Re-Writing

I recently worked on a first production of a first play for a local playwright. Although she probably wrote many things as a historian and college professor, she had not written a play. This was her first dive into writing for the theater.

And the play reflected that. It wasn't awful, but it had its weaknesses. Unfortunately, the wannabe playwright never bothered to find out what those weaknesses were. She came to opening night and closing night, but no other shows or rehearsals. She pronounced that she was delighted with the performances she saw, but she didn't seem to have it within herself to look deeper.

The show ran for seven performances over three weekends. That was when the most valuable feedback was available for her, to watch seven different audiences and gauge their reactions to her work. And each audience is different. Some are more prone to out-loud laughter while others may still see the humor, but be content to chuckle inside. Certain jokes work with certain audiences, and sometimes there are those that work with all audiences, and sometimes there are jokes that don't work at all. But the only way to discover this is to experience your play in production.

When a piece of mine is in production, I'm at every rehearsal, if at all possible. I take notes of which phrases may sound awkward, or which lines don't seem to be working. Sometimes those changes can be incorporated into the production, but most of the time, the script has been frozen by the director so the actors have a baseline against which to memorize. In that case, the notes I'm taking are for the eventual re-write, which I usually begin the day after the reading or the day after the production closes.

It takes experience to know how involved the playwright should (or should not) become during rehearsals. Constant communication with the director is imperative if the playwright is to glean any insight from the rehearsal process. Different directors involve the playwrights different amounts. Many directors never work with a playwright because they rarely work on new or original works, getting their scripts through publishers instead.

Not all directors have experience working with playwrights. An additional note about directors: the playwright should always approach the director privately about any issues or questions. Such conversations should not be heard by the actors, thus avoiding any confusion about who is in charge. Remember, the director is in charge, and a playwright should never challenge or question the director's authority in front of actors.

Go To Page: 1 2