A New Era Dawns for New Works at La Jolla Playhouse
The La Jolla Playhouse is gearing up for its 13th annual DNA New Work Series, and this year feels particularly significant. It’s not just another iteration of a beloved event; it marks the inaugural series under the guidance of their new Artistic Director, Jessica Stone. This shift in leadership, I believe, injects a fresh wave of energy and perspective into a program already dedicated to nurturing the nascent stages of theatrical creation.
The Genesis of Development
What strikes me immediately about the DNA New Work Series is its fundamental purpose: to offer a vital lifeline to plays in their most vulnerable phase. Launched in 2013 under the previous Artistic Director, Christopher Ashley, the series has consistently provided playwrights with invaluable access to the Playhouse's resources – its spaces, its talented staff, and its creative ecosystem. This isn't about polished productions; it's about raw, intimate readings where actors hold scripts and the focus is squarely on the text and the ideas. Personally, I think this stripped-down approach is crucial. It allows audiences to witness the very act of creation, to engage with stories at a point where they are still being wrestled into shape. It’s a testament to the Playhouse’s commitment to fostering artistic growth, moving beyond mere readings to offer genuine developmental support.
Navigating the Labyrinth of 'Development Hell'
Gabriel Greene, the Playhouse's Director of Artistic Development and the curator of this series, astutely points out the challenge of avoiding what he calls "development hell." In my experience, this is a very real phenomenon in the theater world. So many promising projects get stuck in a loop of readings and workshops without ever finding a path to a full production. The DNA series, by its very design, aims to break this cycle. Greene’s philosophy, which centers on matching resources with promising projects, cultivating artist relationships, and deepening audience engagement with the creative process, is precisely what’s needed. It’s about providing a structured environment where plays can truly evolve, not just be heard. This year, out of approximately 500 submissions, four plays have been selected, a testament to the rigorous curation process.
A Tapestry of Human Connection
This year's selections – "Rockville" by Steven Levenson, "Mother’s Day" by Bekah Brunstetter, "Artney Jackson" by James Anthony Tyler, and "Evil Diva" by Stephen Karam – each offer a unique lens on the human experience. While Greene emphasizes that themes aren't predetermined, he identifies a compelling common thread: the exploration of one-on-one relationships in an "in-depth and molecular way." From my perspective, this focus on intimate connections is incredibly resonant in our current social climate. The plays, as described, touch upon the loneliness epidemic, reproductive issues, workplace anxieties, and intense familial bonds. What makes this particularly fascinating is how these deeply personal narratives can serve as powerful vehicles for exploring larger societal concerns. It suggests that the most profound insights often emerge from the smallest, most intricate human interactions.
Timing is Everything
The shift in the series' timing, from December to May 30-31, is a practical consideration that I believe will greatly benefit both artists and audiences. December, with its holiday rush, can be a challenging time for commitment. Moving the event to late May, as Greene explains, not only offers more convenience for season programming but also allows for a more focused and less distracted engagement with the new works. This thoughtful adjustment underscores the Playhouse's dedication to optimizing the developmental environment.
The Artistic Director's Vision
The presence of Jessica Stone at the helm of this year's series is, in my opinion, a game-changer. Her eagerness to champion the Playhouse as a hub for development and premieres, as Greene enthusiastically notes, signals a commitment to expanding the theater's impact. Stone's vision, coupled with Greene's expertise, creates a potent synergy. The historical success of the DNA series, having propelled works like Noah Diaz's "All the Men Who’ve Frightened Me" and Ayad Akhtar's "The Who & The What" towards wider recognition, sets a high bar. I'm eager to see how Stone's leadership will further elevate this tradition, potentially bringing even more groundbreaking new voices and stories to the forefront of American theater. What this really suggests is a future where new plays are not just discovered, but actively and robustly nurtured from their earliest whispers to their full-throated roars.
A Glimpse into the Future of Storytelling
This series is more than just a showcase; it's a vital incubator for the future of theater. By offering these intimate readings, La Jolla Playhouse isn't just presenting plays; they are investing in the very soul of storytelling. It's an invitation to witness the messy, exhilarating process of creation, and I, for one, can't wait to see what emerges from this promising new chapter.
