 Public speaking makes me want to pee…
I drove down to Cal State Fullerton last week to speak on a panel at the Kennedy Center American College Theatre Festival. I was on a panel with a colleague of mine, Ann-Giselle Spiegler, who is a “first call” director for new plays. She is smart, witty, eloquent, and full of life. It makes perfect sense to me why she would be on a panel. However, why I am asked to sit on panels eludes me. I am always nervous, sweating even, terrified that I will have little if nothing to say. And I always have to pee right before the panel starts, why is that? Plus, I have no witty repartee and nothing that comes out of my mouth is planned, rehearsed, or lets face it, even thought about. It’s not that I don’t want to be there, it’s just that by the time the dreaded day arrives, I have barely had time to eat breakfast that morning, let alone prepare for the panel. On the way down to Fullerton, I am feeling guilt ridden about my perpetual state of unprepared-ness, and I am praying to God to let me get through the panel without incident. This particular panel was on “directing new plays” which is something that I have a lot of experience doing. However, I have absolutely no idea how to articulate that experience into any kind of cohesive sentence. Thankfully Ann started the conversation, which I was then able to dove-tail off of. As usual, Ann spoke eloquently about directing new plays and working with the writer in the room. She expressed her passion for the work she does, and explained her process with ease. “There is no way I can do that!” I thought silently to myself. I wonder if this is a common thing? Do other artists have this affliction or is it just me? I find it nearly impossible to explain how I work or what I do in a rehearsal room. Partly because I think it changes depending on the play, the playwright, the cast, the material, etc. The work is almost always instinctual, there is no plan really, no rhyme or reason to the process, but more of a reaction to what is happening in the room. Oh shit! Ann is done speaking and it’s my turn to speak…here goes nothing! After I stumbled over my words, and recited some sort of basic idea of what a director does in a rehearsal room, Ann suggested that we open up the room to questions for the panel. Ah ha! At last! Questions are good-I can handle those! Then, out of nowhere, a sudden stroke of panic hit me! “What if I don’t know the answers to the questions” I thought to myself. Once again, thank God Ann was there to make the question and answer section go a lot smoother. There was one question however, that resonated with me-it came from an older woman who was having her play produced at the festival for the first time. Her question was rather simple-“How do I get my plays produced?” Hmmmmm, that is a good question. Based on my blank look, Ann jumped in and attempted to answer her, while I was having a sort of surreal flashback… Post Traumatic Theatre Disorder… I suddenly flashed to almost 16 years ago when I and some other colleagues founded and ran a small theatre company in the valley dedicated to producing new work. Some of the playwrights that I still work with today were produced in that theatre back in the early 90’s. Talented local writers like Jon Bastian, Tim Toyama, Ken Hanes, Dale Griffiths Stamos, Leon Martel, and more. Despite the risk of producing new work, we supported their work. Our passion kept us going and we pushed through the lean times and made sure those controversial shows were mounted no matter what! We even got good reviews! Eventually The Road Theatre Company grew into one of the best 99 seat theatres in Los Angeles. And then it hit me-could it be true that I have known and worked with these writers for over 15 years now? I thought about the upcoming production that my current theatre company, The Syzygy Theatre Company, is scheduled to produce. Written by Jon Bastian, Syzygy and the Los Angeles Writers Center have been developing this 6 hour epic for over 2 years now. And then it hit me-could it be true that Jon and I have maintained a relationship for over 15 years? Does that really happen in Hollywood? I mean who does that? Maybe that is what happens when you find your tribe? I quickly realized what the answer to the question might be…. Finding Your Tribe… When it was my turn to reply, I was able to say without any doubt, “I think it is about the relationships that you form early on in your career that build a firm foundation for friendship, trust, and like mindedness.” The students looked at my blankly. I continued, “In other words, work with people that have an investment in you, in your talent, your friendship, and your success. Playwrights-find a director who believes in your work and let them champion it. After all, it is directors who push new work into production because of their passion for the writer and the piece. Without the director’s passion, new American plays might not get produced!” They looked confused, but my spark was ignited, and now I could not stop talking! “Plays are not to be hung on Museum walls, they should reflect the concerns of the present time!” Even I was shocked by how passionate I was becoming, but now I was on a roll! “Write about what concerns you! Write to discover the truth! Then, find someone who believes the same things you do and partner with them. Find your tribe. You are the future of the American Theatre!” Ok, even I knew I was getting carried away, so I turned the conversation back over to Ann. After a slight pause, one of the student writers raised his hand and asked “but what if I don’t know any directors?” I thought about this question for a moment and then said with confidence, “Well, now you know us.” After the panel was over, the student came up and asked for my card. I handed it to him knowing that even though I barely have time to eat breakfast, I would read his play. Written by Che’Rae Adams for NOHOARTDISTRICT.COM Feb 2009
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If you are a theatre director, chances are you have directed new work at some point in your career. I think the director/playwright relationship can be glorious, inspirational, and challenging at times. I really want to work with playwrights who are collaborative, supportive, and who trust me to do my work. But what do playwright’s look for in a director? I asked 7 playwrights what they are looking for in a director and below are their responses:
Playwright #1-Luis Alfaro- A Chicano, born and raised in downtown Los Angeles, he is the recipient of a MacArthur Foundation Fellowship and a resident artist at the Mark Taper Forum, where he is co-director of the Latino Theatre Initiative. CineFestival. He is the winner of the 1998 National Hispanic Playwriting Competition and the 1994 and 1997 Midwest PlayLabs. “What a simple and provocative question. I recently had a director come speak to my MFA actors at USC and they asked the director what he wanted in an actor and he said – A Yes actor - someone who wants to play and discover. I want a Yes director. A collaborator that comes to the experience as open to the idea of change and as excited as I am to see a theme, language or image develop into something more surprising and cohesive than I might have imagined. The state of the theatre (and our Country) has made it difficult for artists to spend quality time on just one project. But honestly, I am looking for a director with intellectual curiosity and the time and ability to meditate on it. I want someone to dream with and to be inspired by our mutual understanding of how we can get deep and make the work live on stage. I want someone who understands subtext and believes that it as important as that which is made visible. I am looking for the relationship that can only happen on stage. I am thinking so much lately about depth and the dynamic it needs. Not only a way of thinking, but a way of moving and filling space and watching what happens when it has electricity in a play.” Playwright #2-Mickey Birnbaum-has been produced at The Boston Court Theatre, The Road Theatre Company, the Woolly Mammoth Theatre, The Perishable Theatre, to name a few. He has written several plays for the Virginia Avenue Project, which matches at-risk youth with theatre artists. He was a 2006 Inge Fellow. “For me I want a director who's not just a traffic cop, but an active collaborator. A director who encourages development of a play even in rehearsal, but knows how to protect a playwright from the sometimes excessive desire to rewrite. A director who is an impermeable buffer zone between the playwright and the producers, who puts the needs of the play before the needs of the theater or the actors. I like directors who are, like me, manically obsessive about how each word falls, and capable of deep textual analysis. I need directors with a strong visual sense, who are willing to tackle ambitious leaps through space and time, which my plays often feature, without grumbling about it.” Playwright #3-Tom Jacobson-MFA and playwright whose plays include Sperm (Circle X Theatre Company), The Orange Grove (Playwrights Arena), Bunbury, and Ouroboros (The Road Theatre Company). Mr. Jacobson is the co-literary manager at Boston Court Theatre in Pasadena and was a literary manager at Celebration Theatre. He is a founder of Playwrights Ink and is on the board of Cornerstone Theatre Company. “Playwrights want: to talk through the play with the director at the very beginning to get a feeling for their concept, to be present for casting and rehearsals where they can privately convey their thoughts to the director, weigh in on designers and design elements, to get smart dramaturgical thinking from the director but feel free to make other choices. A creative partnership!” Playwright #4-Megan Gogerty-Her music-play Love Jerry received its world premiere at Actors Express Theatre in Atlanta. A national finalist of the Alliance Theatre's Graduate Student Playwriting Competition, it was also performed as part of the mainstage season at the University of Texas at Austin, where it earned seven B. Iden Payne Award nominations including Outstanding Original Script and Outstanding Original Score, and five Austin Critic's Table Award nominations including the David Mark Cohen Award for best new play. Megan's ten-minute play Rumple Schmumple premiered at the Kennedy Center in Washington, DC as part of the National American College Theatre Festival, where she was the winner of Atlanta's Dad's Garage Theatre Company 10-Minute Play Residency Award. She earned her MFA in Playwriting from the University of Texas at Austin. Megan has been a Playwrights' Center Jerome Fellow and was a grateful recipient of the James A. Michener Playwriting Scholarship and the Ellsworth P. and Virginia Conkle Endowed Scholarship for Drama. “Clarity. Help me understand what's actually happening in the play and why she's coming to those conclusions. Then I can decide if that perception is my intention. Half the time when developing new work, I don't know what I have on my hands - I've been following my instincts. And so it's helpful to get a sober, cogent, logical analysis of what's actually happening so I can make changes judiciously. The best thing a director has ever given me is perspective on my play.” Playwright #5-Jon Bastian plays include The Heretics of Alexandra New Century Writer Award Finalist; Noah Johnson had a Whore... at South Coast Repertory, Winner of the SCR California New Plays Prize, and DramaLogue Award Winner for Outstanding Achievement in Playwriting, and a PEN West Literary Award Drama Nominee; Petty Treasons at the Audrey-Skirball Kenis Theatre and The Road Theatre nominated for three Valley Theatre League Awards; Bill & Joan, a Lois and Richard Rosenthal Playwriting Prize Finalist; and A Perfectly Natural Explanation, produced at the Rose Theatre, Theatre/Theater, and other venues. He was awarded a Fellowship to the Chesterfield Writers Film Project, sponsored by Steven Spielberg. His new play Strange Fruit is scheduled for production by the Syzygy Theatre in 2010. “I want a director who can be a third eye, and show me things I hadn't realized I'd put in the script -- themes, thru-lines, symbolism, etc. -- and then enhance them in production. I want a director who gives the actors freedom to experiment and make different choices in rehearsal. I want a director who remembers there's a reason they call it a "play" and not a "work". It isn't Air Traffic Control. The director not only sets the tone for the production, but for the rehearsal process as well. I want a director who is a team-builder who can create a safe environment in which to experiment, as mentioned above. I want a director who does their research, or is willing to ask me questions when necessary. But you'll impress me more if you explain to the actors some obscure reference in Act II without having asked me what it meant. Especially if you're right” Playwright #6-William Katt- A personal favorite in his theatre career perhaps was Pippin for video, directed by Bob Fosse. Well known for his work in television and film in such productions as “Carrie”, “Big Wednesday”, and “House”, among many other film and TV projects, but most noticeably his performances in “Greatest American Hero” and “The Perry Mason Specials”. He is a published musician as well as having three screenplays produced. Rachel and Julio is one of three plays currently scheduled for production - being co-produced at the Broward Center for Performing Arts. Feature film directing credits include “The Clean and Narrow”, The Rivers End” and “Pegasus”. “A playwright wants a director to ask questions that will compel them to think in ways that they didn't think before.” Playwright #7-Levy Lee Simon-is an award winning playwright & screenwriter. His play The Bow Wow Club made its West Coast Premiere at the Stella Adler Theatre/LA in the fall of 2006 and was featured in the North Carolina Black Theatre Festival 2007 and is the winner of the 1998/9 Lorraine Hansberry Award for, ‘Best Full Length Play’ awarded by ACTF and the Kennedy Center. For the Love of Freedom trilogy co-produced by Danny Glover’s Robey Theatre and the Greenway Arts Alliance in Los Angeles. The trilogy, Toussaint – the Soul – Rise and Revolution, Dessalines – the Heart – Blood and Liberation, Christophe – the Spirit – Passion and Glory was nominated for several NAACP and Ovation Awards including three “Best Playwright’ nominations “First I think that the director and playwright need to be on the same page. For me I want to know that the director has read the work, has a good understanding of the playwrights' vision and is passionate about the work. Along the same lines, the director should completely understand the story, plot, characters and through lines of the characters and the play. With an original script I feel the director and playwright should agree on casting which is half the battle at least. Also, with an original script I think the director should try to deliver the playwright's vision of the play however the playwright should also be open to the director's vision. Hopefully the two are not too far apart. “ ...Interviews compiled by Che'Rae Adams for NOHOARTSDISTRICT.COM March 2006  I hate to admit it, but I think my standards were unwillingly lowered while working for Cirque du Soleil.
I noticed it a few weeks ago when I went with my friends, Dom and Chris, to see “Dream Girls” at the Ahmanson Theatre in downtown Los Angeles. Both of my friends are avid musical theatre guys, not only versed in what they were seeing, but experienced performers as well. Per usual when I see theatre with my friends, we thanked our ticket donor profusely with smiles and hugs, and then talked bluntly about what we saw once we got in the car. Dom was very passionate about the show, especially after seeing it on Broadway. And having been in “Titanic” on Broadway himself, his standards are very high. He went on about how after seeing Jennifer Holiday in the role of Effie on Broadway, he just can’t imagine anyone else singing the role. He made me promise to go immediately home and find Ms. Holiday on UTube so he could prove his point. Honestly, I have never seen Dom be so passionate about anything before. Soon after, Chris chimed in about how bad he thought the acting in the show was. Dom agreed, and in fact added that he did not “believe” any of the actors from this production except for Chester Gregory who played James "Thunder" Early (who we all agreed was the best actor in the show). Granted, Dom was a theatre major at Northwestern University, and Chris got his Masters in acting from Columbia University, so these boys know from which they speak. The scary part for me was that I didn’t think the show was that bad, and found myself defending it. Then it hit me, hard. Somehow my standards have been lowered! Seriously, I have always been a hard ass when it came to analysis of any theatre production. Don’t get me wrong, I am very supportive of my fellow artists and have great respect for them, but honestly, I rarely enjoy theatre in Los Angeles. The quality can often be low, especially when actors get together and do “showcase” theatre which tends to be narcissistic and self serving. But I have found that since I have been back in Los Angeles, I have liked a lot of theatre. Could my standards have been lowered while I was in Las Vegas working on Cirque du Soleil’s “Viva Elvis”? Afterall, I spent several months rehearsing one show, which over a course of several weeks, changed drastically. I watched as scenes, monologues and characters that I thought were valuable to the show were cut. Eventually, the entire story line was eliminated, and the show turned into more of a tribute show to Elvis. I think that this process effected me psychologically, in that the kind of art that I felt was valuable, was disregarded. At the time, I thought-“…this is Cirque, so they must know what they are doing….Right?” You will be happy to hear that I have gotten my standards back. It was a tough six months, but after reading “Angels in America” and "Strange Fruit" (two of my favorite plays) over and over again, I am now back to where I was before. Phew! Special thanks to Tony Kushner and Jon Bastian for reminding me what good writing is! Written by Che’Rae Adams for NOHOARTSDISTRICT.COM April 2010  What is Drama? I could spend hours answering that question. The dictionary defines drama as “any situation or series of events having vivid, emotional, conflicting, or striking interest or results.” True, but no one says it better than famed American author, David Mamet. Author of historic, clever, dialogue driven plays such as Speed-the-Plow, Glengarry Glen Ross, Oleanna, American Buffalo, and political thought provoking screenplays such as The Untouchables, The Verdict, and Wag the Dog happens to also be a television producer. His TV series, “The Unit” was cancelled in 2009, yet someone has recently unearthed some pearls of wisdom that he sent in the form of a memo to his staff writers. Below is the memo he wrote and it could not be more accurate. I felt compelled to share it with you-it is truly the most powerful prose that I have read about story development in a long time. (Warning the language is strong and rated PG13)
TO THE WRITERS OF THE UNIT GREETINGS. AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR. THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN *DRAMA* AND NON-DRAMA. LET ME BREAK-IT-DOWN-NOW. EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF *INFORMATION* INTO A LITTLE BIT OF TIME. OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO COMMUNICATE *INFORMATION* AND, SO, AT TIMES, IT SEEMS TO US. BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU WOULDNT, I WOULDNT. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE IN AND STAY TUNED TO WATCH DRAMA. QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, *ACUTE* GOAL. SO: WE, THE WRITERS, MUST ASK OURSELVES *OF EVERY SCENE* THESE THREE QUESTIONS. 1) WHO WANTS WHAT? 2) WHAT HAPPENS IF HER DONT GET IT? 3) WHY NOW? THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT. IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY ACTED. THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS, REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER. *YOU* THE WRITERS, ARE IN CHARGE OF MAKING SURE *EVERY* SCENE IS DRAMATIC. THIS MEANS ALL THE LITTLE EXPOSITIONAL SCENES OF TWO PEOPLE TALKING ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED. IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT *WILL* BORE THE ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WERE ALL GOING TO BE BACK IN THE BREADLINE. SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST. IT IS *YOUR* JOB. EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW UP IN THE SCENE. THIS NEED IS WHY THEY *CAME*. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TO GET THIS NEED MET *WILL* LEAD, AT THE END OF THE SCENE,TO *FAILURE* THIS IS HOW THE SCENE IS *OVER*. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL US INTO THE *NEXT* SCENE. ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE *PLOT*. ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE (THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER SUPERFLUOUS, OR INCORRECTLY WRITTEN. YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN ALL THAT INFORMATION? AND I RESPOND *FIGURE IT OUT* ANY DICKHEAD WITH A BLUESUIT CAN BE (AND IS) TAUGHT TO SAY MAKE IT CLEARER, AND I WANT TO KNOW MORE *ABOUT* HIM. WHEN YOUVE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY, BOTH YOU AND HE OR SHE *WILL* BE OUT OF A JOB. THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. *NOT* TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM WHAT HAPPENS NEXT. ANY DICKHEAD, AS ABOVE, CAN WRITE, BUT, JIM, IF WE DONT ASSASSINATE THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN FLAME WE ARE NOT GETTING PAID TO *REALIZE* THAT THE AUDIENCE NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT HAPPENS NEXT. YES BUT, YES BUT YES *BUT* YOU REITERATE. AND I RESPOND *FIGURE IT OUT*. *HOW* DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING INFORMATION? *THAT* IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE ABILITY TO *DO* THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN THEIR BLUE SUITS. FIGURE IT OUT. START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE *SCENE MUST BE DRAMATIC*. it must start because the hero HAS A PROBLEM, AND IT MUST CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR EDUCATED THAT ANOTHER WAY EXISTS. LOOK AT YOUR LOG LINES. ANY LOGLINE READING BOB AND SUE DISCUSS IS NOT DESCRIBING A DRAMATIC SCENE. PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT. THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, *YOU* ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT. HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT. ANY TIME ANY CHARACTER IS SAYING TO ANOTHER AS YOU KNOW, THAT IS, TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO KNOW, THE SCENE IS A CROCK OF SHIT. DO *NOT* WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE IN BEL AIR *AND* HIRE SOMEONE TO LIVE THERE FOR YOU. REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. *MOST* TELEVISION WRITING, OURS INCLUDED, SOUNDS LIKE *RADIO*. THE *CAMERA* CAN DO THE EXPLAINING FOR YOU. *LET* IT. WHAT ARE THE CHARACTERS *DOING* -*LITERALLY*. WHAT ARE THEY HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION, WHAT ARE THEY *SEEING*. IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA. IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED, OF *SPEECH*. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING) THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES TO DO IT, BUT YOU NEED TO *START*. I CLOSE WITH THE ONE THOUGHT: LOOK AT THE *SCENE* AND ASK YOURSELF IS IT DRAMATIC? IS IT *ESSENTIAL*? DOES IT ADVANCE THE PLOT? ANSWER TRUTHFULLY. IF THE ANSWER IS NO WRITE IT AGAIN OR THROW IT OUT. IF YOUVE GOT ANY QUESTIONS, CALL ME UP. LOVE, DAVE MAMET SANTA MONICA 19 OCTO 05 (IT IS *NOT* YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND MY, RESPONSIBILITY TO KNOW AND TO *ASK THE RIGHT Questions* OVER AND OVER. UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.) Compiled by Che'Rae Adams for NOHOARTSDISTRICT.COM March 2010  This past Friday, my friend Ken and I drove almost 300 miles to attend the premiere of “Viva Elvis” which is Cirque du Soleil’s newest show in Las Vegas. It was a star-studded event, with Hollywood notables such as Chris Noth, Gene Simons, and Chris Angel posing on the blue carpet. That’s right, the red carpet was blue, a tribute to Elvis’ hit song “Blue Suede Shoes”.
Did I mention that my friend Ken hates Vegas? He insisted on leaving the next day after the premiere, which I agreed to reluctantly. Well, he ended up having such a good time, that Ken broke his “24 hour rule” and we stayed two nights in Sin City-a first for him! As a native Los Angelino, I was unimpressed by the stars, but wanted to support my friends in the cast. As some of you know, I was part of the development process for six months before my character was cut two weeks before the show previewed. I was proud of the performers work, and astonished at how much talent, energy, and good will goes into each and every show. The show is very celebratory and high energy, sporting a sort of Disney feel. I think this was on purpose, in order to appeal to audiences of all ages. It is a hybrid of singing, dancing, and acrobats, sort of a tribute to Elvis’ music and work in the film industry. But I could not help but think that was something was missing. As Randy Lewis from the LA Times said “Cirque du Soleil clearly loves Elvis tender, but in the end "Viva Elvis" never lets him step off the mystery train.” My friend Ken put it very well when he said “the choreography could have been for any song-there was nothing that was specifically Elvis”. Although the character of Colonel Parker, who was Elvis’ manager for many years, narrates the show via three monologues about Elvis’ life-the dialogue is very “Wikipedia”, meaning factual but devoid of emotion or opinion. Unfortunately, this result is a lack of connection on the audiences’ part to the piece as a whole. With Viva Elvis, Cirque du Soleil has attempted a traditional Strip spectacular — and in doing so, have sacrificed warming the hearts of the audience or telling Elvis’ personal story. David McKee from Las Vegas CityLife says “About the best that can be said for this patronizing “tribute” is it’ll make you want to watch some Presley movies. Audiences should stamp Viva Elvis: “Return to sender.” Ouch-that is harsh-I would not go that far. But it does bring up the question “what makes theatre good?” For me, it is an emotional connection to the show. But does that guarantee a hit show? I guess if we knew the answer to that, we would all be millionaires! Viva Las Vegas! Viva Elvis! Written by Che’Rae Adams for NOHOARTDISTRICT.COM Feb 2010 The other day, I went out for coffee with a student and friend of mine in the darling up-and-coming neighborhood of South Pasadena. As I slowly sipped on my Chai Latte (decaf, skinny, nonfat of course) and devoured my delicious double chocolate brownie, she began to pick my brain about self-producing. Suddenly, it hit me hard that I am really back in LA.
Self-producing is an LA Theatre Scene epidemic. You can’t throw a stone here without hitting a solo show where an actor wants to be discovered and given a sit-com. Often the actor writes, directs and produces the show themselves, which is a lot of hats to wear. This over abundance of roles often leads to schlocky productions where under-directed actors whine about how hard it is to make it in Hollywood. How did this town end up this way? Before I attempt to answer that loaded question, let me share with you a brief history of this thing we call a solo show. The first documented solo performance was in 1901 by a woman named Beatrice Herford, who simply performed impressions of her neighbors in order to facilitate peace between the feuding community. From there, it sort of evolved slowly, and then in the 1990’s, seemed to have exploded. Solo shows have taken many shapes, forms and a whole lot of diverse structures. For example, performers such as John Leguizamo, Eric Bogosian, Anna Deavere Smith, Charlayne Woodard and Lily Tomlin tell their stories by embodying various characters, usually switching back and forth from the characters to themselves to achieve the narrative. Then there are the performers such as Lenny Bruce, Eddie Izzard, Sandra Bernhard and the late Andy Kaufman who present their shows like a stand-up comedy routine, using little to no set, lights or costumes. Along those lines, there are performers that only tell a narrative story, (sometimes abstract and non-linear) and are considered performance artists because they often combine music and movement to get the job done. This group includes the late Spalding Gray, Tim Miller, Laurie Anderson, Roger Guinevere Smith and Elaine Stritch to name a few. In addition, there is the rare play that has not been written for a particular solo actor, but instead for many performers over many years to perform. I Am My Own Wife by Douglas Wright, The Vagina Monologues by Eve Ensler, and Chesapeake by Lee Blessing are a few examples. As you can see, there are many ways to tell a story, and solo artists over the years have found some very inventive ways. Having said that, Los Angeles has a long history of actors doing plays in order to showcase themselves. In fact, the Equity Waiver System was invented for Los Angeles actors (it does not exist in any other city in the United States) so that they could affordably produce theatre that would showcase them or shed light on them in a certain way. So, back to my friend’s dilemma at Starbucks. She shared with me that after two years in Los Angeles, she has yet to be able to do the work she wants to do. After speaking to her about her options in this town, I realized that the reason actors self produce is because they are left to feel powerless by casting directors and producers in this town. Don’t get me wrong, it is not the show biz big shot’s fault, it is just the nature of the beast. So by writing her own show, and getting it up, she could feel the sense of empowerment that she has been longing for. And if it works, and is seen by the right people, she could potentially get a sit-com or a film deal. After all, there were many that have forged their way before her, making it easier for her to succeed. Kevin Smith made “Clerks” by selling his comic book collection, Robert Rodriguez made “El Mariachi” for $7,000.00 and Wes Anderson and Owen Wilson made “Bottle Rocket” together. These were not studio films, they were self produced and independently made. Sure, they were picked up for distribution after they were made, but these film makers took the risk themselves. On the same note, many solos shows and comic routines were seen by the right people and turned into films and TV shows. Some examples are My Big Fat Greek Wedding by Nia Vardalos, the stand-up comedy of Jerry Seinfeld which morphed into the beloved Seinfeld series, and Hedwig and the Angry Inch by John Cameron Mitchell whose NY success paved the way for a film by the same name. So if Nina, Jerry and John can do it, then why not my friend? After all, LA is a place where fairytales come true, and it can happen to you. Forgive me for quoting Disney, that was uncalled for. Written by Che’Rae Adams for NOHOARTSDISTRICT.COM Jan 2010  After 6 months in Las Vegas working for Cirque du Soleil, playing Gladys Presley in the new “Viva Elvis” show, Cirque decided (two weeks before previews) to let the actors go. Even the actor playing Elvis was cut out of the show. Yes, that’s right, the Elvis show has no Elvis. I know what you are thinking-what are these circus people doing? I have been thinking the same thing…
I was trained in theatre arts most of my life, earning a BA in theatre from CSUN and ultimately an MFA in directing from the University of Cincinnati, College Conservatory of Music. Theatre training is a very specific thing, and most professional and college theatres have sort of a code of ethics that they follow. This code of ethics allows us all to move from theatre to theatre able to work smoothly, effortlessly, without much conflict. Well, needless to say, the circus does not follow any of these codes. For example, instead of developing a show on paper with writers and dramaturges like we do in the theatre, they throw everything up on stage, see what works, and cut what doesn’t. Unfortunately, when you work that way, there are a lot of casualties. I was just one of those casualties, there were many others. Suffice it to say, hardly nothing remains from the original show that we rehearsed for six months in Canada and Vegas. Key creative people were let go, artists were cut, and millions of dollars in sets and costumes were thrown out. According to the producers of the show, the “higher ups” were afraid that having scenes and monologues in the show felt too much like a play, which could make the audience “think and feel”. This is not a formula that they believe will sell in Vegas. To date, none of their other shows have stories, which is the formula that works best for them. And…there is no need to fix what isn’t broken right? In fact, the LA Times recent review of “Kooza” encourages Cirque to return to their roots. Writer David Ng states “ If there's anything surprising about the show, it's that it represents a return to simplicity for Cirque. Those who are familiar with the company's mega-productions in Las Vegas and elsewhere will no doubt feel the absence of high-tech waterworks and other stage effects. But in the case of "Kooza," less is more -- a lot more.” Could this review have added to the Cirque’s fear to finally try something new? I’ve been back in Los Angeles for two weeks now, and it all feels like a dream. Lewis Carroll once said “In a Wonderland they lie, Dreaming as the days go by, Dreaming as the summers die; Ever drifting down the stream--Lingering in the golden gleam--Life, what is it but a dream?” Indeed. Written by Che’Rae Adams for NOHOARTSDISTRICT.COM Nov 2009  I realized the other day that the two theatre companies that I am the most involved with in Los Angeles are both doing plays about art. This fascinates me, especially the process of choosing a play about art for their season. I wondered what these companies wanted to say about art and what was driving them to say it.
As White As O As White As O by Stacey Simms at the Road Theatre Company poses the question, what if your life was an inadvertent work of art, complicated by an onrushing riot of the senses? As White As O is the story of a lost young fellow named Jack who has synesthesia, a condition involving an involuntary cross-wiring of the senses. This means that Jack tastes his feelings, can hear sounds and smell what he touches and even sees numbers and letters in vivid color. The play is set in New York, and opens on a scene at an art gallery where an art installation, entitled “30 Years of Outsider Art,” is scheduled to open the following day. As the story gradually unfolds, we learn that Jack’s father Sam, a loner, plagued by his son’s oddity and the loss of his wife shortly after giving birth. Somehow the pair began embellishing their ramshackle bungalow with buttons and pennies and all sorts of found objects in collective patterns. Eventually Clara, an ambitious young woman from the city, stumbles upon the odd home and, after anointing it an important work of “outsider art,” devises a scheme to profit from it and further her career. Clara manages to purchase and then move Jack and his father’s house to an art museum in New York. There Jack is forced to revisit his painful past. Arriving in New York for the art opening, Jack becomes overwhelmed by memories of his father’s life and death, learns more about his absent mother and reunites with a girl from back home that he never stopped loving. The set is truly a piece of art. On the transplanted house every available surface area is covered with clusters of items such as bike bells, kewpie dolls’ plastic heads, bottle caps, license plates, multi-colored wooden blocks, golf balls and crushed soda cans – all forming a pleasing mosaic effect. In one corner of the stage is a small, raised set of institutional white surfaces. Anyone interested in learning more about outsider art will enjoy this story. Sam Anderson, the Co-Artistic Director of the Road Theatre Company and the director of As White As O says that “when I first read the play I was struck by the uniqueness of the voice of Stacy Sims, a voice I had not heard in a theatre. From the poetry of her language to the depth of her themes and unique structure, the play moved me so much and I could "see" it in my head on a stage and wanted to create what I saw -- the challenge of visualizing the inside of a synesthete's mind, the dovetailing themes of coming to terms with one's family of origin while dealing with the whole panorama of obsession with art, from the people who make it, sell it, look at it, want it, are destroyed by it or healed by it. With the help of the Road's crack design team of Desma Murphy (sets), Dave Marling (sound), Jeremy Pivnick (lighting), Adam Flemming (video design), Mary Jane Miller, costumes and the mystery prop designers, I feel we achieved that dream and brought this beautiful, moving and unique story to life.” Chesapeake Another play about art in town is Chesapeake by Lee Blessing, produced by the Syzygy Theatre Group. It is an existential quest by a New York performance artist, to conform a conservative Southern politician with – ironically – a flair for fiery dramatics, and the dog that intrinsically unites their fates. The dog, a Chesapeake Bay Retriever named Lucky, is the beloved pet and mascot of this right-wing Senator who takes it upon himself to lambaste a solo artist’s provocative experimental performance in order to propel himself to political victory. When the performance artist finds his arts grant called into question by the ambitious Senator, he concocts a scheme for revenge. A highlight of this poetic and profound script is a speech that compares artists with pioneering explorers who delve into the unknown in order to “bring it back to us.” The play speaks to the possibility of true mutual understanding and the power of art to help us find it. Martin Bedoian, the Artistic Director of The Syzygy Theatre Group, and the director Chesapeake says that “the play speaks passionately and profoundly to the power of art to bring redemption and disparate ideologies together to work for the common good. Syzygy was formed in the immediate aftermath of 9/11 and at the time I was asked in an interview, ‘Why start a not-for-profit arts organization in such difficult times?’ My answer then holds true in the times we are living through today; a loss of art reflects a loss of our humanity and, now, in troubled times, precisely because they're troubled, we need art more than ever.” The Artistic Mind Both of these plays explore questions that we as artists ask ourselves everyday-does art matter? Does what we do effect or move people? Do we contribute to making the world a better place? The mind of an artist is a complicated yet delicate one-one that you can delve into when checking out these two magnificent productions. Written by Che’Rae Adams for NOHOARTSDISTRICT.COM Oct 2009  I recently moved to Vegas and have been desperately searching for culture ever since. This was my biggest fear about moving there-not the excessive sex, drugs, alcohol and gambling so much, but the lack of culture kept me up at night. But what was I to do? I landed a role in the new Cirque du Soleil show about Elvis and that is where the show is! Besides I have been doing things I have never done before in my life, like gone 70 feet in the air across the stage! I had to take the job right?
My alma mater, The College Conservatory of Music of Cincinnati, announced that I was doing the show in one of their newsletters and one of the alumni emailed me to assure me that indeed there is culture in Vegas. He is the musical director for Cirque du Soleil’s “Ka” and said that I would be “happy to know about your work with original pieces out in LA and I think you'll be glad to know that there is a small but vibrant community of writers, playwrights and composers out here in Vegas that would welcome your friendship. There have been whispers of a new works festival out here for years and with artists like yourself joining the community, it gets closer to a reality.” That gave me some hope! But alas, no new works festival yet, so where does one go to find culture? It turns out that on the first Friday of every month, you can find it! It is a hot Friday night in Vegas and the spirit is festive and the drinks are ice cold! I am in downtown Las Vegas, where, once a month the pedestrian-friendly streets transform into a huge block party during FIRST FRIDAY. Each celebration, the entertainment shifts and multiplies as ice sculptors, fire breathers and fortune tellers serve as a back-drop for this ongoing festival of art perusal and appreciation. Local bands perform throughout the evening, and the streets turn into canvasses for children (young and old) to decorate with chalk. FIRST FRIDAY is a stage for local galleries and Las Vegas' vital Downtown cultural scene. It's a place to meet friends new and old, and rejoice in the preservation and innovation of an historical neighborhood. In this land of suburbs and strip malls, it is a welcome cultural event that is well worth the price of admission-Free! Since it began in October of 2002, FIRST FRIDAY grown every year. It is now considered the premier arts event in Las Vegas. From the shops and galleries on Charleston (the Arts Factory, S2, Main Gallery and more) to the new galleries on Main Street (Atomic Todd and others) to the spaces on Commerce St. (Commerce Street Studios), down to the whimsical offerings of The Funk House antique store, and the art galleries and vintage shops in the cottages on Colorado. And no matter how you decide to get around, you can always expect a diverse crowd, cool local art, live music, street performances and plenty of surprises! Now, don’t get me wrong, Las Vegas as plenty of entertainment. Everything from the Lion King to Jersey Boys is there if you can afford the $100 plus ticket! Las Vegas also has a ballet company that is very diverse and exciting. It is a combination of traditional and modern dance styles. In fact, they also do a co-production with my new employer, Cirque du Soleil which is a choreographer’s showcase. That is something that I will look forward to seeing, along with attending First Friday every month! Ok, so Las Vegas has some culture…but is it enough to encourage artists like me from out of town to stay? Not quite yet…. Written by Che’Rae Adams for NOHOARTSDISTRICT.COM Sept 2009  The process of new play development can sometimes feel akin to having a baby. The conception phase is all of the years that you have the idea in your head but have never been able to put it on down on paper. Then comes the pregnancy stage where you finally start to put your ideas onto paper and you have nine months to prepare for the “big day” when the rough draft is finally delivered. The final stage is the development of your brain child, The Script, and as they say, it takes a village to nurture it and bring it into fruition.
Conception When you first have an idea for a play, it is like planting your seed. It is scary at first-(after all commitment always is). But once you make the decision, buckle up and go on the ride! Take the ideas you have in your head and put them onto paper. The best way to do this is stream of consciousness, in other words, do not edit yourself. Not yet-that will come later. Just let your ideas free flow and don’t have any judgment about them or your work. If you have a hard time disciplining yourself to do this, then I suggest scheduling a set time everyday to spend an hour with pen and paper. The other way to ensure this step is to sign up for a writing workshop where you are expected to bring at least ten pages a week. This is guaranteed to give you the kick you need! If a writing workshop is not possible, then schedule a time each week to read your pages to trusted friends and family in order to get feedback on your work. Be sure that you are getting feedback from someone who has an invested in your career and who cares about your work. Their notes will be the driving force for your rewrites, so be careful when choosing this person and make sure that they are someone you can trust. Pregnancy During the first trimester your script is developing all of the basics for it’s sustainability in the world. This is where you will ask yourself what the concept for the script is, why you are writing the script, and what value does the script have in the world at this time. Has the story been told before? If so, then how are you telling it differently? The second trimester sees a lot of growth and fine tuning of the earlier work. As you attend the writing workshop or share your pages with friends, you will go back and incorporate their notes into the work you have already done. This process is painstaking and tedious but necessary for the development of your story. The third trimester prepares your script for birth which is the delivery of the first draft. This is where the contractions come in-the painful process of objectively looking at your script as a whole and asking yourself some hard questions. For example, do your characters have strong arcs? Does the story itself have an arc? Birth The day has finally come when you have a rough draft of your script and it is time to share it with the rest of the world. A rough draft is exactly what it seems-a rough version of an eventual polished script. So, although you have gone through a painful yet rewarding birth process, you still have a ways to go before the script is finished. The first step in this process is to schedule an informal play reading. This first reading should be for an invited audience only, or what I call your “warm fuzzy people”. In other words, people who have an investment in you, i.e. your family, friends, colleagues, etc. Once you get their supportive feedback, you can go back into rewrites based on the notes that you have been given. I have seen some damage occur to writers who skip this stage and go straight to a public play reading. Believe me, when you first give birth to your play, you are not ready to hear criticism from strangers. Instead, you should be getting supportive comments from your tribe. Child Rearing The second step in the birthing process after going into rewrites from the warm fuzzy reading, is to schedule a public reading. This the best way to introduce your piece to a team of artists including a director, dramaturge, actors and of course the audience. This will allow you to get feedback from the general public, sometimes complete strangers. This objective criticism is critical to your script’s development. An objective audience can help you to see any inconsistencies or contradictions in the script which you may not have seen before. Once you go through this process, you can then go back into rewrites based on the feedback you received. Letting The Baby Go Once you have gone through both readings and two sets of rewrites, you now have an official first draft of your script. It is now ready to go out into the world and be optioned, sold, or produced. Although you may be involved in the production process, you still have to give your script over to a director to interpret. Be sure to give it to a director you trust that perceives the script the same as you do, so that you will be happy with the outcome of the production. Although there will most likely be rewrites during the production process, you are very close to seeing your baby fully realized. The incredible feeling that you will have watching the first production of your script will be an invaluable and emotionally moving experience. Everything you went through from conception, pregnancy, birth, and rearing will have been worth it in the end. So what are you waiting for? Go get knocked up! Written by Che'Rae Adams for NOHOARTSDISTRICT.COM August 2009  Michael Jackson and Elvis:
The death of Michael Jackson shocked and devastated me, as I am sure it did most of the world. I was in Memphis when I heard, doing research on Elvis for the new Cirque du Soleil show that I am performing in. Cirque flew the entire cast (over 80 of us) to Memphis to soak up the true Elvis experience. For three days, we did nothing but listen to amazing live music, eat fantastic food, and absorb the history of one of the greatest cities I’ve ever been to. The first thing I saw when I stepped off the plane in Memphis is a store in the airport completely dedicated to selling Elvis souvenirs. Little did I know, that was just the beginning… Memphis loves Elvis! You can buy just about anything with Elvis’ face on it-clothing, jewelry, a vile of Elvis’ sweat, and even Elvis toilet seat covers! We had the opportunity to meet with members of the Memphis Mafia, Elvis’ entourage, who worked for him, protected him and loved him dearly. They encouraged us to look at the positive things about Elvis’ life and to focus on his creative genius and generosity. Jerry Schiller, one of Elvis’ closest friends, recounted how he thought it was Elvis’ lack of creative control over his career that lead him down the path of self destruction. As I toured Graceland, I could not help but think of the demons that might have lead to the untimely deaths of both Elvis and Michael Jackson; artists who were considered musical genius’. What is genius? According to Wikipedia, a genius is “…one who possesses great intelligence and remarkable abilities in a specific subject or shows an exceptional natural capacity of intellect and/or ability, especially in the production of creative and original work, something that has never been seen or evaluated previously. Traits often associated with genius include strong individuality, imagination, uniqueness, and innovative drive.” The truth is that artists, especially those deemed a genius, are afraid. They are afraid to fail, especially if they achieved greatness and fame early on in life. Is it a rational fear that they will fail since they have already reached a level of fame that seemed somewhat unreachable to them in the beginning of their careers? Is it rational to be afraid of the work that they feel they were put on this earth to do? Artists, in general, have the reputation of being mentally, emotionally and financially unstable. As a society, we have made the association between creativity and suffering, and have accepted as a rule that it will always ultimately lead to anguish. “Eat, Pray, Love” Author Elizabeth Gilbert's book "Eat, Pray, Love" was so successful that everyone worried if she'd ever be able to repeat that creative performance. Given the pitfalls associated with being an artist (especially a writer), she found herself in the position to protect herself from these accepted rules and try to create a healthy distance between herself, her work, and what others might think about it. The concern led Gilbert to investigate how past cultures and societies handled creative people, to see if they had a saner way of helping them to manage the inherit emotional risks of creativity. Her search led her to ancient Greek culture and the realization that people did not happen to believe that creativity came from human beings. People believed that creativity was this “divine attendant spirit that came to human beings from some distant and unknowable source for distant and unknowable reasons”. The Greeks referred to these spirits of creativity as “deamons”. Socrates believed that he had a deamon who spoke wisdom to him from afar. The Romans had a similar idea but they called that sort of disembodied creative spirit a “genius”. They believed that a genius is “a sort of magical divine entity who was believed to literally live in the walls of an artists studio, who would come out and sort of assist the artist with their work and would shape the outcome of that work.” Voila! A physiological construct to protect Ms. Gilbert (and other artists) from the results of thier work. Renaissance Smenaissance! She goes on to say that this construct was indeed the way that people thought in the West for a really long time until the Renaissance came along and everything changed. We had this big idea to put the human being at the center of the universe, above all Gods and mysteries, and suddenly there was no more room for the mystical creatures serving as our muses. People started to believe that creativity came completely from the individual and started referring to people as “genius” instead of “having a genius”. According to Ms. Gilbert, “that has proved to be way too much responsibility for one human being (especially one with a fragile human psyche) to handle. It can completely warp and distort egos and it creates all of these unmanageable expectations about performance.” Has the pressure of our modern definition of genius been killing off our artists for the last 500 years? What if we adopted this ancient construct today? How would it have effected Elvis Presley and Michael Jackson’s untimely deaths? My guess is that it would have helped them to release the heavy anxiety around the creation of a project and allowed them to enjoy their process and to be less tormented. So what do you say-do you believe in fairies? Written by Che’Rae Adams for NOHOARTSDISTRICT.COM June 2009  Theatre is dying along with funding for the arts in America…
…so what are American theatre artists to do? According to freelance theatre director Dan Wilson, “Old is out - new is in. We have to come up with a new system. We have to crush the way it was done and rebuild it. We have to look for new models. We have to listen to new voices. We have to think in new ways. We can't let theatre continue to thrash about on the gurney - we need to let it quietly pass away - help it even - and give it a funeral. And then we need to start fresh with a new theatre for a new century.” Dan goes on to say “If I had all of the power for a few brief moments in this American Theatre world, I would re-name, re-brand, re-envision, re-introduce, re-invite, and renew our commitment to audiences - the people that we do this for. And I would create a popular theatre for the masses. Why aren't they a part of the same brand? It works for Starbucks, it works for McDonald's, Home Depot, Banana Republic, The Disney Store... so WHY NOT our theatres too? Why can I get a membership at 24 hour fitness and travel the country as a Sales Rep for my computer consulting firm and work out in every 24 fitness gym location in the country with my member card but I can't go and enjoy the benefits of being a member in the theatre? Why don't we build brands in the theatre?” Swallowed by the clown tongue I flew to Montreal last week to visit the home base for Cirque du Soleil for a costume fitting and head scanning. I am playing the role of Elvis’ mother in their new multi-million dollar show about Elvis scheduled to open in 2010 in Las Vegas. In my twisted mind, I imagined that their headquarters would be a building shaped like a huge clown head with the clown’s tongue acting as a draw-bridge welcoming it’s visitors into it’s crazy clown head. Instead, I found a huge corporate office building with floor after floor of creative space for artists to do their best work. Once I received my security badge, I was able to roam the building freely, although often accompanied by a guide so I would not get lost in the massive concrete structure. I was ushered to my first costume fitting where I met with the designer and his assistants, all of whom spoke only Italian and French. For hours, they fused over every single stitch of fabric, making sure that I was fitted perfectly with no room for imperfections. Measurements are very important to them, as each and every costume piece I wear will be custom made to fit my body, including my wigs and shoes. At one point, I think they spent a half an hour discussing a sleeve of one of my 1950 period dresses! I found this kind of meticulous behavior to be both exhausting and refreshing. After I was fitted, I was given a tour of the facility by the director of the show, Vincent Paterson, who glowed like an expectant father awaiting the birth of his eagerly anticipated child. He has after all, been creating the show for three years and it is finally, finally, coming to fruition! He is in the period of production they call the “creation” where everything he has talked to the designers and producers about for three years is finally being built from scratch and implemented. He showed me the room where the acrobats create their work, and the studios where he and his choreographer will create their dance numbers for the show. There was an entire floor for costumes, and even a floor for hats and other accessories and an additional one just for shoes. I have worked at some of the best regional theatres in the country, but never before have a seen a facility such as this. It’s sole purpose is to house space for artists to create, and to provide them with whatever they need to achieve artistic excellence. It made me think-why don’t we have a facility such as this in the U.S.A.? Cirque du Soleil has figured it out Somehow Cirque has managed to make performing arts a multi-million dollar business without any government funding. Besides putting out a great product, they also manage to make lots of money for which to continue creating this product over and over again, flawlessly. They seem to employ some of the best artists in the world, including directors, choreographers, coaches, composers, and performing artists. How do they do it? Apparently, one of their goals early on was to create a household name for themselves that would be has American as Coca-Cola or Disney. This goal I believe is one of the keys to their success, (along with the excellent product and genius employees). I am wondering if American theatre should look to Cirque as a role model for theatre in America and if so, what would it require to transform itself? How could you make yourself or your company a household name like Coca-Cola or McDonald’s? It is food for thought if nothing else… Written by Che’Rae Adams for NOHOARTSDISTRICT.COM May 2009  The American theatre movement is nearing disaster.”
“Without an adequate sense of tradition or a sense of social responsibility, it is in danger of becoming a movement whose only purpose is self-perpetuation. This idealistic movement begun some generations ago has been unable to achieve a living wage for its actors, a livelihood for its playwrights; it demands that its designers accept 12 to 15 productions a year just to make ends meet, and forgoes its responsibility to train directors while permitting, under the heading of financial survival, the average income of its audiences to climb higher and higher, until this once bastion of social ideals and aesthetic concerns has become the plaything of the upper-middle-class and the very wealthy. How did this happen?” Richard Nelson wrote these words 25 years ago as the opening to an essay about the state of American theatre and I’m not sure much has changed. Most American theatre artists in are out of work, and that was before the recession! It is still nearly impossible to make a living in the theatre, so artists subsidize their income with work in television and film. Those that can’t get work there, have the infamous “day job” which they pray will be flexible enough so they can go on auditions when they need to. American Theatre Magazine recently asked 25 theatre artists “What do you imagine might happen in the American theatre over the course of the next quarter-century?” Mike Daisy, monologist and playwright, had this to say: “I look forward to the great work of the next quarter-century as a time of crisis and renewal. I hope we begin to take back institutions for artists, in cities and towns we don't hear from today. I hope that we will discover together a new theatre of the living moment, beyond the thumb of film and television. I hope we are making art that is like life itself: unrepeatable, illuminating and unforgettable.” This is a far cry from his 2008 article “How Theatre Failed America” which has subsequently been adapted into a one man show and performed in such venues as The Kirk Douglas Theatre, Joe’s Pub, and The Woolly Mammoth Theatre. It is nice to see that he has some hope for American theatre after all. Sarah Benson, artistic director, of Soho Rep, in New York City had this to say: “What will emerge is a more culturally connected and art-driven model that stems from the work, rather than simply sustaining self-perpetuating institutions. The most exciting work will be exuberant, uncompromising and handmade. It will be intimate, whether made for tiny or vast spaces, and yet large in scope. And it will utilize the strange theatrical principle of alchemy, by taking rough materials and using them as they are—to turn out something remarkable.” Go Sarah! Remember when you and your friends all got together and created intelligent, passionate, heartfelt new work that was inspired by how you felt about the world and your place in it? That is where the future of American Theatre is headed! No more cookie cutter theatre where all of the regional theatres are doing the same thing over and over again without much original thought. New work is almost always a comment on the present time and we all need to grow the balls to write about it. What would your new play be about? Written by Che’Rae Adams for NOHOARTSDISTRICT.COM April 2009  Hello. My name is Che’Rae. And… I am a Pippa-holic….Hi Che’Rae!
I recently realized that I’m addicted to Pippin by Stephen Schwartz. I see every single production that I come across, in Los Angeles and otherwise. I don’t care if it is part of UCLA’s Reprise series, The Mark Taper Forum’s season or at a local high school. I can’t help it! After all, they’ve got magic to do! Just for you! I have asked myself the question many times-Why must I see this show no matter who produces it or how poor the quality may be? Basically they could throw poo on the show and I would still give it a standing ovation. I realize now that I must seek help with this addiction or it could effect me for the rest of my life! It turns out that the first step in my recovery is admitting that I have a problem. That is the easy part-I admit it! The next 12 steps were a lot harder. I even got a sponsor. It turns out that one of the steps is reaching into my past and discovering the deep rooted reasons that I have to see Pippin. As I reached back, a suppressed memory was revealed. When I was in Jr. High School, I was invited to see a production of Pippin by one of my best friends, Zirka Keske, who was an inspiring dancer. In the dark recesses of my mind, I could barely make out flashes of the brightly colored costumes, sexy dancers, and fabulous music. There was slight of hand, a duck puppet, and people of all ages in the show! There were even half naked cute boys, especially the one who played Pippin! In fact, I think I might have kissed him after the show at the cast and crew party as I hung out with Zirka who was just fabulous in the chorus! This early memory of Pippin, might explain where the roots of my addiction lie. Afterall, Pippin is not only for all ages, but it has characters of all ages, ranging from 10 years old to 60. Everyone can relate to the story, because it has a fairytale structure and it has a sense of humor about itself. The music is unforgettable and timeless, a true masterpiece by the author of Godspell and Wicked. The title song “We’ve Got Magic to Do” symbolizes what I think the theatre is all about-the ability to transport the audience to magical places just for them. We’ve got magic to you, just for you We’ve got miracle plays to play We’ve got parts to perform, hears to warm Kings and things to take by storm As we go along our way Pippin’s solo “Corner of the Sky” has been done to death at every musical theater audition in the country, but it has a special place in my heart as an anthem to self awareness, prosperity and growth. Rivers belong where they can ramble Eagles belong where they can fly I’ve got to be where my spirit can run free Got to find my corner of the sky The entire concept of the show hinges on the actors as “players” which is a nice echo to Shakespeare’s famous idea that “All the world is a stage and we are merely players”. But by far the most poignant part of the script is when Pippin decides that he wants his life to be “something more than long” and is offered the chance to make a real difference in the world if he sacrifices himself by jumping into a pit of fire. Pippin discovers in that moment that life is to be shared with someone you love and who loves you, and does not necessarily need to be “extraordinary” to be fulfilling. Last week I had the pleasure of seeing Deaf West’s version of Pippin at the Mark Taper Forum. Who would have thought that the added layer of ASL would resonate with me so much? It makes perfect sense actually-what better thing to take away from Pippin in the end but his voice? The concept of two Pippins, one deaf and one hearing, allowed for Pippin to have moments where his inner conflict was literalized. In the end, this production of Pippin fed my addiction because it is everything that I feel theatre should be-magical, sexy, wildly entertaining, and in the end, it gives us something to think about. Written by Che’Rae Adams for NOHOARTSDISTRICT.COM March 2009  Public speaking makes me want to pee…
I drove down to Cal State Fullerton last week to speak on a panel at the Kennedy Center American College Theatre Festival. I was on a panel with a colleague of mine, Ann-Giselle Spiegler, who is a “first call” director for new plays. She is smart, witty, eloquent, and full of life. It makes perfect sense to me why she would be on a panel. However, why I am asked to sit on panels eludes me. I am always nervous, sweating even, terrified that I will have little if nothing to say. And I always have to pee right before the panel starts, why is that? Plus, I have no witty repartee and nothing that comes out of my mouth is planned, rehearsed, or lets face it, even thought about. It’s not that I don’t want to be there, it’s just that by the time the dreaded day arrives, I have barely had time to eat breakfast that morning, let alone prepare for the panel. On the way down to Fullerton, I am feeling guilt ridden about my perpetual state of unprepared-ness, and I am praying to God to let me get through the panel without incident. This particular panel was on “directing new plays” which is something that I have a lot of experience doing. However, I have absolutely no idea how to articulate that experience into any kind of cohesive sentence. Thankfully Ann started the conversation, which I was then able to dove-tail off of. As usual, Ann spoke eloquently about directing new plays and working with the writer in the room. She expressed her passion for the work she does, and explained her process with ease. “There is no way I can do that!” I thought silently to myself. I wonder if this is a common thing? Do other artists have this affliction or is it just me? I find it nearly impossible to explain how I work or what I do in a rehearsal room. Partly because I think it changes depending on the play, the playwright, the cast, the material, etc. The work is almost always instinctual, there is no plan really, no rhyme or reason to the process, but more of a reaction to what is happening in the room. Oh shit! Ann is done speaking and it’s my turn to speak…here goes nothing! After I stumbled over my words, and recited some sort of basic idea of what a director does in a rehearsal room, Ann suggested that we open up the room to questions for the panel. Ah ha! At last! Questions are good-I can handle those! Then, out of nowhere, a sudden stroke of panic hit me! “What if I don’t know the answers to the questions” I thought to myself. Once again, thank God Ann was there to make the question and answer section go a lot smoother. There was one question however, that resonated with me-it came from an older woman who was having her play produced at the festival for the first time. Her question was rather simple-“How do I get my plays produced?” Hmmmmm, that is a good question. Based on my blank look, Ann jumped in and attempted to answer her, while I was having a sort of surreal flashback… Post Traumatic Theatre Disorder… I suddenly flashed to almost 16 years ago when I and some other colleagues founded and ran a small theatre company in the valley dedicated to producing new work. Some of the playwrights that I still work with today were produced in that theatre back in the early 90’s. Talented local writers like Jon Bastian, Tim Toyama, Ken Hanes, Dale Griffiths Stamos, Leon Martel, and more. Despite the risk of producing new work, we supported their work. Our passion kept us going and we pushed through the lean times and made sure those controversial shows were mounted no matter what! We even got good reviews! Eventually The Road Theatre Company grew into one of the best 99 seat theatres in Los Angeles. And then it hit me-could it be true that I have known and worked with these writers for over 15 years now? I thought about the upcoming production that my current theatre company, The Syzygy Theatre Company, is scheduled to produce. Written by Jon Bastian, Syzygy and the Los Angeles Writers Center have been developing this 6 hour epic for over 2 years now. And then it hit me-could it be true that Jon and I have maintained a relationship for over 15 years? Does that really happen in Hollywood? I mean who does that? Maybe that is what happens when you find your tribe? I quickly realized what the answer to the question might be…. Finding Your Tribe… When it was my turn to reply, I was able to say without any doubt, “I think it is about the relationships that you form early on in your career that build a firm foundation for friendship, trust, and like mindedness.” The students looked at my blankly. I continued, “In other words, work with people that have an investment in you, in your talent, your friendship, and your success. Playwrights-find a director who believes in your work and let them champion it. After all, it is directors who push new work into production because of their passion for the writer and the piece. Without the director’s passion, new American plays might not get produced!” They looked confused, but my spark was ignited, and now I could not stop talking! “Plays are not to be hung on Museum walls, they should reflect the concerns of the present time!” Even I was shocked by how passionate I was becoming, but now I was on a roll! “Write about what concerns you! Write to discover the truth! Then, find someone who believes the same things you do and partner with them. Find your tribe. You are the future of the American Theatre!” Ok, even I knew I was getting carried away, so I turned the conversation back over to Ann. After a slight pause, one of the student writers raised his hand and asked “but what if I don’t know any directors?” I thought about this question for a moment and then said with confidence, “Well, now you know us.” After the panel was over, the student came up and asked for my card. I handed it to him knowing that even though I barely have time to eat breakfast, I would read his play. written by Che’Rae Adams for NOHOARTSDISTRICT.COM March 2009  I have been hearing a lot of horror stories from playwrights lately about their bad experiences with directors.
Much like Salieri in Amadeus, could the fear of mediocrity scare artists into panic mode which then leads to destructive behavior? True, artists make rash decisions all the time-I have heard stories about maverick playwrights such as Sam Sheppard who allegedly pulled a production of "True West" due to the bold casting choice of two women instead of two men; or Lee Blessing allegedly pulling a production of "Chesapeake" (which I directed the West Coast Premiere of) due to the mediocre reviews it received at NY Stage and Film where it premiered. Does the playwright have the power and the right to do such things? Yes. Can the power be misused or abused? Absolutely. So what determines the professional (or unprofessional) behavior of an artist? I think it has a lot to do with their early training combined with their experience and a little bit of upbringing thrown in. My early theatre training began at the Mark Taper Forum where my very first assignment as an intern was on the writing workshop of Pulitzer Prize winning "Angels In America, Part II-Perestroika" by Tony Kushner. The gospel according to the Taper staff was to honor and respect the playwright above all others. Tony Kushner was a bit of an unknown writer at the time, but the respect for him in the room was enormous. He sat in on every rehearsal, and in some cases had been developing the play with the same actors, such as Ellen McLaughlin and Stephen Spinella, for years. Despite the two award winning and critically acclaimed directors in the room, Tony Taccone and Oscar Eustis, the writer truly had final say and it was clear that the workshop was for his benefit. This early training built the foundation for which I have developed new work for over fifteen years. "Angels..." was one of the first new plays that I watched a playwright develop in a rehearsal room with the help of an artistic team of actors, directors, producers and dramaturges. Since then, I have worked on several new plays and have watched some of the best Regional Theatre artists interact with each other. Playwrights such as Tony Kushner, Peter Parnell, Alice Tuan, Han Ong, Jon Bastian, Tim Toyama and John DiFusco among others. Although my experience working with playwrights has spanned over seventeen years, the playwright/director relationship still eludes me. Has anyone read the book How to Get Along With An Over Dramatic, Controlling, A Personality Director? Or how about What To Do When A Playwright Really Wants To Direct? No such luck. Rule books on these types of things just don’t exist. I am afraid that we must rely on our experience to be our only guide. What is the protocol when it comes to the playwright/director relationship? Although there has never been an official rule book written, here are some thoughts that might make the production experience a lot more enjoyable for both: Step #1-Choose a director/playwright that you trust and respect Before you choose a director/playwright to work with, be sure it is someone who has supported you in the past or has an investment in your future. If that is not possible then try to see their work, read their reviews, or ask around about them before you make the commitment. It is essential that you are absolutely confident in each others work and are eager to work together. For example, most of the new plays that I direct are plays that I have developed with writers in my workshops. The relationship from dramaturge to director is a natural one, since I know the play so well and care for its well being and execution. The writers are secure with both my knowledge of the script and my emotional connection to their piece. This kind of relationship makes sense, since both the playwright and I have the same goals in mind for the production. Step #2-Get on the same page I believe that it is the director’s job to fulfill the playwright’s vision so be brave, honest and fair with each other regarding your intentions from the beginning. Sit down over a cup of coffee and talk about the play-what you like and don’t like, how and when it moves you, and any conceptual elements that you feel you want to enhance or experiment with. This initial conversation is crucial to determining whether or not you are both on the same page which is mandatory in order for the production process to work. For example, when I went into production for Blaine Teamer’s "Pandora’s Trunk" at LATC, my concept was to personify the main character’s alter ego. The playwright’s original intention was to have it be a one woman show, a tour de force for some lucky local actress. When he discovered that I planned on putting another actress onstage as the character’s alter ego instead of using a voice over, he was not happy. After a long passionate email exchange we came to a compromise. I would show him what the show would look like, and if he still did not like the work that we were doing, then I would change it. Thank God he liked it, because it would have been hell to re-stage the show! In this case, the playwright was willing to be open minded and give my concept a try. However, in the end, he had final say and was ultimately in control of the show’s destiny. Step #3-Trust each other to do their work Just as a writer has a process in writing their play, the director has a process in directing it. Although you might not understand each others process, try to respect it and trust it. For example, I know from my experience as an Assistant Director to Tom Hulce on the Pulitzer Prize winning "The Cider House Rules", that it can often be painful for me to watch the director’s process. It may seem foreign to me, or ineffective or sometimes just too passive. For example, Tom used to give the actors line readings which were brilliant and fascinating to watch.But these things can be confusing to actors. Does the director want you to imitate them or did they want the actor to make it their own? Despite the director’s approach with the actors, rest assured, a good director has a plan and it is usually related to getting the performances they want out of the actors. Similarly the playwright also has their own process which may seem unusual to the director. I have seen writers like Tony Kusher use improvisation with the actors to help solve some problems that he may be having with the text. He would often write scenes at night and bring them in the next day to be “tried” out with the actors. This kind of interaction with the actors is what seemed to help him most in creating "Angels..." Playwright Peter Parnell had a lot of behind the scenes input on "The Cider House Rules", from the two directors, Tom Hulce and Jane Jones, and from production dramaturge, Kurt Beattie. Jane and Tom were also the originators of the piece which was born out of Jane’s company Book-It Repertory Theatre, which adapts plays from literature. Due to Jane and Tom’s background and investment in the piece, they had very specific ideas of what the text should be and how it should be executed. Therefore Peter spent a lot of time with the directors discussing the text and structure. This type of interaction and development process is obviously very different than the one used by Tony Kushner who was more hands-on with the actors. Regardless, every playwright has their own way of working that is very specific to them and their projects. Accept each others process, don’t judge it or analyze it too much. Step #4-Allow there to be one voice in the room It can be confusing to the actors to hear more than one voice guiding them through the process, especially if those voices are in conflict with one another. For example, I worked on a project which starred the writer. Although he had asked me to direct the project, he himself is a critically acclaimed, award winning director who had very specific ideas for the piece. Considering all of these givens, you can imagine that he had a lot of ideas and information to share with the cast. Although it may seem natural for him to share with the actors, it from time to time would confuse them to hear from the playwright instead of the director. He and I eventually came to the agreement that all notes would be passed through me first which substantially eased the actor’s minds. Believe me, the last thing you want for your production is unhappy actors! Keeping one voice in the room will keep the actors happy, on the right track, and focused on what they need to be doing. All of the writer’s ideas and character thoughts for the actors are best if communicated through the director. A good director will take the writer’s notes and try to implement them in a way that will not be too disruptive to the cast. Step #5-Schedule note sessions with each other It can be very distracting and confusing to have a writer whisper in my ear while I am working. On the other hand, it is also frustrating for a writer not to be heard by the director. Therefore, I suggest scheduling time with each other to share ideas and concerns (if any) any time other than during rehearsal. Besides the occasional coffee meeting, a good time for the playwright to give his or her first set of notes to the director is after the first invited stumble thru, which is usually set aside for the designers. A separate meeting should be set up between the writer and the director in order to ensure that the director and the playwright are on the same page before any information is released to the designers, actors, producers, etc to avoid confusion. The second private note session could be after the first dress rehearsal. This gives the director and the cast time to gel the changes that the playwright might have wanted and allows them time to work on them in a manner that is suitable for viewing. The third private note session could be given after the final dress rehearsal or first preview. This proves helpful because by that time an audience will have attended and based on their reaction to things, the playwright and the director will know if certain aspects of the play work or not. Step #6-Be Cool The best playwright/director formula for success all comes down to mutual respect, communication, and trust. After all, no one knows the play like the writer, and by the same token, no one can find the nuances in a script like a director. In other words, you need each other, so be cool with each other and look out for one another. Above all else, remember that it is only a play. We are not performing brain surgery or saving the world from mass destruction. Put your emotions about each other in check and in perspective when dealing with each other. As my high school boyfriend used to say “don’t be lame”. Step #7-The worth of the work Congratulations! Now that your show has opened, got great reviews, and was a hit, other theaters want to produce it! How do you proceed with your relationship to each other? What if you don’t ever want to work with each other again? What if you only want to work with each other on every single project from here to eternity? Well, if the playwright liked the director, then they are in luck. Most directors that are members of their union, The Society of Stage Directors and Choreographers, are mandated to have a first right of refusal clause in their original contract. Therefore, if the writer and producer like the original staging, then the contract has been put into place to keep that original director. But what if you never want to work with the director again? Rest assured, there are ways to arrange that as well. There is also a clause in every SSDC contract to “buy out” the director so the production can be remounted by someone else. It is usually a flat rate buy out which essentially pays the original director off so that the writer and producers don’t have to work with them again. Another scenario that the playwright might encounter is that they like the original staging but they don’t want to work with the original director again. In this case, sometimes a fee can be negotiated so that the staging can be used but remounted by an assistant or stage manger who is familiar with the production. In any case, the original director receives written credit for the original staging no matter how many directors continue on with the production. The playwright is of course always attached to the piece, and should have final say in choosing the director and final casting approval as well. The future of American Theatre depends upon directors and playwrights being able to work with each other. You never know when the next Pulitzer Prize winning play will be written and who is going to write it. As the notorious producer Diana Gibson used to say “Playwrights have to come from somewhere”. So, find a director/playwright you trust, get on the same page with them, trust each other to do your work, and above all, be cool. A sense of humor goes a long way in the stressful, fast paced, sometimes wacky world of theatre. written by Che'Rae Adams for NOHOARTSDISTRICT.COM from Feb 2009 I just came back from a play reading about five clowns trapped in a jail cell. Although the play had it’s humorous moments, such as the secret clown hand shake, I was surprised and a bit put off by the amount of angst in the piece. For example, the play opens with one of the clowns screaming at God, expressing his disapproval for the job he has done and even goes as far as to say that he hates God. The actor was great, the director too, but the uneasy text just did not work. Angst is a interesting dramaturgical element. It rarely works, and when it does, it takes a very skilled writer to pull it off. What happened to the Angsty Girl? When I was in college, I loved to do shows that had lots of agony in them. We all did right? College was our rebellious time, when plays like Hair, Spring Awakening, Orphans and Getting Out seemed really cool. We got to express ourselves, complain out loud and in front of other people. Our parents might even have been in the audience and therefore hear our passive aggressive cry for help and stop suppressing us! I honestly think I am too old for angst now. What happened to the rebellious college kid of yesteryear? I liked her! She had passion, spunk, and seemed tireless! She directed and starred in shows that said “Bleep You society!” and “Take that world!”-shows like Look Back in Anger and Shadow Box which featured female characters who were strong, independent, and didn’t take anybody’s crap! Where did she go? I think she grew up and became someone who wanted to mount shows with some iota of hope in them. For example, last year I directed a show for The Syzygy Theatre Company called Tender. The play was offered to another director before me who turned it down because he felt it was too depressing-too full of angst. I accepted the job because when I read it, I saw a play about a group of young Londoners who are all searching for some tenderness in their very difficult, lonely, stressful lives. Sounds angsty right? Not when Abby Morgan writes it. Abby is a gifted and skilled writer who does not focus on the angst and complaints of her characters, but instead focus’ on what her characters are hungry for and the lengths they will go to get it. The angst therefore comes out of action, instead of being thrown into dialogue without any action backing it up. And although the play ends with a couple breaking up, an affair revealed and a friendship ending, it still manages to end with a degree of hope. Suggestions to make sure your angst is connected to action Exercise #1-Look for the “Action and Objective” Action is what the character does to get what they want and the objective is what the character wants. For example, in Hamlet, the title character wants to prove to himself that Claudius killed the king (so that he can seek revenge for his father’s murder with a clear conscience). He does many things to achieve this objective, and his actions change depending on the scene. Each angsty scene in your play or screenplay should have an action and an objective in order to be effective. You may ask, why do my scenes need action? First, because “drama” is the Greek word for “action”. But also because I believe that action is what an actor needs in order to play a scene. I don’t believe that an actor can play an emotion, or a situation, or an atmosphere. Actors also need an objective for their character or the scene will fall short. If you can not find an action and objective, then your angsty scene needs to be rewritten. Exercise #2: Find the Function The other trick to check whether or not your angsty scene works is to take a look at the scenes in your script and discover what it’s function is — that is, how the scene serves the story. The function of a scene is the reason the scene is in the play, the purpose it serves in moving the story forward. For example, the function of the Ghost scene in Hamlet is to plant doubt in Hamlet’s mind—perhaps his father did not die of natural causes. I have to admit that sometimes the function of the scene is a device used by the playwright. For example, the purpose of the gravedigger scene in Hamlet is to provide some comic relief at a time in the script when Ophelia has died, Hamlet has been banished, and there is nothing but despair in the kingdom. Finding the function of each scene can be a useful tool, because if the scene does not serve the story, you might want to ask yourself whether you need it at all. It doesn’t matter how brilliant the dialogue is, how witty you think the moment is, how much your ego is involved in the writing. If it does not serve the story, let it go. Well, that is my angsty diatribe about angst. Form does follow function afterall. written by Che’Rae Adams for NOHOARTSDISTRICT.COM Jan 2009  |
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