A Conversation With Playwright David Rambo, “A Good Guy”, Rogue Machine Theatre, by James Scarborough

David Rambo’s “A Good Guy” at Rogue Machine Theatre grapples with the issue of gun violence in schools through an exploration of its aftermath. The play’s premise - a teacher who stops a school shooter - serves as a springboard for examining the complex repercussions of such an act. Rambo, drawing from his family’s multi-generational experience in public education, brings authenticity to the portrayal of teachers’ daily balancing act between professional and personal lives.

The playwright’s approach forgoes simplistic solutions, instead delving into the psychological and social ramifications of introducing firearms into educational settings. By focusing on the unexpected consequences faced by the protagonist, Rambo challenges narratives about arming teachers as a panacea for school shootings.

Director John Perrin Flynn’s staging amplifies the play’s emotional resonance, given his track record of helming thought-provoking productions. The casting choices, including Evangeline Edwards as Anna, suggest a commitment to bringing depth to these complex characters.

“A Good Guy” is a timely, compelling work that contributes to the discourse on gun violence in America, offering a much-needed perspective from within the educational community.

JS: Your play tackles the sensitive topic of school shootings. How did you approach the research and writing process to ensure a balanced and authentic portrayal of this issue?

DR: One of the early stops on my journey with the play was reading “A Mother’s Reckoning” by Sue Klebold, the mother of one of the Columbine killers. Her confessional dive into the tragic narrative prism of that school shooting haunted me. I reached out to my sister, an eighth-grade teacher, and read teacher blogs. I knew that I wanted to tell the story of a teacher. The rest – the mechanics of a shooting incident, ballistics, police procedure – came from talking to people in law enforcement and reading detailed accounts of school shootings.

JS: The protagonist’s unexpected journey after stopping the shooter forms the basis of the play. Elaborate on how you developed this character arc. What does it reveal about the complexities of heroism?

DR: Not every hero wants to be celebrated. Some events are so huge, so loaded, that the hero often wants to move on or at least be recognized for other accomplishments as well as the incident. I found it dramatically interesting to discover what act, what secret or fear, drives this teacher away from being celebrated for her heroism.

JS: Given your family background in education, how has this personal connection influenced your perspective on the debate surrounding arming teachers?

DR: When I first discussed the issue with my sister, she was astonished that anyone who has any sense of what classroom teachers endure today would think that arming teachers is a good idea. I think of my mom or grandmother getting ready to go to school every morning, gathering papers and plan books; the notion of her slipping Glocks into their purses before leaving the house is ludicrous. For a thousand reasons, some of which the play reveals, a gun should never be something a teacher brings into a classroom.

JS: The play challenges the notion of simple solutions to complex problems. What do you hope audiences will take away from this nuanced exploration of gun violence in schools?

DR: I would hope that audiences leave more aware of what teachers go through today, and how profoundly quality public education is under threat. Gun violence is a horrible, pervasive, knotty problem and we must find a way to take rational responsibility for keeping students and staff safe in our schools.

JS: Discuss your collaboration with director John Perrin Flynn. How has his vision shaped the production?

DR: What a terrific collaboration we’ve had. He founded this company; he knows the actors; he created the performance space. I trusted him from day one, and on the few occasions when I had a differing thought, he heard me out and the right answer would come to light. He’s so wise and loves the theatre so much. A joy.

JS: The character of Anna, played by Evangeline Edwards, carries much of the play’s emotional weight. What qualities were you looking for in the actor portraying this role?

DR: Anna has to make us feel that we are living her journey. Evangeline’s innate empathy combined with her craft accomplishes this in a way that never fails to astonish me. It’s an exhausting role, but she never gives up.

JS: How does the play fit into your body of work as a playwright? What new territory does it explore for you artistically?

DR: In many ways, it’s my most personal work. The concept of the two utility actors who play multiple fully developed characters is new to me and I loved envisioning how that might work. It’s similar to my first widely produced play God’s Man in Texas, about competing Baptist preachers, in that the central character feels called to their profession by a divine force of some kind. It’s also a companion piece to a one-woman play I wrote about Ann Landers, the widely read advice columnist; her daughter told me that she always felt that she was a teacher through her work.

JS: The play runs without intermission for 75 minutes. What considerations went into this structural choice? How does it serve the story?

DR: Plays almost always tell you how long they want to be. After writing the first few scenes, I felt that the play was casting a kind of spell that I didn’t want to interrupt, so I plowed on thinking that there would be no act break. The length was determined by the satisfaction I felt writing the final scene. I knew I had come to the end of the journey.

JS: Speak to the contributions of the set and sound design in creating the world of the play.

DR: I never envisioned a set of any kind – just a few chairs and a table with superb sound and light designs, so I was happily surprised by the set that sprang from Jan Munroe’s imagination. And I marvel at Chris Moscatiello’s acutely observed sound design – everything from music to gunshots to rain and children laughing. Simply perfect.

JS: As a playwright with extensive television experience, how does your approach differ when writing for the stage versus the screen, particularly with a topic as charged as this one?

DR: In general, TV dialogue delivers information, and theatre dialogue triggers emotional engagement. I got my break in television because William Petersen, the star of CSI, wanted a playwright on staff to deepen the character work on the show, and the reputation I got for being able to do that has kept me employed for two decades. In return, writing for television gave me discipline (there’s always a schedule) and a sense of structure that I didn’t have before. I really love working in both media, although I’d have to say that while television feeds my family, theatre feeds my soul.

Performances are now through November 10, 2024, running at 8pm Fridays & Mondays; 5pm Saturdays & Sundays (check website for exception). Tickets are $45 (Students $25 / Seniors $35). Rogue Machine at the Matrix Theatre is located at 7657 Melrose Avenue, Los Angeles, CA 90046. For more information, click here and/or call 855–585–5185.