WRITER INTERVIEW: Interview with Reginald Edmund
My name is Reginald Edmund, I’m originally from Houston, Texas in the United States, and I currently live in Chicago. I received my Bachelor of Fine Arts in Theatre-Performance from Texas Southern University. Served as the Artistic Director for the Silver House Theatre in Houston, Texas, and then went to graduate school at Ohio University, to get a Masters of Fine Arts in Playwriting. Once I completed that I went on to become a two time Many Voices Fellow at the Playwrights’ Center in Minneapolis, and now I am a resident playwright for Chicago Dramatists, and Artistic Director of Wild Seven / New Voices Theatre.
How would you describe your writing
The theatre that I write I call Southern Fried Mysticism. I write a lot about Houston, but specifically the south, and southern culture. But to examine what modern southern culture is you have to look at how the past impacted that present. My plays and my life is so deeply entrenched in that environment that it, in truth, seems like the only place I’ve ever truly known. It flows through my blood. But there is something otherworldly about this city feels whenever you walk down the streets at night. There is an oddness to it, where both the past and the present seem to merge in on itself, where there is so much culture and ghosts that weigh on this town. That seems to directly impact my writing. Every play I write, I think the past seems to collide uncomfortably with the present.
Trying to start these new pages… Always struggle to get back into the writers rhythm when switching gears from rewrites to new play
— Reginald Edmund (@reginaldedmund) October 11, 2014
How did you get into writing
Originally from Houston, Texas I started as a spoken word artist, and hadn’t done theatre until I went to college. I performed in the play of Moliere’s Tartuffe and fell in love with it. Changed my major to Theatre Performance, and became an actor. Unfortunately I found that in Houston there wasn’t that many roles for me to take on. So during my frustration and lady named Ms. Marie that ran this small community performance center called the Silver House Theatre encouraged me to try my hand at writing plays. That play was called “A Love Story” (This was an awful first attempt at writing plays) however it sold out almost every night. Ms. Marie then asked me to write some more and I did. I fell in love with writing and started to realize that I was good at this and began pursuing it further. If it wasn’t for one woman taking a risk on me, I’d never have gotten started as a writer.
Did you study writing
I received my Masters in Professional Playwriting at Ohio University under the guidance of Charles Smith.
What is the difference between a screenplay and a play
I’m a firm believer that you write a play with your ears and your soul, and you create a film with your eyes. I believe that writing a play is a much more intimate practice. I think that the most engaging moments in theatre are those that are sensual and activates all of your senses. I think because film is so one dimensional you can’t achieve that as well.
How do you turn an idea into a play
I always start with an image, and then from that image I ask myself if it is strong enough to hold a story on top of. If I find it keeps tugging at me for a few days then I write a final moment of the play and then work backwards towards my opening scene.
What do you do to get an idea, that you can turn in to a play
I dream, and do a lot of walking, observe the world around me.
Describe a few wrong notion about writing
I feel like a lot of people who start writing come in with big lofty goals to write a masterpiece. Masterpieces come later. I’m guilty of being one of them actually and I fight everyday with that. I think a writer needs to realize that they have three things that they must do and that is it 1) Tell the stories you want to tell and keep it fresh and original. 2) Your job is to cause your audience in every moment of your story telling to make them wonder what is going to happen next, if you fail at that you fail at your job. 3) Your job is to tell stories that uplift and entertain and enlighten your community. That is your sole responsibilities.
What books do you read
I read as much as possible. I try to read two- three plays a week. I read works by August Wilson, Jose Rivera, Lydia Diamond, and Charles Smith repeatedly.
What do you do to keep in shape as a writer
I think the only thing you can do to keep in shape as a writer is to simply write as much as possible. Read as much as possible, and listen to peoples conversations.
When you are offered a play to write, what is your routine
I spend a lot of time doing research and creating the world of the play in my mind, making very detailed notes, writing moments of dialogue and monologues in notebooks and then I begin the writing process.
How do you develop a character in a script to a honest and believable person
I always ask the question of what makes the character live and breathe. Who are they? Where are they in life? What is it that they want most? What’s the worst thing that could ever happen to them? What is the best thing that could ever happen to them? And then I figure out what is it that drives them… once you have those figured out, its your character that will drive your story and tell you where things need to go from there and not vice versa.
What do you want from a director during production
A good director will always work closely with you, will ask you questions, will always stay true to the words of your text, and won’t try to put their own stamp on it but will do everything they can do to stay true to the script and to serve your vision. I’m always in the room, I’m always right next to them, and I’m constantly in discussion with them.
Do you get offers from Hollywood
The film industry is all about relationships just like every other business. Figure out whom to reach out to and then build it from there. Once you’ve forged the relationship you must find away to prove yourself and that is by having a solid richly developed and interesting script or treatment.
What can a writer do to get into the industry
Just be persistent, and fight diligently for what it is that you want.
Who is your favorite writer
August Wilson
Why
He’s someone that in my opinion has such a strong presence in the voices of his characters and every single line is rich and layered. I strive to write works like that. His words just click in your mind, and last long after you leave the theatre. Every writer should strive to do that.
What advice would you give writers
I think if you have a story inside to tell, and it’s calling out to you then you have a duty to answer that call. Put pen to paper and write it out, but most of all share it because you never know who that story is going to impact. Also never give up stay persistent. Hone your craft, study peoples work that you admire, and write as often as possible.
Reginald Edmund, is a resident playwright of Chicago Dramatists and Artistic Director of Wild Seven/ New Voices Theatre, a company dedicated to emerging writers of color, he was previously a 2009-2010, 2010-2011 Many Voices Fellow playwright. Originally from Houston, Texas, he served Artistic Director for the Silver House Theatre, as well as the founder and producer for the Silver House Playwrights Festival and the Houston Urban Theatre Series. Reggie was the inaugural recipient of the Kennedy Center Fellowship at Soul Mountain Retreat as well as the 2009 National Runner-up for the Lorraine Hansberry and Rosa Parks Playwriting Award. He received his BFA in Theatre-Performance from Texas Southern University and his MFA in Playwriting at Ohio University. In 2009 He founded the Unit Collective and in 2010 he was named Winner of The Southern Writers Competition, and recognized by TCG as a 2011 Young Leader of Color. His plays, ‘The Ordained Smile of Sadie May Jenkins’, ‘Southbridge’, ‘Juneteenth Street’, and ‘The Redemption of Allah Black’, all part of his nine-play series The City of the Bayou Collection, were developed at esteemed theaters including Ensemble Theatre of Houston, Silver House Theatre, Penumbra Theatre, the Playwrights’ Center, Boston Playwrights’ Theatre, Moving Arts, Karamu House, Pangea World Theater, the MacDowell Colony, Yaddo, Uprooted Theatre, Pegasus Players Theatre, Texas State University Black and Latino Theatre Conference, the Last Frontier Theater Conference, and the Kennedy Center. His play ‘Southbridge’ is to have its world premiere at Chicago Dramatists in February.
