The New Agenda welcomes back Alison Freidlin, a mom and a teacher who has researched and developed a Women’s History curriculum.  She previously contributed this article reviewing children’s books on women’s history.  She presents her own opinions, not necessarily those of The New Agenda.

In Shining Days, actor Patricia Duran brings to life G.B. Shaw's often-uncredit collaborator, Florence Farr Emery.

Do women support each other in the world of theatre? A recent article in the New York Times suggests that female creative directors show bias towards scripts written by men and are less likely to produce plays written by and featuring women. But there are women who are working to reverse this trend. Julie S. Halpern, founder of Love Street Theatre, is one such woman. A producer, director, actor, screenwriter and feminist, Halpern launched Love Street in 2003 in response to limited opportunities for female actors. And as a longtime member of the New York theatre community, Julie has a lot to say about the challenges women face as well as how theatre can be used to empower women.

What prompted you to start Love Street?

I started Love Street in 2003. A group of talented actresses were lamenting the lack of good classical roles. Most Shakespeare plays have only a handful of female characters, as opposed to as many as twenty roles for men. My solution was “An Evening With Shakespeare’s Women”, an evening of scenes and songs from Shakespeare’s plays, with women characters only. We had a surprisingly good response and since then, I have continued to produce plays with great roles for women.

How does Love Street Theatre reach out to women?

My major goal with Love Street is to present productions which feature women in major roles which drive the plot, not just as wives or girlfriends. My plays always have at least as many women as men, and sometimes more. Very few plays have a majority of womens’ roles, but I seek those works out. Also, if a role originally intended for a man could be played by a woman without changing the meaning of the play, I will cast a woman.

I never choose a piece that could be construed as being anti-woman. What I mean by anti-woman is self-deprecating characters, calling themselves or each other fat, old, discussing hot flashes, menopause, wrinkles, etc.

When casting, I am careful to choose the very best actors I can find. Compelling stage presence and empathy are more important than conventional good looks, although I have been told that my casts are very good looking. What I look for is that undefinable quality-I know it when I see it.

What challenges do women in theatre face?

Despite the occasional success story, women directors are almost non-existent in major venues. There are a few young women directors breaking through now, but for my generation it was not really an option. Another challenge for women directors is the lack of real networks or support groups.

Women actors of all ages have the double whammy of not nearly enough decent roles, with far too many women pitting themselves against the others to get even the least desirable roles. This situation is of course not one that would create camaraderie.

Women playwrights are getting some visibility, but again, in smaller, lower paying , less visible venues. I can think of only 10 women whose plays have been on Broadway, although there are probably a few others.

Do you see women supporting other women in the world of theatre?

There are some wonderful women in our business but because of the scarcity of opportunities, it is still difficult to find support. Many female artistic directors see other women as competition and don’t program as many roles for women as one would think. Sadly, many actresses are still more comfortable with male directors. It’s a complex issue for sure. I don’t really have any answers, but I do the best I can.

Funding is also a major obstacle for female directors and playwrights. I will come out and say that funders and particularly individual donors tend to favor men in their gifts. Sadly, many , but certainly not all individual donors are women who are easily flattered by attentions of men.

Do you have a favorite female character from one of your plays?

Florence Farr Emery, the actress known for bringing the early heroines of G.B. Shaw to life on stage, is a character in my most recent play, Shining Days. Florence worked closely with Shaw, helping him write and fully develop these roles. They are different from the work he did after he banished Florence-it’s so obvious. And yet she goes down in history as a footnote in Shaw’s life rather than a collaborator.

I identify with Florence. When I wrote my first play, many people thought my then-fiance was the author, although he was not a playwright .

What’s next on the drawing board?

I’m not sure. I will probably mount a comedy within the next year, because I want to do something light for a change!