Conference Report

Last Frontier Playwrights Conference in Valdez, Alaska, 2005

By G. L. Horton
copyright © 2005 Geralyn Horton

After an exhausting two weeks of the Last Frontier Playwrights Conference in Valdez, Alaska, I returned home to take over my daughter's Pet Care business while she was on vacation--- so I'm catching up on sleep. My "The 11:08 Brighton: the Oldest Established Permanant Rolling Cast Party" went very well in Valdez, and I've now finished minor tweakings of the script based on the feedback I got at the reading. What a high it is to have work greeted with enthusiasm! I'm forming a theory that praise is directly proportional to the distance you have to travel from home to garner it.

Backstage did a write-up on the LFPC. The part that made my day goes "... many attendees commented that the caliber of the writing was uniformly higher than in previous years. Among the standout works were Mary Roseanne Katzke's 'Dancing for the Hunter,' Atar Hadari's 'The Lonesome Death of Janis Joplin,' Geralyn Horton's 'The 11:08 Brighton From London/Victoria,' Jennifer Williams' 'Edge,' ..." Read the entire Backstage article on the Last Frontier Playwright Conference.

Playwright Jason Grote has written up the conference on his blog. His comments are extensive enough that I don't feel I have to write it up myself. Read Jason Grote's comments on the Last Frontier Playwrights Conference in Valdez, Alaska.

A diary-like account of our Alaska adventures was recorded by Dan Trujillo on his blog. Dan gallantly and generously drove me and PP member Jonathan Myers and Meron Langner of NYC (but earlier of B.U.) from Anchorage to Valdez and back again, an all-day excursion each way, and he has recorded our progress -- with pictures-- in his blog entries dated June 17th-30th. Sean Bennet was at one point rumored to be the 4th passenger, but he flew in instead I believe-- anyway, he was on site when I arrived, and already checking out his actors for "Fall-Out"!

I took notes at all the LFTC panels and workshops with the experts that I attended, and I'd be happy to share these with whomever isinterested. That workshop I had the most fun in went note-less-- it was two 2 hour Movement classes, Spolin/Stills style, and I had such a blast! I used to teach these, but I hardly ever get to do them myself-- once you get to be an actor of a certain age, directors seem to assume you don't want or need a body/mind workout any more.

I was sorry to miss "A Late Lunch" and "One Fiery Leaf" and the rest of the PP gang's work at the TCAN Festival. My husband went and attempted a video so that I could see it, but the lighting and camera limitations produced mostly mud and static. He says the plays went very well.... but if anyone who saw TCAN could offer a more detailed description, I'd be grateful!

See also G.L. Horton's commentary based on Kate Snodgrass's Workshop on Writing Subtext.


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