TAKE A BACK SEAT, PLAYWRIGHT

Well, my play EIGHT TO FIVE, GOVERNMENT WORKERS STYLE II, was a box-office hit. Full house for the seven performances, and also sold out nights. So, did I, the playwright, benefit from the more than considerable amount of money CARIBBEAN COMMUNITY THEATRE (CCT) grossed? No. I was paid only $875.00. I was told by the Director of the play that CCT pays $65.00 to $75.00 per night to the author. I asked for $150.00 per night and, after much haggling, I finally had to agree to accept $125.00 per night. But I’m not complaining about that. It’s about the disrespect, lies, and humiliation that CCT staff fed me.
I received a telephone call from a female member of CCT, asking permission to produce the above play. I granted permission, and was told that said member would be directing the play. I gave the Director a perfectly clean script, hoping that she’d present it in the same form given to her. I couldn’t attend any of the rehearsals, but told her, via email, that I did not want any drastic changes made to the script, and would like to be informed if any changes were made. I did not receive any response on that topic, so I assumed that she was satisfied with the script and would present it as given to her.
When I attended the show on opening night I noticed that the actors had left out or forgotten most of their lines. I chalked it up to opening night jitters. The following night they were much better, had still left out some of the dialogue, and the Director had ended the play on a sleazy note – with a male and female actor practically making love on a desk. I did not have that vulgar ending in my script. I also noticed one particular line that was omitted, a line in which a very well-know ex-senator’s name was mentioned. After the show, I asked the actor who was supposed to say the line why she hadn’t said it. She told me that that line was not in the script. I asked the Director about it and she informed me that it did not fit anywhere in the script (so who’s the playwright?),that we were not using real names, that the actor said that she worked for the government and did not want to get in trouble, and other lame excuses. (I found out that the actor is retired). I told her that we used President Obama’s name and also WAPA. I also informed her that I’d asked the ex-Senator permission to use his name in the play.
The following day, I sent emails to the Director and also to the President of CCT, stating my dissatisfaction with the changes that were made in the script without my notification, that I did not like the vulgar way in which the play ended, and that I’d like the line with the ex-senator’s name said by the actor. I also informed them of the telephone calls I received from friends and acquaintances that’d attended the show and were disappointed in the way the play ended. They wanted to know why I’d ended the play on that trashy note. The President of CCT set up a meeting which took place on 7/13/10 at CCT headquarters. The meeting was chaired by the Director, President, and another CCT member. I was not introduced to the member. We went over all the issues I was dissatisfied with and the changes I wanted made. I also brought up the fact that my bio was not in the program booklet but on a flyleaf inserted in the booklet. The Director said that CCT would print some more booklets with my bio included inside. The show ended on 7/24/10 and my bio is still on a flyleaf.
The three CCT staff members told me that the changes I requested would be made, and that the actor would say the line of dialogue in which the ex-Senator’s name is mentioned. I attended the show the Friday after the meeting and that line was still omitted. I sent emails to the Director and President of CCT expressing my anger and frustration at being lied to, disrespected and being made a fool of. They did not respond. I sent them another email asking them to read page one, chapter six of the contract I signed. They still did not respond. I faxed the Director a copy of the contract we both signed, stating the “The play will be presented as it appears in the revised format delivered to CCT on May 5, 2010, and the author’s intent will be respected in production.” I told her that I wanted the line said or cancel the remaining shows. She quickly emailed me telling me that she’d tell the cast and that the line with the ex-Senator’s name will be said. She also stated that because of the two changes I requested, three family members of the cast threatened to drop out of the play. I can’t believe that people dislike that ex-senator so much that to say one line of dialogue with name would cause them to cancel a show that people were enjoying.
Well, the play was not presented as delivered and the author’s intent was not respected. That line of dialogue with the ex-Senator’s name was never used, never mentioned in the play.
Most people do not like the ex-Senator because of his opinions, but to deliberately delete or omit that line of dialogue from my script without consulting me, I call that PREJUDICE. The actors never got a chance to read that line because it was not in the script presented to them at the auditions. This is the line of dialogue: “THAT’S WHY I LIKE XXXX. HE TELLS IT LIKE IT IS AND HE DOH GIVE A DAMN WHAT ANYONE SAY. HE DOH CARE WHO GET VEX WID HIM.”
The three CCT staff members LIED to me and I can’t abide LIES and the people who tell them. They wasted my time by having me attend a meeting knowing full well that they would not respect the playwright’s input. It’s like when the play went on stage, the playwright became a nonentity.
To add insult to injury, I sent an email to the Director informing her that I’d be attending the show on 7/23/10. When I arrived at 7:50 p.m., the show was sold out. People were leaving while others were arriving. I was informed by the Director that there were no more seats available, and that she’d already given me TWO complimentary tickets and I’d already attended the show three times. Imagine, CCT raking in all that money from my hard work and I was only supposed to attend the show twice!! I wonder if I would have had to pay the $15.00 entrance fee to see my own work if I’d attended all seven shows. This is lower than a snake’s belly. Anyway, I had to tuck my tail between my legs and head back to Frederiksted, humiliation cloaking me like a shroud.
People told me that they were only coming to the show to support me financially. When I told them that I’d not be benefiting from the proceeds, and how much CCT paid me for the use of my script, they were shocked and some changed their minds about attending.
One of the actors had to attend to a family matter the second week of production. She was told that a substitute would be used for that weekend. She said that when she returned to play her role, she was informed that she was not needed. Can you imagine? She’d attended rehearsals faithfully.
Caribbean Artists Production (CAP), a non-profit organization produced that same play in 2002 at the Complex as a one-act play. We didn’t even gross $3,000.00 and still gave the actors a stipend. CCT grossed way over CAP’s paltry sum, and if they videotaped the show, (I’ll check that out) they’ll be selling DVDs. They didn’t even give the actors gasoline allowance.
We learn from the mental anguish and exploitation that others cause us. My mistake in trusting CCT members and staff turned out to be their beefsteak. I hope that our people will open their eyes and not continue to take the back seat on the bus.

Imelda "Sandra" Edwards