FREE EXCERPT FROM "THE DARK TOWER" (For 1 male, 1 female)

Scene from "The Dark Tower", as produced by Pope Theatre Boosters, GA

 

Today, I'm offering a free excerpt of my play, "The Dark Tower", inspired by Robert Browning's poem Childe Roland to the Dark Tower Came, which also inspired Thornton Wilder's playlet. 

This play of mine, available from Eldridge, is my interpretation of the story of Roland, as an immortal warrior, trained by Merlin, who has eschewed death, but now seeks it out at the Dark Tower, where he meets three sisters, and must live through some of his memories before he gains admission.

If you want to read more about this play or order it for performance, CLICK HERE.  Feel free to use this scene for acting class work or audition work, just make sure to give the play and the author (me) credit. 

In this scene, Roland, the warrior, remembers the death of his son and his wife, Susannah.  Susannah awakens to find she has lost her child, and that she herself is giving up and succumbing to her mortality. 

Here goes:

 Excerpt from "The Dark Tower", by Bobby Keniston,  available from ELDRIDGE PUBLISHING.  Note:  this work is protected by copyright.

(HE closes his eyes, and the marsh changes its LIGHTING.

A bed appears from stage left, with SUSANNAH upon it. She

is beautiful, but very pale. Her eyes are closed and she

moans quietly in pain. NOTE: If the role of Susannah is

doubled with the DARK SISTER, then the Dark Sister simply

leaves her window, comes out the door of the tower and

takes her place in the bed to play her part. After a moment,

Roland opens his eyes, and rushes to Susannah's side to

offer comfort. She stirs at his touch and opens her eyes.)

  

SUSANNAH: Roland. Are you by my side in Heaven? The

pain has been so great, but I find solace in your eyes.
 

ROLAND: Rest now, my love. We both live still. Sleep.

SUSANNAH: (Gently moves her hands down to her middle,
and touches her belly. She gasps, afraid.) Our child?
Where is our child?

ROLAND: Sleep now, until you are strong again.

SUSANNAH: Where is our child, Roland? Tell me I bore you

a son who sleeps peacefully this very moment in the next
room. Tell me our son is sleeping.

ROLAND: (Cannot look at her.) My love, there can be other

sons, but there will never be another you. I pray you let
your mind forget these concerns and rest. You have been
through so much.

SUSANNAH: Dear, sweet God, he was to save us. He was

meant to save us, husband!

ROLAND: Sssh. It is the pain, sweet wife, it is only the pain.

SUSANNAH: How long must we live sequestered from the

world? Secluded from the very act of living?

ROLAND: My love...

SUSANNAH: Let me speak, husband. This pain from my

body I can endure. It is the other which saps my spirit and
will. Let me speak.

ROLAND: We have one another. And we might yet try

again...
 

SUSANNAH: No. This was our time. This was our hope.

And that hope eludes me now. A strong-limbed young boy,
a son made from you might have cured your fear, might
have delivered us from your desperate need and into the
arms of sweet mortality. You might have seen your own life
continuing as he grew, and given up this quest that leaves
nothing behind. Nothing so tangible as an heir might leave.
ROLAND: I beg you to stop.

SUSANNAH: And so we are alone again. I am an empty

room with no life stirring. (Beat.) Was he beautiful? Was he
as beautiful as we dreamed?

ROLAND: (Softly, turning his head.) Yes.

SUSANNAH: I wish to see him, but not on this Earth.

ROLAND: Susannah, it is only the...

SUSANNAH: It is not the pain that speaks. I do love you and

always will. But I can no longer walk through a land that is
barren of hope.
 

SUSANNAH: (Cont’d.) My love cannot conquer the

loneliness of immortality.
 

ROLAND: There is our love. Our love which makes us our

own universe. It is enough. I should never forgive myself if
you were to...
 

SUSANNAH: No, my dear one. There is another you have

lost that robs you of forgiveness. I ask you to let me go, so
that I might see our son. Do not think I wish to leave you. I
only know deep in the secret chambers of my heart that
you would choose your endless travels to making the final
journey with me by your side. And I feel no bitterness for
this knowledge. I love you completely and without
reservation or remorse. I ask you now to release me. Our
travels have been fair, and there has been much joy. It is
not the way of nature or of God to have walked through as
many ages as we have. I clung to our mortal coil with you,
in the one great hope that I would one day change your
heart and put your terror to rest by creating the greatest
gift a wife can possibly create: our child. And when I finally
managed to bear you down with my insistent
determination, I have failed you.

ROLAND: No, my one love, no. You have failed me nothing.

SUSANNAH: Forgive me, my sweet Roland. I see them in

my mind's eye, and they offer me the chalice.
 

ROLAND: No, Susannah.

SUSANNAH: Forgive me. I do not drink to leave you.

Perhaps only to inspire you to make this journey yourself.
And let it be soon, my love. Come and join me with our
son.
ROLAND: Don't leave me, Susannah. I beg you.

SUSANNAH: The Sisters hold the chalice, and I drink.

Goodbye, dear husband. I pray you find me soon.
 

(SUSANNAH is still. ROLAND collapses in sobs over her.)

 

 

 All right.  I hope you've enjoyed this excerpt.  Again, to order it or learn more, here's the link:  http://www.histage.com/playdetails.asp?PID=2434

 

Until next time, have fun challenging yourselves, and remember--- theater is a sport.

 

 

 

 

CHANGING YOUR LIFE: AUDITIONING FOR SCHOOL OR COMMUNITY THEATER (Part One)

I think the greatest joys I've experienced in my years of being a part of school and community theater are the times when I've been blessed to watch a person fall in love with performing onstage, particularly people who really didn't quite know what to expect when they showed up for auditions.  I am grateful I have seen this transformation from "layperson" to "theater person" quite often, and could site countless examples.  

Two of my favorites occured at Lakewood Theater in Madison, Maine.  Lakewood Theater was designed to be a "Broadway Theater" in the state of Maine, and was frequented by a long list of celebrities, and perhaps, one day, I shall have a long blog post about this beautiful place that served as my summer home growing up.  For over twenty years now, Lakewood has been the home to a community theater group called Curtain Up Enterprises.   The first example I will mention is about a man named Dan, who had never really been in a play.  He auditioned and was cast in a production of "All Shook Up" as a chorus member.  I was playing Dennis, the nebbish "sidekick" of the lead character.  As I got to know Dan throughout the process, I could see the transition being in this play was having on him.  Within a few summers, he was playing Sky Masterson in "Guys and Dolls", and several other leading man types.

The other young man is named James, who I had the pleasure of directing his first season at Lakewood in a production of "Jack the Ripper".  When I'm directing community theater, I like to treat it a bit like and Acting 101 class with character building exercises, improvisation, etc.  Indeed, James has thanked me several times, thanking me for giving him an acting class.  In return, I have had the pleasure of seeing him blossom into leading roles, and have watched him create some truly memorable characters.  He, like Dan, fell in love with it.

In short, community theater changed their lives.  The fellowship, the creativity, the permission to express yourself in a safe and nurturing environment can have a profound impact on people who have never really had that brand of freedom.  In short, no matter what your day job may be, you become an actor.  I know James in particular is always looking for his next acting "fix".

This is why I encourage everyone, truly, EVERYONE, to be involved with at least one school or community theater production in their lifetime.  It is true that not everyone is moved quite so profoundly as others, and, yes, some can just take it or leave it.  From my observation, however, those who can do that are in the minority.

So, now that I've explained why being a part of school and community theater is so important, I'm going to give you some tips about how to land a part, even if only a small one the first time out (remember, there are no small... okay, that's not true--- BUT, remember that even small parts are important and truly contribute to the success of the overall production). 

What makes me so qualified to give acting advice?  Well, I have been a director for several schools and community theater groups, I studied theater in college, and have been in over 45 stage productions in the last ten years or so.  I'm not saying I'm an expert, but I do know at least what I look for when I'm casting a play. 

 For lack of a better word, I will call the first important attribute ATTITUDE.  Having a good, open attitude is very important.  It's a fundamental character trait that lends itself to teambuilding and team work.  Also falling under attitude is the idea of BEING EASY TO WORK WITH.  I would rather have 10 moderately talented people with a positive attitude in my cast then 10 extraordinary actors who are terrible divas. 

Not every community theater holds auditions in the same way.  Some ask people to prepare monologues (as well as a song for musicals).  Many of the theaters I have worked with forego the monologues and go right to the "cold readings".  Cold readings are basically reading from the script.  Cold.  In this situation, if you are not familiar with the play, my advice is to scan what you can and make a CHOICE and go for it (of course, it never hurts to read the play you are auditioning for before the audition).  As a director, I am looking for actors who are not afraid to make choices.  I might not always agree with the choices they make, but diving in and being bold creates and impression. 

Don't be afraid of messing up during your cold reading.  Stumbling over a word or two is perfectly normal when you are a little nervous.  One of the best actors I've ever known can't cold read to save his life.  He needs to process it.  But when he does, watch out.

Do your best to speak clearly and loudly.  Community theater directors look for that.  In fact, making a choice, reading clearly and reading loudly is pretty much all a director can glean from a cold reading, except, perhaps, for a certain spark that comes along now and then. 

If your community theater has callback auditions, this is when the director will put you together with other people, try out different casting combinations, and see who seems to work well with who.  Sometimes, casting even involves things beyond your control--- creating stage pictures with people of different looks and body types, creating stage families, etc.  This is not to say that people are cast only because of looks--- far from it.  I mention it only because directors do try to put together stage pictures that look natural and honest.

I would like to go through my three "Please Don't Do This" for school and community theater auditions.  They drive me crazy as a director:

1.  Don't come to auditions in costume.  Maybe some directors disagree with me, but I can't stand it.  If I'm casting "Dracula" and someone shows up wearing a cape, it bugs me.  It's fine if you want to dress somewhat reminiscent of the character you are auditioning for, but costumes for me (and several other people I know) are no-nos. 

2.  Don't correct other auditioners during a cold read.  If they mispronounce the word, let it go.  Trust that the director knows the correct pronounciation, but, perhaps does not want to embarrass the person auditioning. 

3.  If you only want to play one certain part, do not say that you are willing to take any part you are given.  Be honest.  If I take you at your word, and then you don't accept the part I've offered, I have to scramble to replace you.  Does not leave a postive impression if you ever want to audition for me again. 

Once you are cast in a part, then the true joys of building a character and putting on a play begins.  So remember, just be cool, speak well, be honest, flexible and do your best, and you'll be on the road to becoming a community or school theater thespian in no time.  And, by doing so, you are well on your way to changing your life.

There is much more to be said on this subject, so think of tomorrow as a part 2.

Thanks for reading this edition of  Theater is a Sport.  If you have any questions or comments, feel free to e-mail me at theater.is.a.sport@gmail.com.  If you would like to become a fan of Theater is a Sport on facebook, follow this link: https://www.facebook.com/#!/TheaterIsASport

If you would like to learn more about me as a playwright, please follow this link:  https://www.facebook.com/#!/pages/Bobby-Keniston-Playwright-Page/148232788536601

Tomorrow, I will be following up on today's advice with some "Theater Stories" about auditions from my own experience.  Until then, thanks again, and please remember:  theater is a sport.