Boon and Matty build their own small houses in a southern railyard. Their materials consist of twigs, Elmer’s Glue, a flashlight, two zippo lighters, and their words.
Jackson Pounds studied acting at the Globe Theatre in London and the Royal Shakespeare Company in Stratford-upon-Avon, in addition to being an alumnus of the Acting BFA program at Texas State University. He began writing short stories before finding his way into plays. He wishes to thank everyone who’s ever supported his writing and craft because without them, he wouldn’t be here.
A BIT ABOUT THE PLAYWRIGHT
1. When did you start writing plays? If you had a moment where you realized you wanted to write, what was it?
I started writing plays after writing a number of short stories. I found that many of my short stories were replete with dialogue and often involved two characters. I realized it made more sense to utilize the theatrical form for the pieces, as opposed to strict prose.
I suppose I realized I wanted to write when I was in sixth grade. I began writing one-page video game reviews on loose leaf pages of notebook paper, and that passion has stuck with me.
2. How did you come to write your OOB play? Was there a particular inspiration behind its creation? How has it developed?
Railroad Homes began as a short story that I then adapted into a short play. The kernel of the original idea came when I was sitting in Tantra Coffeehouse in San Marcos, TX. The image of two boys lighting the end of twigs in a railyard popped into my head. I found that fascinating, and it spiraled into a lot of questions about the why. I ended up finishing the story in one sitting. After I started writing plays, I looked back at the short story, and found it to be a perfect fit for a play instead. The short story was only two to three pages in length, so when I began writing the play, the world-building, motivations, characters, etc. ballooned into places that I never intended. Then again, I don’t intend for anything in pieces I write because I’m a “pantser.” That organic nature of discovery might be the greatest joy in writing for me.
3. What are 5 words that describe who you are as a playwright?
Haunted, southern, poetic, lyrical, working-class.
4. What/who are some of the major influences on your writing?
I have my favorite writers, but I don’t know how much direct influence they’ve had on any of my work — it’s hard to draw that line from one to another because influence is rather nebulous. In other words, they probably have, but I’m not certain I could make direct connections.
5. What’s one fact someone would never guess about you?
The fact that I DON’T play guitar. When I tell people I don’t, they always seem to be shocked. That probably has something to do with my brand.
6. What are some of your favorite plays?
The Real Inspector Hound by Tom Stoppard
Death of a Salesman by Arthur Miller
This Property is Condemned by Tennessee Williams
The Seagull by Anton Chekhov
Balm in Gilead by Lanford Wilson
The Aliens by Annie Baker
The Flick by Annie Baker
Angels in America by Tony Kushner
Oedipus Rex by Sophocles
Our Town by Thornton Wilder
Guards at the Taj by Rajiv Joseph
Macbeth by William Shakespeare
That Midnight Rodeo by Mary Sue Price
7. Any new projects you’re working on or shameless plugs?
I’m currently writing a full-length play about a jazz trio. As of writing this, it’s not finished, so I’m keeping it under wraps with the exception of the writer’s group I’m a part of.
As far as other projects, I’m currently setting up a film company with friends of mine in San Marcos, TX. Our intention is to start with short films and see where those might take us.