I have always quietly tried to offer my support when a production of Almost, Maine was in jeopardy. This time, I decided to get a little louder, and I released this statement (with assists from Jack Thomas, producer of the Off-Broadway production of Almost, Maine, Beth Blickers, my wonderful agent, and Peter Hagan, President of DPS)
“If Maiden High School administrators canceled Almost, Maine because they take issue with a scene about two young men stating their love for one another, they are calling into question the validity of same-sex love by making it seem wrong. They are allowing a dangerous cycle of fear and self-hatred among LGBTQ youth to continue, and are, consequently, tacitly promoting homophobia. This is not helpful.
We don’t need any more Tyler Clementi, or Jamey Rodemeyer, or Jamey Hubley tragedies. Falling in love is tough enough when you’re young. Let’s remove the stigma of falling in love with someone of the same sex. And – most important – we should all remember that the kids who spearheaded the production of Almost, Maine are the ones who will lose here. As I understand it, the Maiden High School production of the play was to be a student-run endeavor. By canceling the play, it seems to me that school officials are pleasing parents and pillars of the community rather than serving the students.”
I honestly thought that would be the end of it. I thought the play would be canceled, I would make my point, and walk away with the loss. Happily, it didn’t pan out that way.
Enter Carmen Eckard, a local artist, activist, and former teacher in the Catawba County County school system, who stepped forward to ensure that Maiden High School’s production of Almost, Maine would go on. She started a petition to get the production reinstated at Maiden High School. In a couple of days, she collected over one thousand signatures, including signatures from the National Coalition Against Censorship, The American Booksellers Foundation for Free Expression, The American Library Association, and the Association of American Publishers.
Unfortunately, Maiden High School officials were unrelenting, so Carmen decided to produce the play herself. She initiated a Kickstarter campaign to raise funds so that Almost,Maine could be performed off-campus. The goal was to raise $1000 to fund the production. The campaign raised that amount in one day and went on to raise nearly $7000. ($5800 was donated to Catawba OUT Right Youth, the United Arts Council of Catawba County, and the theater department of Maiden High School.) Carmen enlisted the talents of Bill Morgan, a local attorney (who had directed a community theater production of Almost, Maine in the area), to co-direct along with Conner Baker, and the show was scheduled to go on in mid-January.
When it became clear that the Maiden High School production of Almost, Maine was to go on, Amy VonVett at the Dramatists Guild contacted me. She has been encouraging me to join the Guild for a couple of years, but, for whatever reason, I never managed to get around to it.
Still, she made sure I understood that the Dramatists Guild had been closely following the situation in Maiden and that I had its full support. I was so moved that the Dramatists Guild was seeking me out – a guy who wasn’t even a member yet– to offer advice and help. I quickly joined the Guild (in early November) and a whole new world opened up to me.
After Amy reached out, I received a letter from then-Guild President Stephen Schwartz expressing his disappointment in the actions taken by Maiden High School officials and officially offering the Guild’s support. That letter was followed by another encouraging me to go to North Carolina and attend the reinstated production of Almost, Maine. The Guild offered to cover airfare and lodging so that I could support the production and the people who were fighting to make the show go on. (Ultimately, I did not have to take the Guild up on its offer because Jack Thomas, the original producer of Almost, Maine, had already arranged for me to attend the opening night of the resuscitated production with him.)
When I informed the Guild of my plans to attend the production, Roland Tec contacted me, forwarding an email from Kim Stinson, Dramatists Guild Representative for the North Carolina region. She expressed her enthusiasm that the show would go on. She let me know that she had seen Bill Morgan’s successful community theater production and that she loved the play and was surprised by Maiden High School’s actions. Most importantly, she wanted to make sure that I knew that she was well aware of what was going on and that she would be there for me while I was in North Carolina.
When I arrived in Hickory, Kim’s was the first phone call I received welcoming me to Catawba County. She wanted to make sure I was all set for dinner (I told her where Jack and I would be enjoying our pre-show meal and she approved!) and said she’d see me at the show.
After dinner, Jack Thomas and I ventured to the venue where Almost, Maine was being presented – the SALT Block in Hickory, NC, formerly the town’s high school auditorium. Aside from a lone (and very vocal) protestor marching in front of the theater, I was overwhelmed by the joyous atmosphere and the outpouring of support for the production.
Audience members had “Je Suis Almost, Maine” signs. Keith Martin, the former managing director of Charlotte Repertory Theater whose company was at the center of a firestorm over its production of Angels in America in the mid-nineties, introduced himself. He gave me a huge hug and was so proud and excited to support the kids. Howard Sherman, Director of the Arts Integrity Initiative at the New School for Drama and one of the foremost thinkers on censorship in schools, was in attendance to document the proceedings.
When I took my seat, I met Kim Stinson in person – she was sitting right in front of me and introduced herself and her two young daughters. I opened the program to see a full spread ad from the Dramatists Legal Defense Fund wishing the production well and outlining its mission to support the unfettered expression of words. Dramatists Play Service had also taken out an ad wishing the Maiden High Almost, Mainers well. (DPS also waived all licensing fees.)
Then…the play began. And the production was unlike any I had ever seen. It was truly electric. And raw. It was Almost, Maine, amplified – probably because it felt like everyone was waiting for THE BIG SCENE, which I am happy to report was beautifully executed. “They Fell” was sweet. It was sad. I think it reminded us all (or made many realize for the first time) that, for many young people, falling in love is a terrifying and scary experience. Not just because it’s love, and not just because it’s a story of two guys professing their love for one another – but because of what many think and feel about that love.
After the production, Carmen put together a first-rate opening night party. She gave the stars of the show red carpet treatment. There were speeches and tears and lots of joy. I think it was at the party that I truly felt – for the first time in a while – that plays are important. Deep down I know that plays have the power to change, to heal, to entertain. But often – usually when I’m writing, I don’t feel that way. I get so bleak and down on my playwright self, and I wonder, “Why should I bother? No one cares about my play. Or any plays.”
But that rescued production of Almost, Maine made me start feeling a little more highly of my playwright self. And of plays. Because a play as anodyne as Almost, Maine has started important conversations all across the country – in places like Catawba County, North Carolina. Being gay isn’t a big deal in the world of the theater. It’s kind of passé as an “issue.” Which is pretty thrilling. But in places like Maiden, it’s not. A vocal few still object. I learned at the opening night party that school officials had canceled Almost, Maine because of pressure from one pastor at a local church. One man. One small church. Making a decision for a majority.
It’s a classic story – a vocal minority speaking out, but not being representative of the cool heads that will prevail. I write, “will prevail” because countless people approached me at the opening night party assuring me that they were not the kind of Christians who would force a school to cancel a play like Almost, Maine.
Others told me they wanted to see Almost, Maine because they were curious what all the fuss was about. After seeing the play, they wondered… what all the fuss was about. And one older woman said something that I wrote down and keep on my desk. “I am so happy that you wrote this play and brought us all together – you brought us together – to support these young people and to make us all think about something that many of us have a bit of difficulty with. You caused a commotion – but you did it with love. And I thank you for that.”
Here’s to plays – bringing people together, causing a commotion, and doing it from a place of love.
Here’s to all of us holding on to the feeling that plays are important and relevant. Catherine Rampell wrote in her column in The Washington Post that incidents like Almost, Maine in Maiden “demonstrate that live theater still matters. Maybe it’s been pushed aside by Hollywood and other forms of mass entertainment, but it still manages to inflame and provoke, both in cosmopolitan New York and in small-town North Carolina. May the architects of censorship never win out – and more importantly, may the show go on.” Here, here! May all the shows go on. May theater inflame and provoke. May it provide a record of the world in which we live. May it shine a light on the truth. May it shine light on pain and injustice. May it spread love and joy. May it incite change.
Most important may it continue to bring people together. Even if at first it divides.
And finally, may all playwrights have the confidence to bring their work into the world and let their thoughts and their voices be heard. May they remember that there is a missing word. May they remember that there is an organization called the Dramatists Guild that is committed to supporting and protecting playwrights. May they know that there are playwrights out there like Kim Stinson who are serving other playwrights as regional representatives for the Guild. And may every playwright know this: as lonely as being a playwright can be – always remember that you’re not alone. The Dramatists Guild has your back. They had mine. And for that, I am extremely grateful.
JOHN CARIANI is an actor and a playwright. His plays include Almost,Maine, Last Gas, LOVE/SICK, and cul-de-sac. Originally from Presque Isle, Maine, he is a graduate of Amherst College and currently lives in New York City.