Sometimes Y is about two men in love, continually orbiting the same relationship, but rarely finding alignment. This story is a collection of memories that creates the universe in which the characters exist, how it was formed and how it unravels.

What aspects of the play were you looking to explore during the workshop?
Sometimes Y is a play written in spoken word, poetry, and contemporary dialogue. It relies on the sounds and rhythms of the words to create the structure for these memories to exist. It brings the story and presents it in an imagistic way that hopefully anyone can relate to regardless of gender, orientation, or belief. I wanted to explore how my text could inform the physical action in the piece, while still giving much room for creative freedom within the performer.

What did you discover about your script or yourself during the workshop?
How intricate the words were, and how poignant they can be when used effectively… and adversely how ambiguous they can be when used frivolously. I discovered the major themes and questions that needed to be addressed –they just seemed to pop out — a new realm of storytelling, and the creation process with text at a table –where as I am used to rolling around on the floor.

What was the greatest benefit of the workshop?
Working with amazing people. Lisa O’Connell is such an amazing mentor and obelisk of knowledge. She adapted to my learning process. She struggled with me, wrestled with me, and patiently ripped off the band aids when questions needed to be asked. She nurtured the good writing and efficiently made me aware of areas that could be excised.

Trevor Copp and Dan Nicks, the actors at the workshop, both have distinctly unique approaches to the work. The value of their perceptions to my work was immeasurable. It is a privilege to be able to put you work on another person’s body. These incredible artists speak your words, move to your action, and feel to your design — while bringing their own stories to the table. It makes the work full, it is an honor, and I’m grateful.

Any final comments you’d like to add?
This piece was inspired by a break up, and the stories of so many friends and loved ones who shared their hearts with me. I wrote it during Pat the Dog’s 24-Hour Playwriting Contest after seeing some amazing dance. I had no expectations going in and didn’t think much of the piece when it was done. But I learned a lot more than I thought I did. And I appreciate the potential that people saw in the work. When encouragement is sincerely felt, it makes you confident, and hopeful — which is a great inspiration to keep writing. Thanks PtD!

The piece explores a woman’s struggle to shake the ghosts and voices of her past as she struggles to move forward and allow herself a chance at happiness.

What aspects of the play were you looking to explore during the workshop?
I initially wrote this piece as a short story and have struggled to adapt it into a theatre piece without losing the lyrical quality of the writing from the short story. There are three versions of the character of “Mary” at three specific points in her life. My main goal was to deconstruct the three different “Mary’s” and give them each a distinct voice. I also wanted to explore ways to create action through memory and create a linear structure to the piece while navigating the unstructured human mind. Not an easy task!

What did you discover about your script or yourself during the workshop?
I discovered so many different things about both this script and myself during this process. As the workshop continued, I had to come to terms with the fact that this piece is not your traditional narrative. I always envisioned the piece as highly physical with potent images as its backbone. The style of the piece is a huge departure for me and it dawned on me as the workshop progressed that this piece is a fusion of physical theatre, images, music and text that requires a very different approach than I had originally anticipated. It’s a very exciting prospect and I look forward to tackling the piece with this in mind. It was a very liberating discovery.

As for what I discovered about myself, there were too many to list. It’s a vulnerable experience having your words spoken aloud and dissected by a group, but the workshop reaffirmed for me my love of collaboration. Working with all these different people and opinions could have been daunting, but I welcomed the feedback and ideas and realized once again the power of the collective mind.

What was the greatest benefit of the workshop?
The workshop was like a crash course in playwriting for me. I actually loved having a “deadline” for rewrites every night before the next day of working. Sometimes I find myself procrastinating while I write and this process forced me, (in a gentle way) to push through any obstacles and work my way through them. I made more strides with this piece in the three days of the workshop than in the last few months on my own.

I can’t tell you how instrumental Lisa and Pat the Dog have been, not only to my development of this piece, but also as a playwright. It’s a blessing to be given this kind of support and a safe environment to play and explore and exchange ideas with the only goal being to help develop work.

Trevor Copp’s adaptation of Herman Hesse’s novella, Journey to the East, was workshopped at the MT Space rehearsal hall.

Using stone, sand, water and chalk with distilled movement, this physical theatre creator was able to push his strong images, thereby freeing up the text captured within. The result?  Renewed focus and an energized clearer draft.

Actors pictured clockwise from top left, Ryan Kotack, Vicki Sullivan, Trevor Copp.