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Playing Together! How the New York Writers’ Bloc Created Camaraderie, Community, and Great Stories

In their 2009 study Outrageous Fortune: The Life and Times of the New American Play, authors Todd London, Ben Pesner, and Zannie Voss suggest that there are a number of ways in which playwrights are at a disadvantage. They claim, in short, that the present apparatus of new play production in the United States favors playwrights who are already visible, while emerging playwrights may consider themselves lucky to earn a developmental reading at a major regional theatre. For many playwrights, the phrase “new play development” is synonymous with “developmental hell,” which can be defined as the series of readings and workshops a play may be guided through without the hope of a production (Bray 2011). Furthermore, as production opportunities have dwindled, developmental readings have been on the rise. These readings constitute one style of playwriting workshop: the script-based workshop.