SYNOPSIS

Cam and Charlie deal with some of their issues as a couple after Cam slips and gets a light injury – Charlie is covered in blood from the man he loves, and Cam can’t help but focus on himself.

PLAYWRIGHT’S BIO

Roni Ragone’s work is situated at the intersection of exploring the boundaries of gender expectations and testing the lengths people will go to in search of human connectedness all while being told through intriguing worlds that give us the space to discover new perspectives on our everyday lives. This past June, Ragone graduated from the University of California, Santa Barbara with bachelor degrees in English and Theatre with a concentration in playwriting. Their full length play, “Night Night, Roger Roger,” published by Dramatic Publishing Company, was performed on the main-stage as part of the 2022-2023 season at the UCSB. Ragone’s short play, “We’re All Girls Here,” was selected and performed in the Top 30 for the 47th Annual Samuel French Off Off Broadway Short Play Festival. Along with William Huffaker, Ragone is one of the co-creators of the “Doubles” New Play Festival.

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 near the end of high school/beginning of college. I knew I had a deep love for theatre, but wasn’t quite sure where I fit into it. I one day realized I should marry my passion for writing with my passion for theatre. After seeing my first play on a stage at my community college, I realized I was doing what I am supposed to be doing.

2. How did you come to write your OOB play? Was there a particular inspiration behind its creation? How has it developed?

It’s funny actually – last year, my play, “We’re All Girls Here,” was selected for this festival. I wrote these two pieces within a week of each. I had heard someone saying “I hate my nose” over and over and it just kind of got stuck in my head, and ended up in both plays. “my barricade” began with only the monologue, and since then, has grown to be a much larger story. This piece has only been seen by an audience in the first “Doubles” festival (a playwriting festival my dear friend and I created at UCSB together) in a staged reading, and even that draft feels like a completely different show. After that reading, I realized the character of Charlie needs more meat, so since then, my drafts have been focused on learning about Charlie and why he’s there.

3. What are 5 words that describe who you are as a playwright?

World-Builder
Colorful
Goofy
Passionate
Puzzle-solver

4. What/who are some of the major influences on your writing?

Some of my major influences include Martyna Majok, Jen Silverman, Taylor Mac, Harold Pinter, Steve Yockey, Sarah Ruhl, and Noah Kahan.

5. What’s one fact someone would never guess about you?

When I was a child, I did competitive hula hooping, and I was real good too.

6. What are some of your favorite plays?

Angels in America by Tony Kushner
The Cost of Living by Martyna Majok
Edith Can Shoot Things and Hit Them by A. Rey Pamatmat
God Will Do The Rest by Nicholas Pilapil
Hir by Taylor Mac
Wink by Jen Silverman
Clydes by Lynn Nottage
Mercury by Steve Yockey
Sanctuary City by Martyna Majok
The Dumb Waiter by Harold Pinter
Alma by Benjamin Benne
In the Next Room by Sarah Ruhl
Trayf by Lindsay Joelle
Who’s Afraid of Virginia Woolf by Edward Albee
(there are too many incredible plays in the world to choose from!)

7. Any new projects you’re working on or shameless plugs?

A full-length play of mine, “Night Night, Roger Roger,” has been recently published by Dramatic Publishing Company (perfect for colleges and places where large casts/designers are wanting to shine!) The play I’m currently working on is an extension of my play “Up Strung Down.” Now, it’s Pete’s turn!