
Six years stage managing, now writing comedies about work.
Director, Writer, Producer
One season of the show, one Broadway season, eleven roles kept ready the whole time.
In conversation in Brooklyn, with the pilot and a live table read of scene one.
The back room at Gowanus Social. 77 people going.
Priya Venkataraman stage managed off-Broadway for six years, two and a half of them on a musical that ran eleven times a week, and she wrote The Understudies about the room she is describing. She came to film late and sideways: she was hired to keep the schedule on a low budget feature and ended up rewriting scenes on set, which the director noticed. She writes fast and revises in rehearsal, casts out of theatre rather than film, and runs her sets on stage manager time, which her crews say is the calmest thing about working with her. Month to Month was shot in her own apartment on Nostrand Avenue on the last Saturday before she moved out of it. She does not own a camera and has no interest in owning one. She works with the editor Sasha Mireles and the producer Gita Menon, and casts Reema Bhatt in everything.
The people they keep working with.
Two understudies who never go on, waiting in a basement dressing room for eight months. It is a workplace comedy where the work never happens, which is a good enough engine for four seasons. The cold open is the best thing she has made. I laughed out loud twice, and I watch these for a living.
Venkataraman writes for actors who can do two things at once, and the woman playing the broker does about four. The apartment tour is staged so that we always see the bad thing a second before the dialogue acknowledges it. Small, precise, well made. I would like to see her attempt something that scares her.
Twelve minutes about a woman signing a lease she cannot afford and the broker who knows she cannot afford it. It is funny for nine minutes and then it is not, and the turn happens on a single look while she is holding a pen. I have signed that lease. I have made that face.