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Deny We Were Playwright

Joe Moe

Joe Moe, Playwright Joe Moe is a 3rd generation Polynesian artist descended from legendary Hawaiian entertainers Pulu and Louisa Moe and The Tau Moe Family. Joe is a playwright, studio vocalist, screenwriter, FX artist, and designer of dark rides for international theme parks. A figure in the horror community, Joe was caretaker to the late, Forrest J Ackerman, editor of Famous Monsters of Filmland magazine, curating "Uncle Forry's" museum of Sci-Fi, Fantasy & Horror. Through Forry, Joe was mentored by heroes like Ray Bradbury, Ray Harryhausen, and Kenneth Anger. Joe is a 3-time Rondo Award winner, hosts horror conventions, co-wrote the deconstructed slasher film, Red Velvet, and edits an annual series of horror short story “Fanthologies,” discovering, mentoring, and putting new writers in print. Joe has written and sung for Disney, Van Dyke Parks, and others and wrote the books for musicals Killa Vanilla, Space Opera and That Porn Musical with prolific composer/lyricist Brian Woodbury. Joe co-created and developed the musical The People of Sound & Silence with Clifford J. Tasner for Tony-winning Deaf West Theater. Joe is currently writing and developing new plays including Deny We Were, featured in the Fresh Fruit Festival’s mainstage presentations at Wild Project in NYC, May, 2022. Joe's day job is as Pop Culture, Hollywood, and Music Memorabilia Specialist at Bonhams Auctions.

What or when was the moment you decided to be a playwright?

The moment? Probably as a kid in the 70’s when ACT came through Hawaii performing Sam Shepard’s “Buried Child.” It was macabre, exotic (well, the Midwest was exotic to this island kid) and had all of my favorite flavors in it! I was creeped-out and inspired. I love the living, breathing theater. Where else is there such an active dialogue between artist and audience? The quote, “Art is never finished, only abandoned” is attributed to DaVinci. I relate to that. I work and rework until a draft is slapped out of my hands. I submitted the current draft of the play, two drafts short of my desired rewrites. But I know I would have just been polishing the polish. My high school art teacher, Jean Noguchi’s quote becomes apt at this point, “Keep it fresh, don’t overwork it, don’t get muddy. Read the full interview with Joe Moe at Arts Independent: Art Professionals in Focus