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| Playwright/librettist E. M. Lewis |
Monday, March 16, 2015
Friday, March 13, 2015
More Opera, Coming Soon!
I'm pleased to be continuing my work in American Lyric Theater's Composer Librettist Development Program. My next project in the the music world is a family-friendly opera that I'm developing with composer Evan Meier. Glad to be working with Evan again, with ALT again, and on something for young people.
I'll be back on the east coast for a week-long intensive with my talented colleagues in the CLDP in April. If you'd like to get a sneak peek at our fairy-tale inspired projects-in-progress, I hope you'll join us for the Living Libretto: Once Upon A Time event at Opera America on April 11!
Click here for more information, and to buy your ticket!
Monday, March 2, 2015
In the USC News
Nice little article about my path to playwriting in the USC News Magazine this month, written by Desa Philadelphia.
Check it out by clicking here!
Check it out by clicking here!
Thursday, February 12, 2015
Great Review for NYC Production of "Heads!"
Great review of the February 2015 production of "Heads" at Theater for a New City in New York City! So glad I was able to see the production when I was on the east coast.
"...this provocative and suspenseful play also offers audiences the opportunity to experience this issue through the eyes of an exceptional playwright."
"The cast of this production delivered their roles with emotional clarity and skill. Robert Jordan delivered a fine and moving performance as Harold, the American engineer. Carol Jacobanis did an excellent job as the British embassy worker whose life has been torn apart and who now has to live with the threat of torture or violence at any moment. Seamus Maynard’s portrayal of Michael, a network TV journalist, is also exceptional. Gabriel Gutierrez delivered the most powerful performance from this finely tuned ensemble as the freelance photographer. Director Lewis H. Gould also did a wonderful job bringing forth nuanced performances from his cast and avoiding melodramatic interpretations."
"Playwright E.M. Lewis has written a play that avoids portraying the political and the sensational aspects of a hostage crisis. “Heads” reveals the human and intimate emotional details of what may occur behind the closed doors of a terrorist prison. “Heads” is a play that deserves to be seen by larger audiences."Click here to read the review in full.
Tuesday, January 27, 2015
THE GUN SHOW NJ - 3 Feature Articles!
After an exciting world premiere production in Chicago over the summer and a sold out run of a second production in Los Angeles in the fall, THE GUN SHOW is having its third production in eight months right here in New Jersey. This play -- which is about guns and gun control, and my own personal experiences with both -- is playing at Passage Theater in Trenton from January 22 - February 8. It is directed by Damon Bonetti, and features Trent Blanton. I will be there for all performances... so if you do come, please say hello!
Details and ticket information can be found here: http://passagetheatre.org/gun-show/
And check out these three feature articles about the show. (Beware of spoilers, though! They got 'em.)
http://www.centraljersey.com/articles/2015/01/21/time_off/entertainment_news/doc54bf47412afd0238184058.txt
Feature article: Ellen Lewis has a Gun Story
Feature article: Gun Play Opens at Trenton's historic Mill Hill Playhouse
Saturday, January 24, 2015
The Gun Show - Endings and Beginnings
I've never had a show close in one city and open in another on the same day. But that's what's happening today. "The Gun Show" is having its final performance at Moving Arts, in Los Angeles, this evening. And it's opening night for the Passage Theater Production of "The Gun Show" in Trenton.
Beginnings and endings.
Endings and beginnings.
It couldn't be more appropriate, really. Because this play is all about endings and beginnings. Beginnings and endings. I go back and forth on the order, in my head. This play is a door, and... I think I get to decide which direction to go through it.
I started this play in the middle. By which I mean Chicago. But maybe I mean more kind of middle than just that. (Everything is a metaphor today.) It's a rather intimate and personal play, and when it premiered at 16th Street Theater, I was still, in many ways, figuring out what it wanted to be, and how to manifest it up on stage. I was very lucky to have Kevin Fox dramaturging and directing and occasionally holding my hand and propping up his overwrought playwright (do they teach that in directing school?). I was very lucky to have Juan Villa up on stage, telling my story with all of his skill and empathy and humor and charm.
When I went to Los Angeles, to work with director Darin Anthony, and actor Chuma Gault, and producer Cece Tio who were putting the play on stage at Moving Arts, I knew more about how the play worked. But it is a city where some of the major action of "The Gun Show" took place. It is a place where I lived for a long time -- first with my husband, then alone. It is the place where I lost everything, and began again. It is the place where I became a playwright. It is a place where a lot of people know me, and it was difficult to tell people I know and love this story. But I'm glad I did. Thank you, Chuma, for bringing all your ferocity and grace to my gun show.
Some of the action of "The Gun Show" occurs in New Jersey and New York, too. I lived here for three and a half years, and made strong and enduring friendships. Passage Theater in Trenton premiered my play "True Story" last season, directed by Damon Bonetti, and it feels very right to now be working here, with Damon, on this play, which *is* a true story. (Funny how that works.) We've had two previews, and already it feels uncomfortably revealing to be sharing this story with people who I know and love. (Why are strangers easier? But they are.) Edward Albee once said that theater should afflict the comfortable and comfort the afflicted. I've always liked that. Playwright Robert O'Hara once remarked that he was trying to create theater where everyone was welcome and no one was safe. I like that, too. And the playwright herself shouldn't be exempt from being welcome and afflicted and unsafe and comforted. So it's very right to be doing this play here, and now. I'm feeling all of those things. I'm also feeling grateful for yet another wonderful actor who has taken up this story and made it his own. Thank you, Trent, for the fearlessness and vulnerability and intelligence that you are bringing to "The Gun Show."
Here I am, standing in the doorway.
Open the box, Ellen.
Light a match. For light, not for burning.
Begin a conversation about this.
Choose the direction that is forward.
Beginnings and endings.
Endings and beginnings.
It couldn't be more appropriate, really. Because this play is all about endings and beginnings. Beginnings and endings. I go back and forth on the order, in my head. This play is a door, and... I think I get to decide which direction to go through it.
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| Ellen Lewis and Juan Francisco Villa, in the 16th Street production of "The Gun Show." |
I started this play in the middle. By which I mean Chicago. But maybe I mean more kind of middle than just that. (Everything is a metaphor today.) It's a rather intimate and personal play, and when it premiered at 16th Street Theater, I was still, in many ways, figuring out what it wanted to be, and how to manifest it up on stage. I was very lucky to have Kevin Fox dramaturging and directing and occasionally holding my hand and propping up his overwrought playwright (do they teach that in directing school?). I was very lucky to have Juan Villa up on stage, telling my story with all of his skill and empathy and humor and charm.
 |
| Chuma Gault in the Moving Arts production of "The Gun Show." |
When I went to Los Angeles, to work with director Darin Anthony, and actor Chuma Gault, and producer Cece Tio who were putting the play on stage at Moving Arts, I knew more about how the play worked. But it is a city where some of the major action of "The Gun Show" took place. It is a place where I lived for a long time -- first with my husband, then alone. It is the place where I lost everything, and began again. It is the place where I became a playwright. It is a place where a lot of people know me, and it was difficult to tell people I know and love this story. But I'm glad I did. Thank you, Chuma, for bringing all your ferocity and grace to my gun show.
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| Trent Blanton in the Passage Theater production of "The Gun Show." |
Some of the action of "The Gun Show" occurs in New Jersey and New York, too. I lived here for three and a half years, and made strong and enduring friendships. Passage Theater in Trenton premiered my play "True Story" last season, directed by Damon Bonetti, and it feels very right to now be working here, with Damon, on this play, which *is* a true story. (Funny how that works.) We've had two previews, and already it feels uncomfortably revealing to be sharing this story with people who I know and love. (Why are strangers easier? But they are.) Edward Albee once said that theater should afflict the comfortable and comfort the afflicted. I've always liked that. Playwright Robert O'Hara once remarked that he was trying to create theater where everyone was welcome and no one was safe. I like that, too. And the playwright herself shouldn't be exempt from being welcome and afflicted and unsafe and comforted. So it's very right to be doing this play here, and now. I'm feeling all of those things. I'm also feeling grateful for yet another wonderful actor who has taken up this story and made it his own. Thank you, Trent, for the fearlessness and vulnerability and intelligence that you are bringing to "The Gun Show."
Here I am, standing in the doorway.
Open the box, Ellen.
Light a match. For light, not for burning.
Begin a conversation about this.
Choose the direction that is forward.
Monday, January 12, 2015
2015 Starts Off with a Bang!
The new year is busy, busy, busy already! It's so nice to be working. I have three shows up in January, and one in February, and I hope that you'll check them out if you are in the vicinity!
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| The Gun Show/Los Angeles by EM Lewis extends its production run into January at Moving Arts! |
The Gun Show/Los Angeles: extended! Jan. 17-24 at Moving Arts
The Moving Arts production of The Gun Show has extended, so you have three more chances to see it! Directed by Darin Anthony. Featuring Chuma Gault. Produced by Cece Tio. Congratulations to the Los Angeles team! movingarts.org
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| The Gun Show/Trenton by EM Lewis runs from January 24-February 8 at Passage Theater. |
The Gun Show/Trenton: Jan. 24 - Feb. 8 at Passage Theatre
I'm getting ready to spend a month on the east coast, where the Passage Theatre at the Mill Hill Playhouse production of The Gun Show in Trenton is going to be taking the stage. Directed by Damon Bonetti. Featuring Trent Blanton. Damon directed the world premiere of my play True Story at Passage in 2012, and I'm delighted to be working with him again, and with everyone at the playhouse! passagetheatre.org
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| Infinite Black Suitcase by EM Lewis will be playing at St. Louis Park High School in Minnesota from January 16-18. |
Infinite Black Suitcase/St. Louis Park High School: Jan. 16-18
If you're in Minnesota, you can check out the St. Louis Park High School production of Infinite Black Suitcase. This is a high school production. Support kids making theater!
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| Heads by EM Lewis will be playing at Theater for the New City in NYC from February 2-14. |
Heads/Theater for a New City in NYC: Feb. 2 - 14
My play Heads -- a hostage drama set during the early years of the Iraq War, winner of the Primus Prize from the American Theater Critics Association -- is going up in New York City. Tickets will be available soon, so stay tuned for more information!
http://www.theaterforthenewcity.net
http://www.theaterforthenewcity.net
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I'm packing my parka for NJ/NY -- and hope to see some of you when I'm out there, which will be from January 14 through February 9 or 10. I'll be down in Trenton for the most part, with my production of The Gun Show, but will definitely try to take the train into New York City for a few days as well, and maybe down to Philly and DC for a couple days, too. After New Jersey, I'm going to be in Chicago (or thereabouts) for a little writing retreat for a week or so. And then I go to Ellensburg, Washington for a few days, to be a playwriting respondent for the Kennedy Center American College Theater Festival, Region 7, and teach a playwriting workshop entitled "Writing Our Own History." Back home to Oregon again after all that, I think! Until the next thing comes along...
Happy new year, everybody!
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