The Playwright’s New Reality: Breaking Barriers and Building Equity in American Theatre
Over 70% of plays produced in the US are written by men. But a quiet revolution is underway, fueled by playwrights like Sarah Mantell, who are not only creating compelling work but actively dismantling systemic barriers to access and opportunity. Mantell’s recent success – winning the 2023 Susan Smith Blackburn Prize for In the Amazon Warehouse Parking Lot – is a testament to her talent, but also highlights a growing movement towards a more inclusive and equitable theatre landscape.
From Illustration to Impact: A Journey of Artistic Discovery
Mantell’s path to playwriting wasn’t linear. Initially studying illustration at RISD, a pivotal class with Paula Vogel sparked a shift towards dramatic writing. This underscores a crucial point: artistic training isn’t always siloed. Exposure to different disciplines can unlock unexpected creative potential. Mantell’s experience demonstrates the value of interdisciplinary approaches in fostering innovation within the arts.
Navigating the Application Gauntlet: A System in Need of Repair
The conversation with Mantell, featured on The Subtext podcast, reveals a stark reality for many emerging playwrights: the application process itself is a significant hurdle. The sheer volume of submissions, coupled with often-opaque selection criteria, can be discouraging, particularly for writers from historically underrepresented groups. Mantell directly addresses this by offering Free Application Help, a vital service that levels the playing field. This initiative speaks to a broader trend of artists taking agency and creating their own support systems.
The Kilroys and the Pendulum Swing: Measuring Inclusion
Mantell candidly discusses the impact of The Kilroys’ List, a project that aimed to increase representation of female and non-binary playwrights. While the List undeniably raised awareness and created opportunities, Mantell notes the frustrating “pendulum swing” – the ebb and flow of progress. This observation is critical. Sustained change requires more than just temporary initiatives; it demands ongoing commitment and systemic reform. The challenge lies in moving beyond performative allyship to genuine, lasting inclusion.
The Rise of Independent Workshops and Mentorship
Beyond formal institutions, independent workshops like Mantell’s Five Weeks to a First Draft are gaining prominence. These spaces offer focused, practical support, often catering to writers who may not have access to traditional MFA programs or established networks. This decentralized model of artistic development is particularly valuable for fostering diverse voices and perspectives. Mentorship, as exemplified by Mantell’s work, is proving to be a powerful catalyst for emerging playwrights.
Remembering Diana Oh: The Power of Community and Loss
The conversation also touches upon the profound loss of Diana Oh, a vibrant force in the theatre community. Mantell’s remembrance highlights the importance of artistic kinship and the devastating impact of losing talented voices. Oh’s work, and the community she fostered, serves as a reminder that artistic progress is not solely about individual achievement but about collective support and celebration.
Beyond the Awards: A Career Built on Residencies and Fellowships
Mantell’s impressive list of accolades – longlisted for the Bruntwood Prize, first runner-up for the Leah Ryan Award, and a Lambda Literary Award finalist – are significant, but equally noteworthy is her consistent receipt of residencies and fellowships (MacDowell, Yaddo, Playwrights Realm, and more). These opportunities provide crucial time, space, and financial support for playwrights to develop their work. The increasing availability of such resources is a positive sign, but continued investment is essential.
The Future of Playwriting: Accessibility, Equity, and New Models
The landscape for playwrights is evolving. The challenges of application barriers, the need for sustained inclusion, and the growing importance of independent support systems all point towards a future where accessibility and equity are paramount. We can expect to see more playwrights taking control of their own narratives, creating their own opportunities, and building communities that prioritize inclusivity. The work of artists like Sarah Mantell isn’t just about writing plays; it’s about reshaping the entire ecosystem of American theatre.
What steps can theatre organizations take to create truly equitable application processes? Share your ideas in the comments below!
