The Night before the Flight


Here we are, just about to launch the serialization of my play Bombardment. It’s kind of like the night before the mission. Which means I need to speak with the troops.

So. To my potential readers, I hope you have fun. It’s a weird kind of fun, but still….

As for potential theatre-makers who read it, I know that by publishing the play through a blog, I’m more or less giving it away. But, for what it’s worth, here are my ground rules, which admittedly operate on the honor system (not particularly appropriate for our times, but one can hope).

I own the copyright on this thing, flat out. If some of you actually want to do something with it–put it on as a reading or production–you can do so royalty-free. I do ask that you inform me first of the production, and, if comes to pass, I’d appreciate your sending me reviews, playbills, publicity materials, and the like (electronic documents will be fine). If you put it on, make a few dollars, and want to share some with the playwright, great–that would be kind and gracious. Not because I’m greedy or expect to ever make money off this play, but because artists of all levels deserve to be compensated for their work.

What I ask you not to do is this: don’t produce the play under a different title or with a different author’s name; don’t produce it without citing me as the author; and don’t change the words or scenes.

Use of the play does not extend to film or broadcast. Plays are meant to be performed. Live. In front of a live audience. If you shoot a short segment for Youtube or the like, say for publicizing the play, please contact me first, and please don’t run it without my permission. And if anyone’s crazy enough to try to film this monster, we need to talk.

Finally, Bombardment is play for mature audiences, given its language, ideas, and imagery (particularly its violence, sexual content, and nudity). If you’re underage, really, you shouldn’t be producing it. If you must, please first consult with a responsible adult. And, not to sound pretentious or make the play sound overly important, if you’re an artist living under a repressive regime, please use caution before committing to the play. I don’t think it could get anybody busted, but I’d feel like hell if it did. It’s just a play. (Sort of.)

In other words, I hereby waive any responsibility for any trouble this play gets you into. Seriously.

If you have questions or want to send me comments, I can be reached at splatterson@mindspring.com

I guess that’s it. Tune in tomorrow, when the Bombardment commences. The engines are warmed up.

[To be continued]

About Steve Patterson

Steve Patterson has written over 50 plays, with works staged in Portland, Los Angeles, Chicago, Detroit, Austin, Tampa, and other U.S. cities as well as in Canada and New Zealand. His works include: Waiting on Sean Flynn, Next of Kin, Farmhouse, Malaria, Shelter, Altered States of America, The Continuing Adventures of Mr. Grandamnus, Bluer Than Midnight, Bombardment, Dead of Winter, and Delusion of Darkness. In 2006, his bittersweet Lost Wavelengths was a mainstage selection at Portland Center Stage's JAW/West festival, and, in 2008, won the Oregon Book Award (he also was an OBA finalist in 1992 and 2002). In 1997, he won the inaugural Portland Civic Theatre Guild Fellowship for his play Turquoise and Obsidian. View all posts by Steve Patterson

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