January 02, 2013
GSJ Speaks with Award Winning Playwright Richard Manely
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(Jennifer Hinshaw)
Garden State Journal had the opportunity to speak with playwright Richard Manley about his new play The Truth Quotient, which goes to show there is less fiction in science fiction in his entertaining and thought provoking new play.
Describe the play:
The Truth Quotient takes place a few years from now, when overcoming loneliness and feeling loved are no less of a problem than they have always been, but technology offers more solutions to those who can afford them.
What inspired you to write The Truth Quotient?
I celebrate those who struggle to feel relevant in an ever more impersonal world, who fight to maintain a balance between melancholy and hope, but who, through it all, are able to remain curious and to live their lives with a degree of grace.
Why should someone see the play?
First, it should entertain, should be a provocative, engaging evening of theater. But I want the impressions to last. My most memorable theater experiences have had me talking for days afterward. There are no absolutes; there is no sermon in my work. But I do hope that I raise questions about how we relate to each other, what motivates our big decisions, what we really want when we strip away all the “supposed to’sâ€. If I succeed, conversation about the play should continue long after the audience has left the theater.
As a playwright, what is your favorite part of the process?
Two things come to mind. One is when the dialog is flowing, the characters are set, and I know how it’s all going to end – usually well into the process. When that happens, every keystroke is exciting. Two is the audience feedback when they understand and are engaged with the play. The Truth Quotient (with its original title, This Rough Magic) won the Ashland New Plays Festival this year. As a part of the award process, I attended two rehearsed readings of the play in front of the Ashland community, an avid and knowledgeable group of theatergoers. The audience averaged about 150 people, and both performances included an hour-long talkback with the actors, the director, and me. Each session could easily have gone on for much longer, and both sides of the stage were engaged and enthusiastic. It is very exciting – and gratifying – to see a kind of circle completed. That is, I put my thoughts and ideas into my words and send them out there. They travel through the interpretations of the director and actors, and then into the minds of the audience. The hope is that if my ideas come back to me after all of that, they will be renewed and confirmed and expanded by the application of all the others involved. That happened in Ashland, and has a couple of other times. When it does, it makes me want to run, not walk, run back to the keyboard and begin writing my next play.
How long have you been writing plays?
After two decades of success as a copywriter and advertising executive, I started a second career writing stage plays, which I have been doing full time for the past five years. Pulling from many years' worth of personal journals, I rediscovered my passion (realized in college) for the sound of the language and its potential to entertain and provoke and inspire. When I returned to the States from a sabbatical in Paris six years ago, I sold my business and structured a lifestyle that would allow me to write stage plays full time.
What else should the readers know about Richard Manely?
Despite being an unrepentant cynic, I am a hopeless romantic.
What am I reading right now?
The Ambassadors, by Henry James
If I could have a meal with anyone, fictional or real, who would it be?
Dinner with Christopher Hitchens, at his house, with a typical gathering of his colleagues and friends.
Any dream roles I would like to play?
Not that I would like to play, but I do hope to write a play about Dante’s life.
What am I listening to on my iPod?
Ben Webster meets Oscar Peterson
Favorite App?
NPR live streaming news in the morning.
What has been my most interesting job?
After what I’m doing now, a disc jockey, many years ago, at a small New England radio station, before the process was automated.
RICHARD MANLEY (playwright) After two decades of success as a copywriter and advertising executive, Richard Manley started a second career writing stage plays, which he has been doing full time for the past five years. Pulling from many years' worth of personal journals, he rediscovered his passion for the sound of the language and its potential to entertain and provoke and inspire. When he returned to the States from a sabbatical in Paris six years ago, he sold his business and structured a lifestyle that would allow him to write stage plays full-time. His plays (and awards) include: The Truth Quotient (Winner of the John Gassner Memorial Playwriting Award and the Ashland New Play Festival); Life is Mostly Straws (Winner of the Pillars Playwriting Prize, Todd McNerney National Playwriting Award, and the Long Beach Playhouse New Works Festival); Quietus (part of the 2011 TRU Play Reading Series and finalist for the Reva Shiner Playwriting Contest); An Ignorant Man (Winner of the W. Keith Hedrick Award and Brevard New Play Competition,), Even the Wee Waves (Winner of the Oglebay Institute’s Towngate Prize); as well as award-winning one-act plays including Thank Emily, Witlacks, Apparently Not, and Chew Toy Research
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