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Reviews
- "Lidless"
Lidless Wins Fringe First Award We are delighted to announce that Frances Ya-Chu Cowhig's Lidless has won a Fringe First award. The awards are a celebration of new drama at the Edinburgh Fringe and are awarded to new writing which has premiered at the Festival. The award ceremony will take place today (August 27th) at Assembly @ Princes Street Gardens. THE INDEPENDENT By Alice Jones August 25, 2010 Lidless, Underbelly An uncomfortable watch in more ways than one, for Lidless the audience is lined up on tiny camping stools around the walls of a brightly-lit white box. Frances Ya-Chu Cowhig's punchy play won the Yale Drama Series Award in 2009 and plaudits from David Hare and it's easy to see why. The meeting between a Guantanamo Bay interrogator, Alice, who can't remember what she did there and one of her inmates, Bashir, who can't forget it, is fraught with tension and indignation. The Scotsman By Mark Fisher August 18, 2010 Five Stars, Lidless If Henrik Ibsen had been alive in the era of Guantanamo, he'd surely have written a play every bit as scintillating as Lidless. DAILY TELEGRAPH By Daisy Bowie-Sell August 10, 2010 Four Stars for Lidless Lined up and handed small folding chairs, the audience are pointed to a large, brighly lit white box in the middle of the stage. We climb into it and arrange ourselves around the edges. This already feels a little uncomfortable - the box is a prison of sorts, and the doors close behind us as we sit down. THE AUSTIN CHRONICLE By Robert Faires August 7, 2009 Frances Ya-Chu Cowhig Frances Ya-Chu Cowhig is on a major roll. The Michener Center for Writers grad has won a second major literary prize for her play Lidless, which is also proving a hot property on the national new play circuit. The drama, in which a former Guantánamo detainee dying of liver disease confronts the woman who interrogated him 15 years earlier and demands half her liver as restitution for the physical and psychological trauma he suffered, has received the 2009 Keene Prize for Literature, awarded by the University of Texas' College of Liberal Arts to a student work that creates "the most vivid and vital portrayal of the American experience in microcosm." The prize comes with $50,000. THE STAGE David Hare's podcast, May 14, 2009 WLIU 'IN THE MORNING' with Bonnie Grice podcast, March 19, 2009 YALE DAILY NEWS By Jay Dockendorf March 24, 2009 'Lidless' earns drama prize The Yale Drama Series awarded its third annual David C. Horn Prize to “Lidless,” a play by Frances Yao-Chu Cowhig, a graduate student from the Michener Center for Writers at the University of Texas, Austin. Dramatist and screenwriter David Hare, the judge of this year’s contest, selected Cowhig’s play out of 650 applicants and announced his decision last week. “ Lidless’ was the clear winner, an extraordinary and original attempt to show the enduring strain on the victims of the U.S.’s deployment of torture at Guantánamo,” Hare told The New York Times on March 16. Francine Horn, the sponsor of the award, praised the play for its “strong writing and moral relevance.” For her achievement, the Yale Repertory Theatre will host a staged reading of the play in September, and “Lidless” the Yale University Press will publish the play. Cowhig will also receive a $10,000 cash prize. The David Charles Horn Foundation is the sole sponsor of the award. “Lidless” centers on the reunion of a male Guantánamo Bay detainee and his former female Army interrogator. Fifteen years after his release, the prisoner revisits his captor and demands half her liveras recompense for the physical and psychological wounds inflicted during their interrogations. Despite the political backdrop, the playwright contends the play centers on emotions. “It’s really a play about the senses — how visual and sensory experiences inform the moral and political issues,” Cowhig said. “There’s messy biological stuff. In a sense, I’m taking a political thing and putting a mirror of magical realism over it. No one wants to see a play that should be an op-ed piece.” As typical of all her work and in spite of whatever success the play has already garnered, Cowhig is in the process of rewriting. “It’s constantly evolving,” Cowhig said. “Lidless” was revised over 20 times since Hare first saw it, and it will see “probably 10 more drafts” before submission to the Yale Press for publication. “I think it’s still early,” Cowhig said of the present state of her play. As an undergraduate at Brown University, she took three classes from Pulitzer Prize–winning dramatist Paula Vogel, who is now chairwoman of the playwriting department at the Yale School of Drama. She was in Vogel’s graduate seminar and had an independent study with the writer that, she said, included casual trips to New York to see plays and discuss them over ice cream. The Drama Series Award is not Cowhig’s only prize for “Lidless.” After she finishes at the Michener Center for Writers, her second graduate school after Brown, in the spring, Cowhig will take “Lidless” to various developmental workshops, where her play will be revised and performed. She will also spend time at writer’s colonies, which she characterizes as “living alone in a cottage, not having to do odd jobs to survive.” These will include the Developmental Grant at Philadelphia’s Political Theater and the MFA Conference at the Kennedy Center in Washington, D.C. The judge, David Hare, began his career in 1970 after his graduation from Jesus College, Cambridge, with the production of his first play, “Slag.” He has written and published over 20 plays, including “The Blue Room,” “Stuff Happens” and “Gethsemane.” This year, his adaptation of Bernhard Schlink’s novel “The Reader” earned him an Academy Award nomination for Best Adapted Screenplay. Hare, who was unable to be reached for comment by the News on Monday, chose “The Danger of Bleeding Brown” by Enrique Urueta and “Hell Money” by Ruth McKee as runners up in the 2009 competition. He will serve as judge for next year’s prize, as well. Francine Horn established the David C. Horn Foundation in 2005 to support initiatives in literary and dramatic arts in honor of her husband’s dedication to writing. David Horn was a magazine publisher and writer of creative fiction in his spare time. Of the Horn Foundation’s connection with the Yale Press and Yale Repertory Theatre in 2005, Francine Horn told the News: “It was lucky we all found each other: my husband and I, the Yale Press and the Yale Rep. We had decided sometime ago it would be a great thing to award a young, presumably struggling, writer with the publication of their work and help them get a leg up in the literary world.” Past staged readings of the Drama Series Award-winning plays at the Rep opened to sold-out audiences. BROADWAYWORLD.COM By BWW News Desk March 16, 2009 Frances Ya-Chu Cowhig Wins Yale Drama Series Award The award-winning playwright David Hare has announced that Frances Ya-Chu Cowhig is the recipient of the 2009 Yale Drama Series Award for Playwriting for her play Lidless. Ms. Cowhig's Yale Drama Series prize includes a $10,000 award from the David C. Horn Foundation, along with a staged reading of the work at Yale Rep in September 2009 (date TBA) and the publication of the play by Yale University Press. THEATRE NEWS By Tristan Fuge March 16, 2009 Frances Ya-Chu Cowhig Wins 2009 Drama Series Award for Playwriting Playwright David Hare, who served as judge of the third annual Yale Drama Series, has announced that Frances Ya-Chu Cowhig is the recipient of the series' Playwriting Award for her play, Lidless. Cowhig will receive a $10,000 award from the David C. Horn Foundation, a staged reading of the work at Yale Rep in September 2009, and the publication of the play by Yale University Press. Lidless is about a former Guantanamo Bay detainee who journeys to the home of his female U.S. Army interrogator 15 years after his detention, demanding half her liver for the damage she wreaked on his body and soul during her interrogations. Cowhig is a graduate of Brown University and International School of Beijing, and is set to receive her Master of Fine Arts from the Michener Center for Writers at the University of Texas in Austin this May. Hare also announced that The Danger of Bleeding Brown by Enrique Urueta and Hell Money by Ruth McKee have been selected as runners-up for the 2009 competition. VARIETY By Gordon Cox March 16, 2009 Yale Drama Honors Ya-Chu Cowhig Frances Ya-Chu Cowhig has picked up the Yale Drama Series Award for Playwriting for her play "Lidless." THE NEW YORK TIMES By Julie Bloom March 15, 2009 Guantanamo Play Wins Yale Award A play about a former Guantánamo Bay detainee who visits his Army interrogator 15 years after his detention has won the third annual Yale Drama Series award for playwriting. David Hare, the British playwright and judge of the series, is to announce on Monday that Frances Ya-Chu Cowhig won for “Lidless.” The play, chosen from 650 submissions, is about a former detainee who demands half a liver from his former female interrogator for the damage she inflicted on him. The play will be performed as a staged reading at the Yale Repertory Theater in September and published by Yale University Press. Ms. Cowhig, a graduate of Brown University and the International School of Beijing, will also receive $10,000 from the David Charles Horn Foundation as part of the award. AUSTINIST INTERVIEW By Mike Agresta February 11, 2009 LIDLESS Playwright Frances Ya-Chu Cowhig How did you come to write a play about torture and the "War on Terror" by setting a story fifteen years in the future? Was that your original intention, or did it take you a while to settle on that approach? It was set in the future from day one, because I wanted Alice, the former U.S. Army interrogator to have entered a completely different phase of her life—to be a florist, and have a teenage daughter who would become the driving engine of the play. I am also interested in what Alfred Jarry calls 'pataphysics,' or the science of imaginary solutions, and I think that is what the play is, both a cautionary tale and an imaginary solution, but because it is set in the future, it is also hopeful, because it hasn't happened yet, and there is still time to change things. Also, by setting it in the near future, it allows me to enter into a sort of Magical Realism, where I change the surface of a few things to create a more solid set of circumstances for the characters to inhabit. I'm assuming that you don't have a lot of firsthand experience of torture.... How did you prepare yourself as a playwright to evoke Guantanamo interrogations, both play-by-play and as they are experienced internally by the detainee character? I did a lot of research. I read poems and memoirs written by detainees, watched films and read plays about reunions between torturers in their victims (i.e. The Night Porter, Death and The Maiden), I interviewed a former U.S. Army Medic who served in detention centers in Iraq. He gave me a red-orange jumpsuit from the prison, as well as his army clothes to use in the play, and sometimes I would wear the jumpsuit or army gear while writing, and let that inform how I moved and felt and wrote. Since sensory deprivation is such a big part of the experience of being detained, I tried writing hooded, with ear plugs, etc, to see what that did to my language and expression. I went to acupuncture every week to kind of reset my spirit, and make sure the anxiety and tension and terror that I sometimes had to inhabit in writing wasn't something I would carry over into other parts of my life. I know you're a playwright who likes to give actors a role in developing the play. How has LIDLESS changed since you started working with this cast? I tried to pay attention to where they were struggling to find meaning, motivation, intention, as that was usually a problem with my writing. Specificity was a huge problem up front, and seeing how much the actors were struggling with their characters put a lot of good pressure on me to make some big decisions about characters that really activated the play. Word is that Obama is shutting down Gitmo but hasn't yet decided where to send the detainees. As a playwright, what do you think he should do with them? I am currently in a class with Coleman Jennings about Theatre for Youth and Creative Dramatics. I was really struck by a reading we had recently by Winifred Ward, who wrote that one of the goals of Creative Drama for young people is to give them opportunities to grow in understanding people who have a different viewpoint from themselves. I think Obama should change Guantanamo into a Creative Dramatics Center and get the people involved in its creation and daily life, from politicians and military police to defense contractors and the press and detainees to re-enact what happened there from a different perspective. Maybe invite tourists to come and watch too, like a Renaissance Fair. Any idea where LIDLESS is headed next after this run at the LAB? In my ideal world I would get thoughtful, provocative responses from the audience and invited respondents, spend six months or so going deeper into character, scene, and research, and then share it with the world. Realistically, I don't know. I read an article in the New York Times recently about how hard it is to get audiences to come see war plays. I hope this isn't true. On the positive side, the play is one of thirteen finalists for the Yale Emerging Playwrights Prize (David Hare will read the thirteen plays and select the winner), and a semi-finalist for the Eugene O'Neill National Playwright's Conference [but there are 150 semi-finalists]. Right now the only given is that I will work my ass off to give this play the energy and life it deserves, and then see what happens. I know you have a few projects going up in town this year.... Anything else you'd like to plug for our audience? Yes! Two years ago I invited some classmates from the Dell'Arte School of Physical Theatre to come live in Austin for three months during my final semester of my MFA work at the Michener Center and make a play with me. They are here now, living with me. I commissioned Kate Braidwood, another graduate of the Dell'Arte School who is based in Humboldt and an amazing mask maker, to create six larval masks (a pre-character, embryonic creature that is a proposal of Lecoq, adapted from carnival of Basel masks), and now we are going to make a one hour play for larval masks that explores their capacity for violence and whimsy and naivete and despair. All without words, I think. We will be collaborating with musical duo The Just Desserts (Michael Shay and Lisa Shawley) to create a piece that will play three times only in and around a house in East Austin (at dawn, 2 pm, and 8 pm) March 21 and 22. |
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