dartmouth College
• Marc Pinate, Producing Director, Borderlands Theatre
• Lisa Portes, Director, Head of MFA Directing, The Theatre School at DePaul University

** King Liz was removed from consideration for Carnaval 2015 because it will receive its world premiere at Second Stage in New York this summer.

- See more at: http://howlround.com/presente-a-roll-call-of-new-latinao-plays#sthash.xWUWVzs5.dpuf

Congratulations Joan Jett on your induction into the rock and roll hall of fame!

In honor of Joan, here are some monologues she inspired:

Monologues for Woman 40's-50's
Fabulous Monsters Outakes
Copyright Diana Burbano 2015

#fabulousmonsters

If you use them, let me know!

Slade

I've read a lot of books by my friends. the ones who survived. Describing the scene, ya know? The ones who lived, we feel like we are the last word of the history. What pisses me off is that since SO many people are dead, that the only ones writing the history are the poser assholes who made it out alive. I guess I'm one of them.

It's really cool, to slag people off. 'specially people like Patti and Debbie. Jesus, when don't you read that Debbie and Belinda "got fat"? Everyone "got fat"! man. we had no money to buy food, what money we had we spent on drugs, and one show burnt about a million calories. Start acting like a norm, and the weight comes on pretty fast. The people I know now, especially if Ive reconnected. It amazes me that so many of the people we considered geniuses were fucking mentally ill. We were a chic insane asylum. Didn't bathe? Collected Nazi memorabilia? Fucked 10 groupies a night? Geniuses. I recently saw a guy I knew walking outside what used to be Ed's in DTLA. He lived in a loft, but not one of those yuppified toy district lofts, he lived in a flophouse on the edge of Chinatown. The place was CRAMMED with junk. Clothes in piles to the ceiling. Cat shit everywhere. He had 3 gold records covered in dust and god knows what. He spent most of his time in bed playing Call of Duty. He used to be something big, but he was always a freak. His girlfriend used to pull me aside and remind me that he was a genius. Even back then i thought he was a wacko.

SLADE

I did get royalties, ya know. But we signed away every right we had. A pretty well known chick director wanted to use one of my tunes in her movie. That was a substantial check. I paid off my parents house! But then it was gone. Ive never been good with money.
Here's the problem. This shit just fizzles out. You're young you play your guts out. You spark, someone wants to record you! You tour, you cut an album. Path diverges. 1 you burn out and go back to school. 2 you die of an overdose. 3 you tour some more. Path diverges. touring sucks so you quit. You kill yourself. or you cut another album. No one buys it. You quit and go do something else. Or you kill yourself. ad infinitum. It's either death or normality. If you are the one half of the one percent who keeps going. It's cause yer mad. So what? So you get your pleasure where you can. Drugs are good. They make thing pretty for a while. Anything you do for self preservation is sort of a cop out. You are chill, or you are a person who enjoys shaudenfarude. Wanna know how people died? They OD'd but there's a lot of things that can happen. You don't necessarily die cause the drugs stop your heart. You choke on a sandwich. Or puke. You drown in your bathtub. You slice your arm open on the glass you threw and bleed out cause you're too high to notice. OR you do the other thing and top yourself, Hanging is popular. It's fairly simple and self explanatory, and If you are high while doing it it doesn't feel so bad. Cutting is harder, but only because human flesh is surprisingly tough. Shooting yourself, or your girlfriend. Stabbing your girlfriend. That was like a theme. I knew someone who ate glass. that didn't work so much. Drinking weed killer works but rots your insides a bit slowly so the death is agony. Disease killed a lot of us. AIDS mostly. No surprise how many people we lost, but MAN some people must've had immune systems of iron to get out alive. Bowie and Iggy. How the FUCK did they survive intact? Lessee... I knew a girl who was eaten by her cats, but we think she died from an OD first. sometimes I get together with friends from the early days and we try to figure out how many of our friends are dead. Last time we stopped counting at 57. It was too fucking depressing. Now that we are old, Cancer is eating up a lot of us. The chicks seem to get a lot of breast cancer. But that's possibly just the population at large and rock chicks aren't special. Or maybe our guitars are fucking us up.

Auditions for OC-centric: Orange County's New Play Festival

Monday, March 16 • 6:30-10:30pm @ Chapman University's Entertainment Technology Center, Room 103 (ETC 103)
607 W. Palm Avenue, Orange, CA 92866
(1/2 mile west of the main Chapman campus)

Callbacks: Saturday/Sunday, March 21-22, 10:00am-4:00pm @ Chapman University. (Different shows will be called back on different days; you may be called back for more than one play.)

**Auditions are by appointment. To schedule an audition within the time frame on March 16, please call (714) 628-7219 or email occentric@gmail.com.

**Please prepare a 90-second monologue from a contemporary play and bring 6 headshots with resumes (or just 6 resumes if you don't have headshots).

Performances are Aug. 20-30 @ Chapman University. Rehearsals begin in July @ Chapman University. There is some pay.

Breakdown – ALL ROLES ARE OPEN:

Fabulous Monsters by Diana Burbano – Sally, F to play 17, Latina, androgynous punk rocker; Slade, F, 50, Latina, Sally at 50, still angry, still punk; Lou, F to play 17, Latina, ambitious feminist, sweet voice, adept at guitar; Luisa, F, 50, Latina, Lou at 50, rock star living in Topanga Canyon; Kady, F to play 17, Luisa’s complicated, conniving daughter; Nigel, M, “ageless”, British punk icon. 

Grace Note by Robert Riemer – Dad, M, 50s, bald, restless, discouraged with life; Norman, M, late 50s, cynical with hidden demons, uses wheelchair; Michael, M, early 20s, tall, intelligent, sensitive; Christopher, late 20s, thin, stutters, disturbed; Mama, F, 40s-50s, a ghost; Lauren, F to play 17, a ghost.
Spoken Allowed by David Scaglione – Clark, M, 50+, physically weary, fed up with Lisa; Lisa, F, 30s, pretty yet hard-edged, fed up with Clark. 

Love’s Lost Words by Leonard Joseph Dunham – Harold, M, early 20s, awkward math major; Rita, F, early 20s, poetry major; Murray, M, late 60s-early 70s, loudmouth, touch of dementia; Martha, M, late 60s-early 70s, Harold’s wife, pillar of tired strength. 

Corrupt Impressions by Joni Ravenna – Brian, M to play 18-19, arrogant, prejudiced; Cole, M to play 18-19, bespectacled nice guy; Rajim, M to play 18-19, Indian-American, mature, upstanding; Katrina, F, mid-30s, college professor given to provocative teaching methods; Mr. Mittal, M, late 30s, Rajim’s dad, Indian-American, principled, great integrity; The Chancellor, F, mid-40s, pragmatic college officer. 

HamlEt (devised theatre project, directed by Tamiko Washington) - Hamlet, M to play 20-25; Ophelia, F to play 17-25; Gertrude, F to play 40-45; Polonius, M to play 50-60; Laertes, M to play 20-35; Horatio, M to play 20-25. 

**See the scripts online @ tinyurl.com/oa9zg8y

Make your audition appointment for March 16 now at (714) 628-7219 or occentric@gmail.com!