​From Larry Loebell (Girl Science, 2004)
 
I was first invited to Seven Devils in 2004 as a playwright with my play Girl Science. I returned ten times over the subsequent years as a dramaturg. At each of those conferences, I had the pleasure of being in rehearsal rooms with terrific writers, actors, and directors.  I learned something about the art of playmaking from ever one of those experiences.  My playwriting and my dramaturgical practice got better and deeper as a result of working with the amazing artists who assembled at the Alpine Playhouse for the conferences all those summers in McCall. 

​From Patrick Gabridge (Drift, 2017; Flight, 2011)
 
What I’m most grateful for about Seven Devils is the compassion of the people who run it and are part of it. My first stay at the Conference was for my play, Flight, in 2011. Shortly after I arrived, I was already in deep dramaturgical discussions with my dramaturg, Larry Loebell, and getting to know the Bistro, and hiking with my fellow writers. Unfortunately, after just a few days, I got a call from home that my father-in-law had died very suddenly, at our home in Boston. Paula and the other staff quickly helped make the arrangements to get back home to my wife and our kids. The kindness and understanding that permeates the whole Conference in their treatment of new plays and playwrights, was magnified in this moment of personal crisis. They helped make an unbearable situation a little more manageable and I will always be grateful.
 
Of course I’m also thankful that I was able to return with a different play, Drift, in 2017, and it felt like I picked up right where I left off--even though I’d only spent a few days in McCall in 2011, it still felt like the same welcoming community (with great views, hot springs, and ice cream). This time, I got the full Conference experience, relishing every moment. The list goes on. Seven Devils has a special place in my heart.

​From James McLindon  (Faith, 2008)
The two weeks I spent at Seven Devils were among the best, most productive times of my professional life and one for which I'll always be grateful. It would have been enough to have a first-rate director, cast, dramaturg and other theater artists devoted to helping me discover what my play was all about and how best to realize its potential. But Seven Devils was and is so much more than that: a generous community of artists with whom one stays connected long after one leaves McCall.

​From Brian Watkins  (General Store, 2012)
Seven Devils was the first place that I felt my work was truly upheld as the important center of the process. A place where writers would crawl out of their respective isolation, into a light of enthusiasm, and even collective reverence, for the playwright’s work. When I had doubts about my play, Seven Devils countered with creative support. My play left McCall with wind in its sails. For that, I am forever grateful.

From Richard Brockman (Informed Consent, 2007)
Seven Devils – is more than special.  It let me answer the question, “Am I a playwright?” With an unqualified ‘yes’.  But to say that one is a playwright - that I am a playwright, and that’s it - is absurd.  How many ‘playwrights’ are there in the world?  Playwrights who actually live, work, breath ‘playwright’ from the moment she/he wakes to the moment he/she sleeps, who don’t have to teach, wait tables, dip into savings, raid family trusts, who weren’t Broadway bound by the age of 16?   How many get to be a playwright one hundred percent?   Few.   Very few.  A very lucky few.     
 
Most of us have to find other ways to provide for the roof, the food on the table, the money for a ticket to see a friend’s play.  So, am I a ‘playwright’?  Yes, I am.   Am I a playwright every waking second of the day?   No, but for two weeks one June, in McCall, I was.   And having that gave me the lodestar to know which way lay the dream.  The confidence to say, “Yes, I’m a playwright – but there are other things that I do to feed the parts of who I am.”   The confidence to say, “Yes, I’m a playwright and….”   
 
The confidence to say, “Yes, I am a playwright, and.”

​From Duane Kelly  (The Thing With Feathers, 2009)
 
When I was invited to participate in the 2009 conference, I had been writing plays for eight years or so without gaining much traction in the theatre world. I had little confidence that my playwriting would ever amount to more than a private indulgence.
 
Jeni’s call, asking me to come to McCall, was a pivotal event in my career, accomplishing a number of things, including:
Affirmed my life-choice to write plays, and gave me confidence that if I persevered I could write scripts worthy of professional productions.
My time in McCall showed me a responsible, effective play development process. 
 
The result? My plays got better. And there have been real commercial productions.  I have two plays going up at the 2021 Edinburgh Fringe. I am now writing my tenth full-length play. No longer do I wait around for others to embrace and develop my work. I have created a web of dramaturgs, directors, actors, and designers in Seattle that I work with. Five years ago a fellow playwright and I even founded a small theatre company in Seattle that has mounted full productions of our new work.
 
A giant Thank You to Jeni and all the Seven Devils family.

From Donya K. Washington 
(Director of The Way North, 2018 and You Will Get Sick, 2020)

I'm thankful for Seven Devils.  I'm thankful for all of the friends I've met there. I'm thankful for my visit to McCall, Idaho (such a beautiful town and the drive there is amazing!).  I'm thankful to my host family and the way I was made to feel like family.

And I'm deeply grateful for the way Seven Devils makes work.  It's a process that is focused on the play and the playwright and is about nothing else.  Everything from the structure of our workshop weeks, to how the play is cast to how we perform it is centered around the playwright. That's a remarkable luxury in this industry and I believe makes for better art.  As a director, it's a great way to work and allows me to get back to the basics of the work. 

​It's a practice I try to bring with me to other new play processes and has made for some great working relationships (and did I mention better plays?).