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Advice on a play

 
 
matthew.
14:13 / 24.03.06
Here's the idea. I'm very interested in tempestuous marriages that inevitably fall apart (call it my distrust of the institution). There are two characters: John and Jane (or whatever. I'll change them). There are quite a few off-stage characters.

There's three acts, two scenes each.
First act's setting: small cramped bedroom in apartment
Second: large bedroom in a house
Third: smallish bedroom in a diff't apartment.
Each act is meant to reflect the couple's economic status.
Every act also has a very specific structure. First scene is before the event and the second scene is after the event:
First act: house party (to reflect their youth).
Second: dinner party (to reflect their "maturity" and "adultness")
Third act: [not quite sure. You'll understand the context in a second]

So essentially the narrative of the play is that they sort of fight in the first scene, then in the second scene have a row. Each act has different things they fight about. The first act they fight about school, jobs, money. The second act they fight about boredom, infidelity, children.
In the third act, they have already divorced (or separated). And the female is staying over at the male's smallish apartment in order to figure out their marriage and try to work through it. Then they do something (not sure what) and in the second scene have a row that encapsulates the entire play. I guess my biggest influence on this play would be Albee's Who's Afraid of Virginia Woolf?

So the question to you fine 'lithers, is "Is this idea any good?" and "What can I do to the idea to improve it?" and "What am I going to do about the third act?"

If anybody has read my previous topic in Creation, they know that I have a fondness for dialogue. In fact, that prior story received a comment that it felt like a screenplay. I've written screenplays before, but never a stage play. So here we go.
 
 
Spaniel
14:31 / 24.03.06
Do you know your characters? Who's Afraid of Virginia Woolf? works so well because I believe in those awful people, I sympathise with them, I can see a bit of myself in their lunacy.

I appreciate you may already know where you're going with these folks but it's usually worth reminding people about character - just in case they've forgotten, like.
 
 
All Acting Regiment
23:24 / 24.03.06
Sounds grand. I think they have to have a reason to split up, mind. A sort of definitive central difference or event, which you could name the play after.

Maybe he or she buys his/her secretary a sexy black dress/pair of ivory cufflinks and this is what proves things aren't working out, and you could call the play "The Black Dress" or "The Ivory Cufflinks".
 
 
matthew.
03:02 / 25.03.06
Also, in a play, how much stage direction can I give? I want to make characters movements very symbolic and whatnot. So if I have lots and lots of movement for my characters, is that bad? Does it take away from the actor?
 
 
All Acting Regiment
17:39 / 25.03.06
Well, Shakespeare uses hardly any, some people use loads. I'd put in what you think the play needs and get some actors to look at it.
 
 
Mike Modular
23:15 / 26.03.06
Re: Stage directions. It's a tricky thing, because it can really break up the flow of reading a script* and if you're submitting this to theatres who read a lot of new work then it might be good to consider how to grab them best. However, if there are things you feel are integral and important to the piece then you MUST put them in, as long as you know why they're there. So, try and convey as much as you think is needed and edit out anything extraneous. Do you intend to direct this yourself? If so, then you needn't worry too much, but if not then get as much in as you think will help someone realise your intentions.

Also, should it be produced, be prepared for changes and/or to work with the director and actors. It's quite a privilege to be a living playwright and be able to answer questions about your work and expand on your ideas in the rehearsal period. A great script is one thing, but it's not a play until it's been put on a stage and all the practicalities and ideas worked out.

Anyway, yeah matt, it sound good and I hope you get it finished. I've seen a couple of shows in recent years with similar structures and themes. You might want to check them out...

Richard Bean's 'Honeymoon Suite'

David Eldridge's 'Under The Blue Sky'

(* Ever read any Shaw? He puts a good page of character desription in anytime someone enters a room)
 
 
matthew.
23:41 / 27.03.06
How does one go about staging an amateur play?

My town is not much of a theatre town, but we do get the Fringe Festival every year. I don't know how well-known that is outside of Canada, but it's moderately big here. I may submit it to the Fringe, but I'm also interested in getting some amateur actors (or just one: a female; I'll play the male (have acted before, got some decent compliments from actorly people) ) and staging it myself. Any advice on how to accomplish that?
 
  
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