Interview (Part 1): Tim Ware-Hill

My interview with the 2022 Nicholl Fellowships in Screenwriting winner.

Tim Ware-Hill wrote the original screenplay “Tyrone and The Looking Glass” which won a 2022 Nicholl Fellowship in Screenwriting. I had the opportunity to chat with Tim about his creative background, his award-winning script, the craft of screenwriting, and what winning the Nicholl Award has meant to him.

Today in Part 1 of a 6-part series to run each day through Saturday, Tim discusses his extensive background as an actor, singer, writer, and performer beginning his professional career at the age of 12.

Scott Myers: Congratulations on winning the Nicholl, Tim..

Tim Ware: Thank you so much. It’s been an exciting season.

Scott: I’d like to learn a bit about your background and then talk about your Nicholl-winning script, “Tyrone and The Looking Glass,” but first let’s learn a bit about your creative background. As I understand it, originally, you’re from Montgomery, Alabama.

Tim: Yeah, born and raised in Montgomery, Alabama. I was there until I was 21, until I finished undergrad. I went to Alabama State University and studied Theater Arts. I got my BA in Theater Arts under the tutelage of Dr. Tommie “Tonea” Stewart.

Scott: Let’s jump back a little bit. When did you start finding an interest in theater and acting?

Tim: I’ve always have a love for the arts, in general, since I was a kid. I started writing poetry when I was a child. My parents allowed me to explore different art forms as I was growing up. I eventually went to a performing arts junior high school called, Baldwin Junior High School in Montgomery, where I took drama and dance at the school in my seventh‑grade year.

My drama teacher, Miss Melanie Boulware, told me about an audition at the Alabama Shakespeare Festival, which is a major equity theater in Montgomery, for production of “Big River” when I was 12. I went into the audition and that was my first audition that I ever had outside of auditioning for the performing arts school.

I sang the Negro national anthem, “Lift Every Voice and Sing.” I ended up booking my first professional gig at 12. I got my first paycheck at 12.

From there, I did two other shows as a kid at the Alabama Shakespeare Festival, including “Peter Pan” and “A Midsummer Night’s Dream.” In Peter Pan, played one of the Lost Boys. Tootles was the Lost Boy than I played. Then in A Midsummer Night’s Dream, I was the changeling boy for Titania and Oberon, the fairy king and queen.

I loved performing. I continued to perform and explore other art forms throughout junior high school and high school, from show choir, to marching band, to creative writing. Like I said, if it involved the arts, I participated in it. Ended up at Alabama State University, an HBCU. Montgomery is where I did my undergrad.

I was the first person to ever have a full theatrical scholarship in the history of the program. They had never given a theater scholarship to a student before. That was largely in part to Dr. Stewart, and to a musical that I had written at the time called “A Taste of Chocolate,” which I was allowed to as a freshman.

The first freshman to ever write, direct, and star in a full production on the main stage as a freshman. That was my introduction to college.

Scott: That’s impressive. When you say musical, did you do the whole thing?

Tim: Music, book, lyrics. Yeah, I did the whole thing. Like I said, because I dabbled in so much of everything, when I see something, I see it. I always try to find a way to make it happen. Certain things speak to me. I have a strong vision for what comes to mind. When I’m able to collaborate with other wonderful artists, I’m able to really pull those ideas out into something real and tangible.

Scott: You said, undergrad. Could I infer from that that you did some graduate work?

Tim: Yeah. I got a full scholarship to UCLA for their MFA Acting Program. I left Montgomery and moved to Los Angeles. It’s a three‑year MFA program, but I only did a year because I was itching to work. Everyone thought I was crazy for dropping out of school with a full ride.

It was a wonderful program. I didn’t leave because I wasn’t having a good time or a great experience. I left because my gut was like, “OK.” I felt like the rest of what I needed to learn would only come from being out in the world and just pounding the pavement.

I dropped out. I completed a full year. I dropped out. I think it was two months after I left school, I booked a show at the Mark Taper Forum in LA. That’s where I actually got my equity card at that time. A show called “Like Jazz,” L‑I‑K‑E J‑A‑Z‑Z.

There was an open call for dancers and singers. I went to the open call. I ended up booking this gig with no clue of the amazing people that I was about to work with. I was so green. I didn’t know who I was surrounded by until later. I’m so grateful because it allowed me to just be myself.

There was no pressure to perform or to impress. I just never felt the pressure or the nerves at that age. I was what, 23, 22. 22, maybe. Still had a fearlessness about me, which I wish I still had. I have to work on it now. The older we get, the more worries we have, because the more responsibilities we have.

It was a Cy Coleman musical. I got to work with Cy Coleman, the Cy Coleman. I didn’t realize who I was working with until I started my doing research. “Oh, my God, ‘Sweet Charity?’” I was familiar with Sweet Charity, but I didn’t connect the dots that he had done Sweet Charity.

I got to work with him, rest his soul before he passed away. It was one of the last original musicals that he had produced. Right after that, he worked on the revival of Sweet Charity with Christina Applegate, I believe, theater on Broadway. Shortly after, he passed away.

I was with the likes of him, Larry Gelbart, who wrote “M*A*S*H.” Did the book. I was in the room with him every day. Alan and Marilyn Bergman, who wrote “The Way We Were” and many other Academy‑winning and nominated songs. Stars like Tony winner, Lillias White. Music artist, Patti Austin. Harry Groaner. Cleavant Derricks.

It’s so many spectacular people that I was working with that I had no clue until a little later. I was learning about them and they were very kind. They took me under their wings.

They guided me through the process and becoming a part of such a wonderful theatrical community. I booked that right after I dropped out of grad school. I kept working after.

Tomorrow in Part 2, Tim talks about performing on Broadway, then getting an MFA in screenwriting.

Tim is repped by The Gotham Group.

For my interviews with every Nicholl Fellowships in Screenwriting winner since 2012, go here.