I determined to write a male version of the play—Andy and the Orphans—so that Eddie could perform in it as well.


TS: What have you learned about Down syndrome that surprised or enlightened you while working on this play?


LF: I think everyone has been surprised at how thoroughly both Jamie and Eddie have memorized their lines. But then again—why shouldn’t they? That was our own bias and nervousness being projected onto them, rather than any indication as to their ability. Roundabout participated in this year’s Buddy Walk, which is an annual charity walk through Central Park to raise money for NDSS (the National Down Syndrome Society). Roundabout’s staff did fundraising, had a vendor booth, and flew Eddie and Jamie in to participate. Jamie gave the opening remarks and cheered the crowd on. It was the theatre community I am part of getting involved in the Down syndrome community—an intersection that wouldn’t have existed had I not written this play about my aunt. What moved me more than anything was the sheer volume of people with Down syndrome, of every ability level, and their friends, family, and support networks coming together in Central Park. All of them capable, loud, proud, and independent. Events like these didn’t exist when my aunt was born, and I can’t help but think how her life might have been different if they had. And as far as inclusion goes, we still have a long way to go, but events like the Buddy Walk are a definite start.


TS: Will you talk about the development process for this play?


LF: I wrote this play about three years ago, during my second year at the Yale School of Drama. I was taking a course taught by Dan LeFranc, who encouraged us to write wildly and personally. As my last assignment for that class, I decided to bring in some scattered memories of my aunt Amy in scene form, with no real structure. I collected everything I remembered she ever said…a lot of which were repeated movie lines from her favorite films. I was surprised at how well those pages went over in class. I worked on the play for the next two years, and it was produced as my thesis project. Yale was very supportive. They brought Jamie in to do the production. After that, Scott, Jamie, and I went on to continue working on the play at the Goodman Theatre in Chicago and at New York Stage and Film.


TS: Do feel you will continue to rewrite throughout the RTC rehearsal and preview process?


LF: This play has had a number of workshops as well as a student production at Yale, so I don’t anticipate major, architectural rewrites, but I am constantly refining, cutting, and responding to what the actors bring into


the room. Sometimes they have a better line than I do, sometimes they’ll stumble over something I’ve written clumsily. There is nothing better than being in a room with actors—especially actors well-suited for their roles. I think that’s definitely what we have with this cast—actors with great comic timing, dramatic chops, empathy, and big hearts. I can’t wait to be in a room and see what we come up with together.


TS: What traits do the actors need for acting in this play? What made you decide an actor was right for the roles you’ve written in Amy and the Orphans?


LF: I’m always looking for actors who look and feel like real people (rather than actors). People who have a solid handle on both the drama of the moment and the humor as well. People who are willing to be outside of themselves. My plays require actors who have a knack for my language and its rhythms. I’ve developed a certain meticulousness as to how I write dialogue—with italics, and punctuation—scored a bit like music—just in that its very specific. I love when actors give that a go, so that I can at least hear what is in my head. I’m never married to that, but it is very useful for me to get to hear at least once. I love it when actors deliver a line completely differently from how I imagined it. When that surprises me, I absolutely love it.


TS: This play was commissioned by Roundabout after your play, Ugly Lies the Bone, was presented as part of Roundabout Underground. Can you talk about how a commission affects you as a writer and what you made of your experience as an Underground playwright?


LF: A commission for a future work helps the writer live. Financially, it is usually a solid chunk of money and oftentimes a playwright’s only income. It also supports the playwright artistically. You know that whether your show is a success or a flop, the theatre believes in you and your voice. Roundabout specifically makes this investment in their Underground artists. You aren’t invited to Roundabout for one production. You are invited in for a career-long conversation—a gym where you can develop what’s on your mind and get the support you need to see a play through to completion. Roundabout helped me get Jamie Brewer for all the readings and workshops, without whom this play wouldn’t exist.


TS: What other projects are you working on? Any other productions coming up?


LF: This is a very busy year for me. When this play goes into previews, I’ll start rehearsals at Playwrights Horizons for a production of my play This Flat Earth. So, for a few weeks, I’ll be running across Times Square between the two theatres. There will be a time where my two plays will be running simultaneously in New York. I’m also writing a screenplay for my favorite film director, David O. Russell, and working on a new musical. I have a production of a new play entitled The Year to Come —that I’m very much still writing—opening at La Jolla Playhouse in California next fall.


TS: Is there a question that you wish I had asked? LF: Yes, how can people get involved in Down syndrome advocacy?• See resources provided by Lindsey on page 22


AMY AND THE ORPHANS UPSTAGE GUIDE 5


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