I write absolutely concrete, down-to-earth, realistic works, be they histories, tragedies, comedies, adaptations, musicals, whatever.
Of late, however, when a certain few people hear my work, or even just a line from my work, they say “Oh, I see, those are just the rules of your world” or “Ah, surrealism.”
I bridle against these pigeonholes; it has always seemed to me that the observers were making excuses on my behalf for what they perceived as logic disconnects. I don’t mind being made aware of my failings: I desperately mind others ‘taking responsibility’ for what’s mine, or laying their interpretations of my words or actions on me.
Kruckemeyer, an Irish-born Tasmanian, is an alarmingly oft-produced, brilliantly gifted playwright and teacher with whom I had the great good fortune of sharing air in a meeting of the Cleveland Play House Playwrights’ Unit. Members of the Playhouse Square Outreach Department, New Victory Theater Programming department, and the Trusty Sidekick Theater Company joined the playwrights and Fin for a discussion that ranged far and wide (within the theatrical world, of course).
This is the first in a series of articles about that meeting and the workshop exercises we played there.
About Fin: he and his work have received the 2010 Rodney Seaborn Playwrights Award, 2010 Best New Work Ruby Award, 2009 Australian Writers Guild Award (AWGIE) for Best Children’s Play in Australia, 2009 Mystate Young Tasmanian Artist Award, 2009 Ruby Award For Innovation, 2008 Best Children’s Theatre Playwright Oscart, 2007 Best Playwright Oscart, 2006 Jill Blewett Playwrights Award, and 2002 Colin Thiele Scholarship. Oh, and in 2012 he became one of twelve inaugural recipients of the Sidney Myer Creative Fellowship.
Next, Fin’s writing exercises.