Directing and producing playwright John Minigan’s EASTER AT THE ENTREE GOLD, going up at the Sam French Off Off Broadway Fest on August 9th
John and I have been collaborating for two years now, and he said, ‘Hey, I’m going to submit this piece again (we did the fest last year too), and can I put you down as producer again, no pressure?’ Of course we said yes. To our surprise, it got in (as playwrights we’d both gotten so many ‘nos’ this year and just assumed we’d continue the trend), and that was that. Hey Jonte!’s director, Stephen, is out of state currently, so it was either find a new director, or approach it as an opportunity to build my professional resume. So I’m directing for the first time ever. It’s terrifying. Terrifying. As for the right fit, John’s plays are fraught with gorgeous language and gorgeous conflict. His pieces are layered and so demanding, and they capture the baseness of people with so much beauty- not easy to do! We’d be crazy not to produce his work.
Worst. Question. Ever. Because I never know the answer! I think a lot of people feel as if they never know if they’re going to work or create again. I’m going to buckle down and audition my face off for the next two years- theater, film, and TV. I *also* want to turn my play ST. FRANCIS (being published this December!) into a film and film in my hometown in Northern California. There’s another play brewing in my head as well, but it hasn’t made its way past pictures and single lines in my mind’s eye. Hopefully it’ll make its way down from my head into my hands and out onto the page. I never know.
HAHAHAHA Everyone who’s working. Or, Lake Bell, who wrote, directed, and starred in the little indie gem IN A WORLD, Joey Lauren Adams, who wrote a movie for herself, and upon realizing she needed to direct it, found an actor to replace her in the lead. (Ashley Judd starred in COME EARLY MORNING) People who create their own work, and who collaborate, and who make smart business decisions. Oh. And Ed Burns. He is the epitome of making work for himself and doing everything in his power to get it done- and being unafraid to ask for help.
Miranda Jonte was born & raised in the San Francisco Bay Area. She received her MFA from the Actors Studio in New York, her BA in Theatre & German from Chico State, & studied at the University of Tuebingen, Germany. There, she played Suzanne (Picasso at the Lapin Agile), & Tracy (Seascape with Sharks and Dancer). Roles in the States include Mary (Mary Stuart), Mercy (I Am Yours), Juliet (Romeo and Juliet), Madame (The Maids), Katherine (The Secret Rapture), Kim (This Isn’t Working): FringeNYC, Amy (Refuge), & mercenary killer Danielle Bosola in the new retelling of the Duchess of Malfi, Malfi, Inc. with Milk Can Theatre Company. She decided to try her hand at creating her own work, the result being the full-length play Greasemonkey, in which she originated the role of Mara in its world premiere in NYC, Winter 2013. Greasemonkey led her to a semi-finalist position for the Princess Grace Award in playwriting. Her next play, St. Francis, premiered successfully last Spring as a one-woman show; the expanded one-act had its first public reading in Fall 2014, was a semi-finalist again for Princess Grace in 2015, and in August of the same year, debuted at New York International Fringe Festival (FringeNYC). St. Francis was selected to be published in Applause Books’ THE BEST PLAYS FROM AMERICAN THEATRE FESTIVALS 2015. She has also written the ten minute play All in a White Trash Pie, directed by Stephen Brotebeck. She and Stephen helmed the professional production of John Minigan’s Breaking the Shakespeare Code at the Greenhouse Theater in Chicago in June 2014. They followed up with the New York premiere of Shakespeare Code with the New York International Fringe Festival, August 2014. She played Anna in both productions. In her spare time, she does road races & mud runs, eats junk food with fervor, & watches Netflix waaaayyyyy too much.