welcome to Big Broadway Energy, the podcast with your host, Stephen Rudin. That's me. Thank you for being here, podcast listener.

That's you. Okay. I've said it before and I will say it again. St. Pete is so lucky to have the arts community that we have. The idea that most of the time there is something playing on a local stage or something on display at a local gallery that is new fresh and exciting is one of the reasons I love St.

Pete so much. It's one of the reasons I came back to this. Area of the world to continue my artistic journey. I just lo love being part of the community so much. It's truly a gift. And I'll tell you what else is a gift. When I get to meet incredible artists from different parts of the US who are in town to share their gifts with us.

And that's what we are doing today. We are getting the jump on the upcoming visit of a playwright who is working with. The studio at six 20, which is my artist in residence home. As many of you know. Her name is Tina Esper, and she is speaking to me from her home in Montclair, New Jersey. Welcome Tina to Big Broadway Energy.

Thank you for having me, Steven. It's truly a pleasure. Here at BBE, we are always celebrating storytellers. We speak to actors, directors, producers, you know, educators, and the definition I. Think every one of my guests has have had is that they are all storytellers. I mean, you are a playwright, which I believe is one of the most important and rewarding, if not hardest jobs in the arts.

Uh, I have written some plays myself, and it's a process and you're, it's the process. It really is. And you story is so inspirational because you jumped back into this work after raising your family. Talk to us a little bit about your journey and how you got to where you are. I started writing plays about 15 years ago, uh, when my children were small.

I have three children, and so I was juggling a freelance career. I was also raising my kids and I started writing plays and you know, it, it's hard to write plays as you just mentioned, uh, but I was, uh, slogging along, getting it done. And, um, once my youngest. Graduated college and I no longer had to be paying tuition bills, right?

I turned the focus to my own goals and I applied and was accepted to the master in fine Arts. In playwriting at Boston University. Uh, and so I packed up and moved from Montclair, New Jersey to Boston. Uh, it was a three year program. Um, the, the cohort was four people and. If you added up the ages of the other three, I was still older.

Uh, it was a great, I have to say though, it was a, a great cohort. We all it, that was a love fest. We just, uh, really got along and I was, I wrote eight full length plays in this. Three year program. Wow. Uh, tight being one of them, one of the last ones that I wrote. And yeah, it's, I, I have to tell you, when you really want something, there is just a way that things kind of open up for you if you're determined enough.

So that was, that was my experience, um, you know, with this MFA program and I just graduated in May. Well. It's so inspirational and congratulations on the graduation. Of course, thank you. But it's inspirational. Whenever I talk to people who have had a whole life and the thing that was itching them young in their life, which often is the arts for a lot of us, you know, has to be put on, on hold because of what, whatever else you're doing in your life.

But the, the, the, the light is never truly extinguished. And when you're able to. Come back to something that has been, you know, for me, the arts has been a driving force in my life and I've worked in corporate America. I've worked everywhere, but you know, every time I get to go back and do this, it's truly a joy.

And I am kind of on the same journey as you. Like I, uh, recently gave up my corporate career to try to do this full time, and it is a scary, it's a scary proposition, right? Absolutely. You know, there's such a fine line between foolishness and bravery and, and you really have to like, ignore those who are saying you're crazy and really, you know, stick to what you believe in your heart is the right thing.

Uh, and you'll always find supporters. The right people will come around to support you. Uh, you really have to trust the process. Uh, you of course, you know, I was also in corporate America and um, and also corporate America, just. It's a very narrow kind of experience. Mm. I don't know how many people love their corporate jobs.

I certainly did. Didn't, you know? Uh, so it feels, I, I have to tell you, it feels like, um, since I went back for my MFA and really was able to jump into it full, um, a hundred percent wholeheartedly. I have not looked back. I feel completely rejuvenated by the experience and I, I find that, um, I am being met with a, a great deal of respect and comradery.

I, I think that the arts. Um, don't judge you on age. I think if you believe in yourself, others will respect you and welcome you. So that, that's been my experience. I feel very lucky about that. Well, I think it's so true too that people support, you know, when they see people going on their two journey, there's just a lot of support there.

But I think there's sometimes a little bit of envy, right? I think some people don't have the courage. You have to say, uh, no, I did. I did my due diligence and I've done my family responsibilities and now I'm gonna live for myself for a little while. You're welcome. Me. You know, like, I think some people might have a little bit of energy there.

Oh, I know. People in my life do. Absolutely. And I wonder why there's that envy and, and like you said, maybe they don't feel like they have the courage and. Again, it's like bravery and foolishness are two sides of the same coin. Um, but, uh, the people who matter the most to me did support me and my children were, I guess I raised them right, because they were saying, go, mom, go.

Oh. Do it. You know what a great, what a great message from the people that love you the most. I love that. Absolutely. So we mentioned that you went to Boston University for MFA, you're, you're currently at work on the Jane Trilogy, which is a sweeping three play cycle about survival, violence, and female reinvention.

And the first play in the trilogy. Neighbor Jane, is a co-recipient of the 2023 National Partners of the American Theaters Julie Jensen Award in playwriting. Congratulations, that's quite an honor. Thank you. And then you were also a Tennessee Williams scholar from the Sewanee Writers Conference and a fellow at the New Harmony Project.

Yes. So those kinds of things, again, are not. Easy to achieve. And I think to your point, when you're able to live your truth and just unabashedly go for them. The, the universe gives you not only what you deserve, but what you need. And, and, uh, I love that you just, you know, literally minutes ago, almost finished your MFA and you're on the road to such a sweeping success.

So congratulations, Tina. Thank you. Again, you know, I, I think it's luck and I, I don't know if luck is just like good timing or, or destiny. Um, but I, I'm not questioning it. I'm just being sure. I'm so grateful for all the opportunities that come my way, and I think what's interesting is. There's something about what I, I'm, I focus on the stories of older women.

Mm-hmm. Most, mostly women in that are over 50, over 60 in the play that, um, I'm right tight. The comedy, which will be at the studio at six 20 is about a 78-year-old woman. And I think the theater, um, American Theater is ready for these stories. They, they haven't always. Welcome those stories. They haven't always welcomed older women, but uh, the tide is changing and I am ready to start sharing these stories with people.

Most of my plays are. Uh, dramas and I've only, only in the last year, uh, in my MFA program did I focus strictly on comedies. Um, and that was because, um, my mother passed away and about a year and a half ago, and as like two weeks after she passed away, I said to myself, I need to write a comedy. I, I need balance.

You know, I need to like, absolutely. I, because my real life was just so hard at that moment, and I thought, and I'm going to honor her and aspects of her in this comedy, and it just, I'll tell you, it was like I sat down and it just, I wrote it in like three weeks. That first draft, what a catharsis right plays can be.

I, I agree with you a hundred percent. You know, when I see a play that touches me, or I write a piece that, you know has been on my mind and it's, it's finally on paper, or I, I share it with the world or would do a reading, or I see a play that I love that connects with me, that it's like a balm for your soul that I think some people have never even had the, the, the, the gift to experience.

Right. And the fact that we're able to do it in a way that feels so visceral is again, like what a. What a reward for us and, and our hard work and, and yeah. It really is. It's so healing. Yeah. But I, I also think the things that touch us, uh, the most steeply are the most universal things. Mm-hmm. You know? Um, and just thinking about, uh, the issues I raise in this comedy, um, like, you know.

What does it mean to be beautiful? Mm. And does beauty stop at a certain age? And, uh, it, how beautiful do you have to? Feel or be to feel that you can be loved again, you know? Oh, and, and these are things that we feel at all ages, you know, in our twenties, twenties, thirties. But how about in your seventies or in your late seventies when you're a widow?

Mm-hmm. And there are. I mean, until you're dead, you're alive. That's how I feel. Oh my gosh. I love that. I'm stealing that, Tina. Until you're dead, you're alive. That's so true. And I think that's, you know, let's talk a little bit about, more about the themes in your work. You know, obviously a good playwright tells the truth, and I think that's what connects people to a good play.

And some themes that you are really important to you include feminism and ageism. Yeah. A dislocation and how these themes converge. Sure. And again, like you mentioned, you know. The, the often overlooked, uh, group of people that are, are matriarchs of families whose, whose children go away, whose husbands die, or, or you know, they, there's a life change or divorce and then all of a sudden.

This woman has lost whatever she felt was her worth. And I think you know, that that stuff is so important. You know, I have such a, I have such strong women in my life. Anyone that's ever given me an opportunity in my life has been a woman I, I've admired and, and who has mentored me. Every anyone that's ever given me any compassion or love or equality has been a woman in the world.

I am so happy that writers like you exist to remind all of us as human beings. Without the strong women in our lives, who would we truly be? Yeah. And uh, you know, I think, um, about before my MFA, it was about four years ago, I went to a matinee in Manhattan, and uh, uh, I saw Broadway show, and I remember after the show I looked back and.

It was a story that centered, you know, like six 20 somethings. And it was a drama, it was a comedy, um, drama, uh, dramedy. And I remember looking at, uh, turning back and looking at the audience and almost all the, it was almost all women and they were almost all in their seventies or eighties. And I thought, you deserve a story that.

Reflects what you've experienced, who you are, where you are right now. Where are those stories? Of course, they can appreciate a, a dramedy about 20 somethings, but I wanted to do some. I remember thinking, I want to write something that. You that will really move you, that will really make you cry. That will really make you laugh.

Something that respects who you are today and everything that you've done so far for so many people. Why are these women being overlooked in theater? I didn't think it was fair and I, I think that was the moment where, when I thought that's what I'm gonna be doing. I'm, I'm going to be writing stories at center.

These women and not, you know, not the stereotypical grandma. Mm. Right. Stories. I want these women to be doing daring things, foolish things. Scary things. Risky things. Dangerous things. Because the truth is. You can do all of those things at any age. It's not like you, you turn 59 and suddenly you're wise, you're still making mistakes, you're still exper, you're still learning, you're still experiencing things.

And um, yeah, so that's why I, I'm so dedicated to, you know, the stories of older women. I love it. I love it. And I'm so excited that we're talking too because you, we mentioned earlier that you'll be at the studio at six 20. This is a brand new, uh, program that the studio is starting to run, and it's called New Works.

And before we get into talking about Tight, which I promise we're gonna get to, I wanna just mention what the New Works program is for listeners who might not know what's out there. So it provides a critical platform from both national and local playwrights with a strong emphasis on showcasing innovative works in progress by emerging professional and underrepresented artists by centering new narratives that.

Often explore contemporary social issues and new works, offers a safe space for diverse artists to develop their craft and share their stories that might otherwise go unheard. And at the end of these event readings, there's a community feedback session where, uh, you know, the audiences are empowered to let the writer know.

Their journey was what they experienced, what they loved, what they thought was challenging. And I think this program is such a perfect thing for the studio because Tina, I've been working with the studio for 20 years. It is such an unbelievable place of growth for an artist and it's so great that you are the very first artist that we are, that we are highlighting here with new works.

Yeah. So I'm so excited. So, um, you know, talk to us a little bit, first of all, how you found Erica in the studio and just again, a little, um, maybe a little quick summary about tight and what audiences will expect. Uh, well, how I, um, got to know Erica in the studio is through Kristen Clifford, who's a director Yes.

Who's directing this correct. For us, who is directing this, and Kristen read my play. Unbeknownst to me, I didn't know her, and I received an email from her and she said, you know, I, I read tight. I loved it and I would love to direct it someday. I'm wondering if we could talk, and anyone who loves my work gets a phone call back.

I love it. So it was, Kristen is great. I, I haven't met her in person yet. Oh wow. We've, um, zoomed a few times and we've emailed and then she told me about this wonderful opportunity, uh, at the studio at six 20, and then I got on a Zoom with both Kristen and Erica. And Erica is great. I loved her immediately.

Uh, we were on the same page with so many things, so it, again, it's, I feel like. I am connecting to the right opportunities and the right people. Um, I've heard wonderful things about St. Petersburg. I've never been there. You're in for a treat to, it's a special place. I, I didn't know that. See, I would've visited St.

Petersburg. You know, there's, there's something a little bit provincial about living in the New York City area where you think, of course. You know. Sure. Why do you have to travel anywhere? Exactly. But, um, I was just, you know, I posted on my social media that I was going to be going to St. Petersburg to do this new works, uh, development week.

And I had, I got private messages from a few artists who said, I love St. Petersburg. And I was like, what? Why? It's truly, it is such a surprise, Tina. Like, I was raised here obviously, but I spent many years in New York and back and forth. I moved there four times for my artistic life. And this last time I came home and my friends, it was kind of during the, you know, Florida doesn't have the best reputation when it comes to the things that are important in the world.

Right. But, um, you know, I, I tell my friends, St. Petersburg is the snow globe of sanity in the dumpster. Fire that off of Florida. I love that. So, um, you'll have a great time. It's so full of culture. It's so full of people who believe in the, in the power of art and the power of what it can do for changing minds and motivating people to look a little further, a little deeper.

That's kind of why I love being part of this community and a part of the studio, is that we are always producing things that are making the audience. Have to look up and challenge themselves and question themselves, and that's really the point of new work in my opinion. And I, I, it sounds like type might be very similar down that road itself.

Absolutely. Um, I, I think it, it feels like an excellent match. I'm really looking forward to the talk, the talk back. Yes. And hearing what the audience has to say because you, you know, when you're writing it's just you and your laptop and your thoughts and Right. And especially with the comedy that you really have to know.

If things are landing or not. Um, so even more than a drama, I think it's really, really important. So I was so excited that, well that's, you know, that I had the, got this opportunity, especially with, with, um, the people of St. Petersburg, you know, who I imagine are. Get to see theater and you know, it's sort of like a little New York City.

I'm always looking for like the little New York City. Well, you are going to be welcomed with open arms. You're gonna, I think, be very, very happy with the experience. Tight will be performed as a staged reading at the studio on Thursday, August 14th at 7:00 PM And then after the reading, as we've mentioned, the audience.

Can be a part of this creative process by staying and for the post-reading feedback session. And it's meant to be me memorable and important, not just for the audience, but for the writer. And I think, uh, it's a great opportunity for, uh, an audience to get to meet. A playwright who is a working playwright.

You know, I mean, I think that's always a thrill and it is always fun for audiences to actually meet. Like I remember a few years ago at the studio, there was, um, there was a kind of a masterclass that was taught by Mark Meddoff, who obviously was the writer of Children of a Lesser God and just seems a friend of, of Bob Devin Jones, who used to be the art, uh, the producing artistic director.

Wow. And we got around, we, we just got to talk. To him after the, after the masterclass for like two hours. Like he stayed. Wow. As long as we wanted to ask him questions, and it was truly thrilling. It really, really was. It's so funny that you should say a working playwright. Well, we all work, but it's, we don't always get paid, you know?

That's true. That's true. That's, it's a lot of work. And, uh, you know, and, and I know playwrights who work and work and work and, uh. Win awards, but they don't always have the opportunity to have their work heard before a live audience. Right? So, mm-hmm. I think ultimately that is the goal is to, you want people to hear what you've done.

You want to see whether it's resonating, uh, resonating in the right way. How does the audience feel? Those are, that's such an important, but most of the time, very hard to achieve that thing of. You know, getting people to respond without a doubt. Without a doubt, and I. I think you're gonna have a really great audience.

I know. I'll be there with Bell on. Yay. Um, and I, again, encourage everyone who's listening, uh, if they've ever been to the studio, or if they are a regular, you know, returning guest, please come and, and, and support new works because it is an initiative that Erica's so, so. It's close to her heart, it's close to our hearts as, as fellow artists and residents at the studio to continue to foster and sort of lift, lift artists up.

Um, my last question for you, Tina, and I ask the same question of all of my guests, and it's a little cheesy, but I just love hearing the answers. What does art mean to you? Mm-hmm. You know, for me it's everything. I, I don't. I was meditating once about 25 years ago, and out of nowhere during meditation, I heard myself say, I am an artist.

You know, the voice, the voice said I am an artist. And that when ISI and that I was stunned that I said that unprompted, it just came out, you know, it was something that surfaced and I asked myself the question, well, how am I living as an artist? How do I live as an artist and it, and that, I think that's what started the journey where I began to write plays.

Like I, it, you know, I did, I began to write plays long before I, I began to finish plays. So I would say it took about 10 years to really connect with the right people and, uh, teachers, mentors. But I think. I think art is a journey. I think you are. I don't know that everyone feels like they are an artist. I think if you feel you are an artist, you owe it to yourself to find a way to live your truth.

And that might mean, um, you know, having to. Make some compromises. Maybe not living the life you thought you'd be living on Fifth Avenue overlooking the park. You know, maybe, maybe you live a very simple life and be because you're dedicated to a vision. Hmm. So, I'm sorry, I'm, I'm coughing in the middle.

That's okay. Um, no, I love it and I think you're right and I think without it we would be a different species and I think as we continue to see, you know, people trying to defund and people's trying to say, it's, it's a nice to have that a must have. It's our job to remind people that it is a must have without, without art, what kind of humans would we truly be?

Absolutely. And I, I really think that. The art is a service to the community. Mm-hmm. And without it, I think we're beginning to understand that there's going to be a push to, to defund. You know, of course I'm reading about all these wonderful programs that are be getting defunded and, um, and I, boy, what we don't often think that art is such a necessity.

I think it really is, and I could agree more. I hope that there's a real effort to, you know, dig our heels into what it means to be an artist and fight as hard as we can. Keep making art, keep putting it out there, keep inviting people, um, to experience what you're making and, you know. Fingers crossed, uh, the tide will turn on all of this.

I think it will with people like you, uh, and people like all of us, you know, continuing the work. I think, you know, we've been in this tight spot before and, uh, you know, art will, art will endure. So thank you so much for being here, Tina. We are truly honored to have you in our city and to be part of the culture that is St.

Petersburg. Thank you, Steven. I can't wait to be there. Remind less than two weeks I'll be there. Oh, I'm so excited. So as a reminder to everybody Tight will be performed at the studio on Thursday, August 14th. For more information on Tina, you can go to www.tinaesper.com and for more information about the.

Performance of Tight at the studio, please go to www.studioatsixtwenty.org. Thank you, dear listener, for joining us on Big Broadway Energy. If you or someone you know would like to be a guest on the show, email me, will you at Big Broadway Energy, all one word@gmail.com. Until next time, friends, be kind, be curious, keep creating.

Bye everybody. Okay.