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A touch of the surreal in Rude Mechs’ The Method Gun
Can you talk about how being a collective changes the
grant application process?
Kirk: In addition to writing plays, I am the development
director, and usually sort of lead the grant-writing attacks.
The main thing I’ve noticed is that this is where it really helps
to be in a collective. Having at least six, sometimes seven
or eight—depending on if we have interns or company
members who are hanging around the office—sets of eyes
who can sort of work on different aspects of the grants, give
critiques and re-draft it is very helpful. The hard work of asking
the questions of “Why do you say this about this?”, or “I
don’t understand this,” or “I don’t think people will people
understand this,” or “It was more interesting last night at
the bar than it is here in this grant. Say it that way,” is a part
of the process. And it really helps to have so many eyes and
so many people working together. I mean, it’s true of the
artwork, but it’s also true of the office work. When things are
working it really helps to have a lot of people. If I had set out
alone to write the story of I’ve Never Been So Happy, it never
would have happened, and so having Peter has been just
everything. And then the same way with grants. Being in a
collective or collaborating is good.
Lana: Most of what we’re going to do is just develop it
until we run out of money and then stop, until we make
a little more money. We’re pretty much gonna run out of
money this September. I think that’s our last workshop, and
then it’s game over until somebody gives us more money to
work on it—hint, hint.
Bret Brookshire
Paul Soileau in a moment from I’ve Never Been So Happy
“If I had set out alone to write
the story of I’ve Never Been
so Happy, it never would
have happened.” — Kirk Lynn
Left to right: Thomas Graves, Hannah Kenah, Robert Pierson and Lana Lesley in I’ve Never Been So Happy
Stephen Pruitt Stephen Pruitt
www.stage-directions.com • April 2009 11