Chris Gabo & Stephen Adly Guirgis on Playwriting, TV & Finding Your Voice

The Advocate’s Edge: Playwrights Navigate a Shifting Hollywood Landscape

The path from stage to screen, once a relatively predictable trajectory for emerging playwrights, has become increasingly complex in recent years. A candid conversation between playwrights Stephen Adly Guirgis and Chris Gabo, recently published by American Theatre magazine, illuminates the challenges and crucial strategies for navigating the modern entertainment industry. Both artists emphasize the vital role of passionate advocacy – a champion within the system – as a key to unlocking opportunities, particularly for those entering a volatile market.

Gabo, whose play The Surgeon and Her Daughters garnered critical acclaim, entered Hollywood in 2020, a period he describes as a “hype era” for playwrights. He likened his timing to narrowly escaping a closing door, a sentiment reflecting the industry’s rapidly changing priorities. “The industry is mad different now,” Gabo explained. Where agents once clamored for pilots, the focus has shifted, leaving many writers feeling overlooked. He secured an overall deal with HBO within two weeks of signing with agent David Rubin, who, crucially, saw the merit in his play before demanding a television script. This underscores a recurring theme: a strong sample and a fervent advocate are paramount.

From the Page to the Pitch: The Value of a Champion

Guirgis, known for plays like Jesus Hopped the ‘A’ Train and his current work adapting Dog Day Afternoon for the stage, echoed Gabo’s experience. He initially resisted seeking representation, only to find himself unable to secure an agent when he desired one. His breakthrough came after the success of Jesus Hopped the ‘A’ Train, leading him to choose agent John Buzzetti specifically because of Buzzetti’s unwavering belief in his work. “You have to choose someone who really believes in you,” Guirgis stated. “Someone who’s ride or die.”

Both playwrights agree that a lackluster agent is worse than no agent at all. Gabo powerfully articulated this point: “Whoever is representing you…if they’re like, ‘Read, Steven, read Chris; if you don’t like them, we got other guys’—if that’s the tone, then I’d rather fucking send the cold email.” This highlights a crucial dynamic: representation isn’t merely about access, but about genuine enthusiasm and a willingness to fight for an artist’s vision.

The Art of Character: Beyond Virtue and Into Complexity

The conversation also delved into the craft of writing itself. Gabo shared insights gained from his time working in television, specifically on shows like In Treatment and True Detective. He credits mentors Far Shariat and Rand Ravich with teaching him the importance of writing compelling antagonists. “You don’t know it, but you’re actually an expert on your enemies,” Gabo explained, “and if you write better bad guys, then the characters that you love will have stuff to work against.” He also discussed the power of “grounded soap” – weaving elemental relationships (family, lovers) into narratives to create sustained dramatic tension, citing The Americans as a prime example.

Guirgis and Gabo both emphasized the importance of portraying characters with nuance and avoiding simplistic morality. Gabo drew on his own experiences and observations within his community, explaining how characters can embody conflicting ideologies and motivations. He noted a tendency in contemporary culture to demand “perfect virtue” from individuals, and argued that embracing complexity is essential for creating authentic and engaging stories. This approach is reflected in his work on The Surgeon and Her Daughters, where he deliberately imbued a potentially villainous character, Mr. O’Halleron, with humanity and relatable contradictions.

The Economics of Scale and the Future of Playwriting

The discussion took a pragmatic turn when the conversation shifted to the financial realities of theatre. Guirgis acknowledged the limited economic opportunities in the field, contrasting it with the potential (and pressures) of television writing. He pointed to his own play, Halfway Bitches Go Straight to Heaven, as an example of a work that, despite its critical success, is rarely produced due to its large cast size.

Gabo raised a critical question about the viability of large-scale plays in the current economic climate. He is currently working on a 10-character play, Hollywood & Gower, and is grappling with the question of whether the market can support such ambitious productions. According to a Statista report, the U.S. performing arts industry generated approximately $21.9 billion in revenue in 2022, but this figure is heavily concentrated in a few major markets and genres. The report also highlights the ongoing challenges faced by smaller theatre companies and independent productions.

A Call to Authenticity and Community

Ultimately, both Guirgis and Gabo offered a message of encouragement to aspiring playwrights: be true to your artistic vision, prioritize authentic storytelling, and cultivate a strong community. Guirgis urged young writers to “write what matters to you,” and to invest in relationships with fellow artists. “Build a community, invest in your community, and then, you get their back and they get yours,” he said. He also emphasized the importance of casting actors you believe in, even if they aren’t the most famous names. “Stick with your boy.”

The conversation serves as a valuable roadmap for navigating the complexities of the entertainment industry, reminding artists that talent alone is not enough. Success requires resilience, strategic partnerships, and an unwavering commitment to one’s own voice. As Gabo succinctly put it, “Every now and then, they do a fuckin’ 10-hander, and if you don’t have the play for someone to take a chance on, you’re fucked.”