West-coast-based playwright, ROSE MARTULA, currently back on the east coast for a short time, is offering a wide range of playwriting workshops here in Hadley, MA.
“Playwright Rose Martula has been called “the Chekhov of her generation.” She was selected by the Dramatists Guild Magazine as “1 of 50 playwrights to watch”, and interest in her plays has been received by the likes of the Royal Court Theatre, the National, the Manhattan Theatre Club, the Atlantic Theatre, the Geffen Playhouse, the Goodman, Playwrights Horizons, South Coast Rep, La Jolla Playhouse, and the Yale School of Drama/Yale Repertory Theatre. A Young Playwrights Finalist, she has been nominated for a LARK Pony-Fellowship in New York, was chosen as a semi-finalist for the 2008 Princess Grace Awards, as well as a semi-finalist at PlayLabs at the Playwrights Center, and is currently working with Lanford Wilson on an adaptation of his play Balm and Gilead. With her 2nd production in London, her first full-length premiering at the Old Red Lion in 2007, this is a playwright of undeniable skill, and her newest play, Brooklyn, is a continued display of her talent and creativity. – London UK Fringe
THE MARTULA WORKSHOPS:
1)WEEKLY WORKSHOPS IN PLAYWRITING (open to screenwriters as well): group workshops (not to exceed 10 people) w/ the following workshops of your choosing…
A) New Plays & Rewriting/Plays-In-Progress: (5 week session package) on Monday nights from 7-9pm beginning April 19th-May 24th. The 5 week New Plays & Rewriting/Plays-In-Progress workshop welcomes new plays, plays-in-progress, full-lengths, one-acts, 10 minutes, you name it. Rate: $350 (1rst 2 clients to enroll receive a reduced friendly-fare rate of $300!)
B) Writing the Family Dysfunctional Play: (4 week session package) on Wednesday nights from 7-9pm beginning April 21th-May 19th. A Rose Martula specialty. Rate: $280 (1rst two clients to enroll received a reduced friendly-fare rate of $230!)
2) 2 DAY PLAYWRITING INTENSIVES: A choice of weekend intensives on April 17th-18th, May 8th-9th, May 15th-16th or May 22nd-23rd, 10am-6pm on Saturdays & 11am-5pm on Sundays. Lunch and snacks provided, along with brunch on Sunday. Weekend intensives focus on reading work aloud, feedback sessions, discussing published playwrights that might fit with a client’s particular vision of a play, examining one’s own creative process, as well as marketing & sending out tips for the playwright: how to writer a cover letter, “positive” rejection letters, resumes, self-promotion, researching theatres before sending out, thank you notes, etc. Rate: $400 (1rst 2 clients to enroll receive a friendly-fare rate of $350!)
3) ONE-ON-ONE SCRIPT DOCTORING: W/ an M.F.A. in playwriting from UCLA and extensive experience in tutoring/teaching students one-on-one, along w/ being a writer’s assistant, individual sessions on scripts (either via email and/or in person) are another one of Rose’s favorite specialties. Individual sessions include extensive feedback on scripts, helping to guide the vision of the client’s play, specific exercises to help start new scripts or aid in rewriting. One-on-one’s are designed to specifically meet the client’s needs. As far numbers of sessions, it’s recommended that at least 4 sessions take place to give the script the attention it fully deserves. Rate: $35 per/hr.
ABOUT ROSE: WHAT THE THEATRES SAY...
“Martula demonstrates a considerable dramatic force, with a well-honed ear for dialogue and a ferocious dramatic energy.” – The National
“Compelling dialogue and the intriguing premise demonstrate Brooklyn’s caliber.” – The Goodman Theatre
“Her dialogue is lively, spirited, and quite fresh.” – La Jolla Playhouse
“A Heavenly Blast is entertaining and vigorously written.” – The Royal Court
“Martula’s A Heavenly Blast is colorful and irreverent and Drink Up, Baby is a fascinatingly bold, even fearless piece.” – Playwrights Horizons
WHAT THE CRITICS SAY…
“Martula’s distinctive writing is part of a new wave of American theatre and her infectious style is fast gaining a cult following on both sides of the Atlantic. Her plays include Packed, Salsa Saved The Girls (Old Red Lion Theatre), A Heavenly Blast, Drink Up, Baby, Brooklyn, and Sun Breaks Down.” – Lizzie Guilfoyle/Indie London
“Ms. Martula’s play is a rapid-fire dialogue, which builds in intensity over its hour run time to a harrowing and shocking conclusion. It may seem difficult or even impossible to imagine this story line being hysterically funny, but such is Rose Martula’s gift.” – London Arts UK Fringe
“Martula writes with vigor and has a zest for language, and Salsa Saved The Girls owes a great deal to the early work of Sam Shepard.” – Lyn Gardner/The Guardian
“The light of her talent is dazzlingly bright and Martula’s voice is thrillingly unique and theatrically defiant.” – Lucy Powell/Time Out
“Like Who’s Afraid of Virginia Woolf? And Cat On A Hot Tin Roof, Rose Martula’s slither of dysfunctional American life, Martula avoids spelling out the unspoken pain this family has clearly suffered.” – Sara Newman/Camden New Journal
“Writer Rose Martula has a wonderful ear for vulgarity, and her dialogue crackles in the air, with the actors clearly relishing the lines they are given.” – Stephen Perkins/Broadway World News
“Martula’s Salsa Saved The Girls is incisive and original.” – LA Times
“Ran Wild is a very sad play, the sadness so understated that it feels at first as though the writer is indifferent to these characters with empty options. The dialogue is a joy—for the actors, it’s the biggest treat they’ll probably ever get—finding the subtle variations of emotional takes under words that seem to be the same in color, but in fact have hidden possibilities of showing the rich and buried emotional life simmering in almost all of them. Martula is the Chekhov of her generation.” – Leon Katz, Emeritus Professor at Yale Drama
“Martula offers candid advice for aspiring playwrights. Her 23-point list of writing tips is gold for writers of any form.” – Susan Babyk/Columbia College Chicago
“5 stars. Brooklyn is darkly funny, disturbing, and masterfully written.” – Megan Hunter/London Arts UK Fringe
“The idea of forgiving a close friend of relative for an unforgivable act never gets old, does it? Especially when you surround the subject with such colorful characters and plot as Rose Martula has in her world premiere of Brooklyn…I would encourage everyone to break out of their own world and join Brooklyn’s.” – Mike Miller/Extra! Extra!
“The opening, expletive-ridden banter is Tarantino-esque in its enterprise in inventing ever more ingenious compounds of genital-referencing abuse…there’s much to commend in this sharply accurate portrayal of modern family dysfunctionality that refreshingly steer.” – Paul Teasdale/Camden New Journal
“This production is so beautifully constructed that it should have been staged at a larger audience capacity venue such as the Trafalgar Studios in the West End.” – Mr. West End
“Brooklyn is an incredibly impressive new play from one of the most talked about young playwrights in the business. Those fortunate enough to get their hands on Brooklyn tickets will be able to see the new play from Rose Martula, the highly acclaimed playwright who has set many a tongue wagging with her expertise with the pen. Brooklyn looks set to show just why she’s such a heralded talent, bringing a fascinating story with her unique voice and style. Brooklyn boasts Martula’s celebrated style, painting a tale of severed family, the lost innocence of childhood and the ability to delude oneself as an unhappy yet hugely entertaining and cathartic play unfolds.” -- viewlondon
THE MARTULA METHOD OF PLAYWRITING:
With ALL the Martula Workshops, I request (though not required) that clients send me their work beforehand, whether it’d be whole plays, scenes, fragments, or outlines of ideas. That way I can read and get familiar w/ each particular client’s writing. Also with all the workshops (the Weekly, Intensive & One-on-One’s), I offer personal individual emails & feedback notes to clients as well as in session. Coming from the Leon Katz school of thought as I call it, (Emeritus Professor at Yale Drama & my main dramaturge), I try and avoid an overabundance of feedback during sessions. For there are dangers of over-work shopping a play, and a playwright (I have learned the hard way!) is not a secretary when it comes to incorporating feedback session notes. So my intention is to stay true to the original artistic “heart” of the play, all the while respecting the playwright’s vision. All workshops include specific writing exercises to fit the client’s needs. Exercises may range from Free-Writing (not letting the pen leave the page), throwing out one-liners to help jump-start a play or scene, tracing the lines of one specific character to help track their arc, playing a specific piece of music, for there is a great connection (at least THIS writer believes) between musical inspiration that lends itself to writing inspiration, and of course reading client’s work aloud.
The lovely Martula home, tucked back in the woods on 4 acres, amidst a cozy but large high-ceilinged living room complete with plenty of cozy corners for writing.