Brief Thoughts On Playwriting While Writing Another Play

I always forget about Charles Mee. When I discovered him, and subsequently discovered his work (which is all online; he believes in sharing), he became my go-to person for how to construct a play with little regard for the 'limitations of theatre.' When I read him, and others like Sarah Kane (my first, true hero), Mark Ravenhill, and Sarah Ruhl, I can trick myself into thinking anything is possible onstage, given the right circumstances. Usually these circumstances must include an immensely talented and creative group of theatre artists with the right kind of budget (or at least the imagination to work around budgeting problems), but mostly these circumstances are dependent on a playwright's willingness to throw themselves out into the void without a net. That's really the first step. When I first began writing plays with a serious inkling of what I was doing, I told myself this: follow in the footsteps of those who believe the impossible is possible. Dreamers shouldn't be stifled, and since I'm prone to include myself in that category more than any others, why should I?