Stephen Fife – författare

While contemporary American culture may be fixated on youthful sex appeal, the truth is that the most complex and interesting characters in dramatic literature have been (and still are) those over 40 years old. Whether it's James and Mary Tyrone in Long Day's Journey into Night or Willy Loman in Death of a Salesman or Polly Wyeth and her sister Silda in Other Desert Cities, the richest characters are those over 40, whose wealth of experience often helps little when it comes to making the difficult decisions. This volume will mine the deep and fertile vein of world drama (with an emphasis on lesser-known contemporary work) as it relates to scenes for mature actors. The result is certain to be a surprising and enriching one for both the dedicated professional and the inquisitive amateur.

Kids of today face a different world – and a different set of challenges – then did the children of even 15 years ago. Playing with a Purpose features a collection of monologues that reflects these new attitudes and circumstances. Highly diversified in its view of the family and the child's place in the world, the monologues have been chosen from several sources: from contemporary playwrights and screenwriters; from YouthPlays, a new company that specializes in publishing cutting-edge plays for the youth market; and from such conservatories for young actors as The Playground, the Los Angeles-based training center run by Gary Spatz, the leading acting coach for performers ages 6 to 16. “Playing with a purpose” is an idea that arose from Fife's work with young actors over the course of several decades.

"It sounds like a horror movie". That's what Stephen Fife's friend said when he told her what happened at his private prep school in New York City. "Fifteen teachers messing with students at the same high school?....How is that even possible?" she asked. Indeed. When one man abused 11 boys at Penn State, there was shock and horror both inside the university community and out, and legal action swiftly followed. But at Horace Mann School, where teachers regularly abused boys over three decades, no formal acknowledgement or independent investigation has taken place. And because of the restrictive statute of limitations in New York, no lawsuits can be filed. Stephen Fife, a poet, playwright, and screenwriter, whose most recent screenplay, "Blue Kiss", was just optioned by Fable Entertainment (to be packaged by Paradigm), was one of these abused boys. He has written a compelling, soul-baring account of his experience. Fife's mentor, an English teacher who praised his writing and told him he could be a famous poet (if he worked closely with him and did everything he advised), used his power over the teenage boy to sexually attack him in a hotel room on a school-sponsored trip. Later he lured Fife to his apartment repeatedly, where the abuse continued. This was 1970-71, before the days of iphones and selfies. When 17 year-old Fife finally found the courage to report the abuse to the associate headmaster, he was told that without solid evidence, he had better keep quiet. An accusation without hard proof, said the associate headmaster, would put Fife's stellar college recommendation letters in jeopardy. To go public would mean risking his Ivy League aspirations and his future as a writer, as well as informing his parents. At the time, Fife did not know he was one of many victims. Nor did he know that Mr Berman, the teacher who abused him, was just one of many teachers at Horace Mann molesting students. Only years later, after an article in the New York Times Magazine named other teachers as well as some administrators (and didn't mention Mr Berman), did Fife realize the extent of the abuse. Hoping to provide insight into what happened at Horace Mann (including suicide by many of the victims, and obsessive suicidal thoughts of his own), Fife is trying to compel Horace Mann to cooperate in an independent investigation. With the publication of this book he also seeks to change the statute of limitations laws, so that future victims will not be prevented from going to court; and to provide moral support for his fellow victims, who were betrayed by adults they trusted. The book also provides practical advice to parents: how to recognise the threat of predatory adults and the signs of molestation, and how to handle the emotional fall out, if abuse does occur.

"It sounds like a horror movie". That's what Stephen Fife's friend said when he told her what happened at his private prep school in New York City. "Fifteen teachers messing with students at the same high school?....How is that even possible?" she asked. Indeed. When one man abused 11 boys at Penn State, there was shock and horror both inside the university community and out, and legal action swiftly followed. But at Horace Mann School, where teachers regularly abused boys over three decades, no formal acknowledgement or independent investigation has taken place. And because of the restrictive statute of limitations in New York, no lawsuits can be filed. Stephen Fife, a poet, playwright, and screenwriter, whose most recent screenplay, "Blue Kiss", was just optioned by Fable Entertainment (to be packaged by Paradigm), was one of these abused boys. He has written a compelling, soul-baring account of his experience. Fife's mentor, an English teacher who praised his writing and told him he could be a famous poet (if he worked closely with him and did everything he advised), used his power over the teenage boy to sexually attack him in a hotel room on a school-sponsored trip. Later he lured Fife to his apartment repeatedly, where the abuse continued. This was 1970-71, before the days of iphones and selfies. When 17 year-old Fife finally found the courage to report the abuse to the associate headmaster, he was told that without solid evidence, he had better keep quiet. An accusation without hard proof, said the associate headmaster, would put Fife's stellar college recommendation letters in jeopardy. To go public would mean risking his Ivy League aspirations and his future as a writer, as well as informing his parents. At the time, Fife did not know he was one of many victims. Nor did he know that Mr Berman, the teacher who abused him, was just one of many teachers at Horace Mann molesting students. Only years later, after an article in the New York Times Magazine named other teachers as well as some administrators (and didn't mention Mr Berman), did Fife realize the extent of the abuse. Hoping to provide insight into what happened at Horace Mann (including suicide by many of the victims, and obsessive suicidal thoughts of his own), Fife is trying to compel Horace Mann to cooperate in an independent investigation. With the publication of this book he also seeks to change the statute of limitations laws, so that future victims will not be prevented from going to court; and to provide moral support for his fellow victims, who were betrayed by adults they trusted. The book also provides practical advice to parents: how to recognise the threat of predatory adults and the signs of molestation, and how to handle the emotional fall out, if abuse does occur.

David Lang was once a big deal - a cult hero who wrote and directed the underground horror flick Zombie Film Schooland its two sequels in the late 1980s, earning himself the pop-culture nickname of Zombie Guy. But now it s the late 1990s and David often feels like a real zombie guy, just another Hollywood script doctor living off his former glory. The only thing that makes David feel really alive is his love for Holly Markham, a beautiful, brilliant and complicated cabaret singer and writer an unstable planet, David calls her, as sometimes they make love for days, while other times she freezes him out completely. David and Holly seem to have finally reached the end of their relationship s twists and turns when Holly at 42 discovers that she s pregnant. Even David isn't sure that going forward with the pregnancy is a good idea and Holly has no doubt that it could never work. Then again, Holly may never have another chance to be a mom. And who is that otherworldly being that David thinks he sees on their bed?