Author of A Series of Unremarkable Incidents(Quickies VI, 2010)
Darian Lindle’s plays grapple with subjects ranging from an inbred family in the Appalachia to the royal court in 11thcentury Japan. The Blue People from Troublesome Creek, a short play developed and performed in 2002 as part of FreshGoods’ The Blue Project, is about a family of rural outcasts struggling to find a place in the modern world. The Westing Game, a murder-mystery adaptation of the young adult novel by Ellen Raskin, was selected to be a part of the Fringe/ACT reading performance series in 2003 and was fully produced by Prime Stage Theatre in Pittsburgh in 2009. Genji/Muraski follows the journey of Murasaki Shikibu as she creates The Tale of Genji, the first physiological novel.Genji/Muraski has been read as part of several festivals including those for Kick-Ass Women Playwrights (2005) and Live Girls! The Bakery Series (2006). Jackson, a commission for Live Girls! Theater inspired by the song by June Carter Cash was produced in 2008. The City of Crooked Teeth, a full-length fantasia with puppets was commissioned by the iDiOm Theatre in Bellingham, WA and produced in 2009. Lindle’s short plays include: Never Kill a Caterwauling Crane God (and Other Life Lessons, Vampyre, The Cherry Orchard By Pavel Chekov, Great Expectations! A Showchoir Musicaland Alone/Not Lonely(another LG! commission).
Lindle is a playwright, theatre director, actor and teaching artist living in Seattle, WA. She is the Artistic Director of FreshGoods Theatre, a company that produces work focused on elevated language. Lindle is a board member for the playwright support organization Rain City Projects. Selected directing credits include: the critically acclaimed [SIC] for FreshGoods, Mud Angel and Apricot Supernovas for Live Girls! and many shorts for 14/48: The World’s Quickest Theatre Festival. Recent acting credits include: Les Romanesques for Playing French Seattle, 800 Words: The Transmigration of Philip K. Dick and Yog Sothoth for Live Girls! Lindle is former teaching artist with ACT’s Young Playwright’s teaching playwriting to Seattle-area students. Regionally, she has worked with the Seattle Rep, A Contemporary Theatre (ACT), Book-It Repertory Theatre, VIA, Steeplechase Productions, City3, Fringe/ACT, the Seattle Fringe Festival, the Mae West Fest, Kick-Ass Women Playwrights, LiveGirls!, Balagan Theatre, Poisonous Toy, Millennium Ten, Washington Ensemble Theatre (WET), 14/48 and Cornish College of the Arts. She is an graduate of Indiana University with a degree in Theatre, French and Film Studies and interned with Cahiers du Cinéma in Paris, the Steppenwolf Theatre in Chicago and the Seattle Repertory Theatre. In 2004 Lindle married the brilliant sound artist, Nick Notis. They are expecting twins in May 2010.
Where did you get the idea for A Series of Unremarkable Incidents?
I was a writer for 14/48: The World’s Quickest Theatre Festival and the theme that night was “What the world needs now”. I went home that night to write thinking seriously about what I thought the world needs right now. The answer I came up with was tolerance and personal bravery. A Series of Unremarkable Incidents (formerly A Whole New World) reflects those two “needs”.
What is your favorite moment in the play?
I’ll go with the 3rd incident, followed swiftly by the 4th. To say more would be to ruin a punchline or two.
Who is your current playwright talent crush?
My current playwright crush is Melissa James Gibson. I’ve directed one of her plays, [SIC], and I absolutely adore her use of language. I’m also a big fan of Amy Freed and Anne Galjour. Amy’s meticulous research makes the worlds of her plays so dense and full. And her sense of humor is lovely, and her irreverence, especially when dealing with beloved characters like Shakespeare and Poe strikes me as adventurous. Anne is a Cajun playwright whose plays inspired me to work in the theatre. She writes of her world so effectively that even though I’ve never been to New Orleans, I feel like it’s a place I know and love and have lived through her work. I had the pleasure of working as her dramaturg about 5 years after I saw my first play of hers and it was a thrilling experience.
What advice would you give to aspiring playwrights?
Don’t be afraid of your own voice. You have something to say.
What kind of theater do you love?
I love intelligent, funny, theatrical stories. Stories that work best on a stage, not a screen. I like plays with heart – that have meaning, even through the funny stuff. Plays that have something to say.
What are you currently working on?
I’m tearing apart and re-writing my first play: Genji/Muraski. It’s a story I love and the only play I’ve written that has never been produced. I’m also idly working on two new play ideas: Pinkerton, based on the search for serial killer H.H. Holmes and The Ballad of Sister Aimee about the rise and fall of the world’s first evangelical media magnate.
Outside of theater, what are you really into right now?
I’m preparing for motherhood (twins due in May). And Greek Mythology – I can’t get enough of those Greek Gods.
?Do you have a favorite and least favorite word?
I think all words have their place.
Is there a question you would like to see posed to playwrights featured in future spotlights?
As someone interested in bolstering the playwright community in Seattle I’d love to know what they feel is the biggest road block to getting their plays produced here.
As a theatre goer… I guess I’d like to know who their favorite local playwright is. In all fairness, my list is long, but here are a few off the top of my head: Holly Arsenault, Scot Auguston, Bret Fetzer, Jonah von Spreecken, and Paul Mullin.