A STATEMENT TO MEMBERS ON NEA FUNDING
Dear Fellow Dramatists Guild Member,
Your Guild is acutely aware of newspaper reports stating that the incoming Trump administration wants to slash the Federal budget with a host of ill-conceived cuts. Notable among these is proposed elimination of the National Endowment for the Arts.
We recognize that this is a specious, even disingenuous idea since the Endowment is .003 percent of the national budget; abolishing it will do little to curb spending. On the contrary; such action will do us all financial harm, as we've seen again and again that the arts prove themselves a worthy investment. Theatre alone contributes roughly $7.1 billion to the national economy.
Destroying the endowment isn't only misguided fiscal policy; it would also have catastrophic symbolic impact as well. It would render concrete the world's suspicion that our nation is becoming increasingly anti-cultural, anti-intellectual, and anti-humanitarian. It will demoralize those Americans who already feel under siege by the new administration. It will demonize artists, the true arbiters of our national and spiritual conscience.
The arts promote empathy, nourish the spirit, and increase our understanding of complex, eternal truths. Our government should value them as central to our national wellbeing. To do less is to invite a further slide into the rancor and vulgarity that increasingly constitutes our national discourse.
The Dramatists Guild will continue to monitor the situation closely. We are strategizing a rigorous, forceful response should plans to eradicate the NEA move forward. In the meantime, we urge you-American dramatists-to use your authorial gifts to address these and other troubling political developments on stages all across this country.
President, The Dramatists Guild of America
Theatres all over the country are pledging to provide free last minute tickets to Dramatists Guild members through the Playwrights Welcome program.
“Ticket prices have made it, regrettably, a rather rarefied art form, but we need artists from all socioeconomic groups weighing in on the American experience.” - DG President Doug Wright.
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TINA FALLON IS THE DRAMATISTS GUILD'S NEW EXECUTIVE DIRECTOR OF CREATIVE AFFAIRS
The Dramatists Guild of America is pleased to announce Tina Fallon as its new Executive Director of Creative Affairs. She succeeds Gary Garrison, who recently retired from the position after a ten-year tenure.
Garrison notes, “Tina is the perfect person to step in to the job of ED of Creative Affairs. In the short time I’ve known her, I can see already that she’ll take a lot of the programs we created when I came in and elevate them to a place of real importance, not only to the Guild as an institution, but to each and every member who is the foundation of the Guild. She’s incredibly insightful, fun, warm, gracious, forward-thinking, recognizes the often uphill challenges for writers and has a genuine desire to understand and better the day-to-day lives of dramatists everywhere.”
Guild President Doug Wright said, “It’s a bittersweet time at the Guild; we’re saying a very fond and heartfelt “farewell” to Gary Garrison as our exemplary Executive Director of Creative Affairs. In the same breath, we are very pleased to welcome the dynamic, inventive Tina Fallon to his post. Tina promises to continue Gary’s remarkable work, and make thrilling new contributions to better the lives and work of Dramatists Guild members.”
Fallon is a New York-based producer, arts advocate, and the founding producer of The 24 Hour Plays. Since 1995, Ms. Fallon and The 24 Hour Company have produced The 24 Hour Plays and The 24 Hour Musicals, often as charity benefits for The Old Vic, Atlantic Theater Company, Urban Arts Partnership, Dublin Youth Theatre, The Orchard Project, The William Inge Festival, and Finland’s Teatterifestivaali Lainsuojattomat, among others. The 24 Hour Plays on Broadway is now in its sixteenth year.
As a young producer in Los Angeles, Ms. Fallon worked with Theatre 40, FreightTrain Shakespeare, and the L.A. Rep. She returned to New York and co-founded Crux Productions. As a director, Ms. Fallon led the first workshop production of Will Eno’s Tragedy: a tragedy and the world premiere of Linell Ajello’s Lonely Comet at the Ohio Theater’s Ice Factory Festival. She produced independent film, television, and commercials. As a scenic carpenter, technical director and production manager, she spent years in the trenches—sometimes literally off and off-off-Broadway, working for the Atlantic, Primary Stages, WPA, New Georges, the Kitchen, La MaMa, the Ontological-Hysteric Theater, the Theatorium, Galapagos Art Space and more.
In London, Ms. Fallon co-created The 24 Hour Plays: Old Vic/New Voices, an education and early career development program for emerging artists. Filmmaker Chris Terrill chronicled the process in a 2005 documentary, Extreme Theatre.
She teamed with The New School for Drama to bring the program to New York; through its outreach to high schools, conservatories, colleges and universities, the 24 Hour Plays: Nationals now reaches thousands of students each year. Ms. Fallon has led workshops for Q-teatteri, Teatteri Takomo and Helsinki Theatre Academy in Finland, Old Vic/New Voices in London, and Urban Arts Partnership in New York.
Fallon is on the advisory boards of The New School for Drama and Cora Dance. She has been a presenter at the Kennedy Center American College Theater Festival and The Association for Theatre in Higher Education, a judge for the KCACTF Irene Ryan Awards, and a panelist for The Kevin Spacey Foundation Artists of Choice.
She was received a Lilly Award for Grace Under Pressure in 2011, and was named one of New York Moves Power Women of 2005. Her work has been profiled in The New York Times, Paper, and American Theatre. She is a graduate of Lang College and lives with her family in Brooklyn and Greenport.
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