I've been a little busy lately: conquering L.A.'s unusually cold weather [it snowed], playing host to an out-of-town guest, and actually trying to make a decision about going forward with a reading scheduled in NYC in a few weeks.

Let me start with the weather. My God it's COLD! It feels like an east coast winter. Although an east coast winter these days consist of 75 degree temperatures and thundering tornadoes. But even native Angelinos are expressing their surprise about this cold. Everyone I know wants it to be over. WHERE IS THE HEAT?!!

My out-of-town guest has been a bit disappointed, too. He was expecting 70 degree days with plenty of outdoor eating. An in some interesting attempt to reject the reality of cold, he refuses to pack away his flip flops [i guess he figures he'll at least enjoy the culture of L.A. even if he gets frostbite].

Now... my reading in NYC... yeh, it's quite a sticky situation. The reading was originally scheduled for early March, but due to the artistic director's trip to Italy, the reading was rescheduled for early April. And since then a play entitled MY NAME IS RACHEL CORRIE has created quite a wildfire about artistic censorship in the American theater. Without going into an exhausting run-down of what happened and who it happened to, I'll say this: The New York Theater Workshop was negotiating the probability of producing this one-woman play about a young American activist crushed to death by a US-made Israeli bulldozer in a last attempt to save a Palestinian home from being demolished. The Royal Court Theatre in London was going to remount the production at the New York Theater Workshop until Jim Nicola, the artistic director, decided to postpone it due to "not enough time" to contextualize the possible political ramifications of such an important piece of theater. And that's when all hell brook loose.

Here's where I come in: My play Crossing America, the story of intra-terrorism in rural America, is now scheduled in a few weeks to be read at the New York Theater Workshop. Add to the recipe that the artistic community has been in cyber-outrage about the theater and its "artistic censorship". Emails and blogs are red with disgust over the theater's alleged cowardly move to postpone My Name is Rachel Corrie. And I understand it all. Meaning, I understand the need to outrage.

Several years ago, the same theater led me on about producing one of my early plays. And I was heartbroken when told they decided not to do it [this happened after a previous discussion about making choices on directors]. I healed and survived and realized every theater has their personality and the power to do what they want, when they want. Which brings me to this: I think the theater made a dangerous decision to postpone My Name is Rachel Corrie. Not because it could easily be tagged as a censorship move, but more because the theater has a reputation for being indecisive and ultimately that is very damaging when it comes to the souls to hard-working, sincere artists. I think what artists need more than anything now is institutions who take a stand, whether it's pro or con. Things are way too watery in the world today. We look toward our artistic leaders to stand their ground. Never waiver. Or if they waiver, be honest about the waivering.

My plea: The New York Theater Workshop become advocates for clarity. The New York Theater Workshop has an amazing history of mounting provocative plays and initiating timely discussions on our ever-shifting globe. We need you to be clear.

Which brings me back to me: I've been uncertain about my scheduled reading at NYTW. And although I do feel there's more to the My Name is Rachel Corrie controversy that will never be revealed, and I don't necessarily believe this is a deliberate matter of censorship, I do hesitate to cross any artistic picket lines [I'm the son of union workers].

But I must be clear. I support any theater that opens its doors to developing the work of artists. Not many do. And with the rise of these mega-theaters with their shining artistic directors and no-development-allowed attitudes, the New York Theater Workshop stands out like a jewel. My reading will HAPPEN on Monday April 4 at the New York Theater Workshop. I support them. They've made these mistakes before. They've made these decisions before. Hell, they did it to me. But one thing is clear: they believe in artists!

Let's just hope the Rachel Corrie controversy teaches us at least one thing: Clarity is a good piece of revolution.

Until next time,

Keith