A BRIEF BACKSTORY OF "GODSPELL": It's All About Building A Community

 

The Famous Godspell Logo

BACKSTORY WITH BOBBY KENISTON

Just to get this out of the way, I, your humble essayist, played the part of Jesus once upon atime---actually, it was in 2010 in Dover-Foxcroft at the Center Theatre, but this isn't about me (never an easy thing to say). Do forgive my lapse down memory lane. 

Like many great pieces of art, one could say Godspell was created in the kind of frenzy achieved when passion connects with a looming (and extremely important) deadline. God knows that's when I have had to use my creative powers to their fullest.  But this isn't about me. 

Picture, if you will, a young man by the name of John-Michael Tebelak, a student at Carnegie Mellon University in 1970, with a thesis due in two weeks. John-Michael had been studying Greek and Roman mythology, but became fascinated by what he called “the joy” expressed in the Gospels. Nowpicture this young man attending an Easter Vigil at St. Paul Cathedral in Pittsburgh--- he is wearing his almost constant garb of overalls and T-shirt. And finally, please picture this overall-wearing churchgoer being frisked for drugs by a police officer after the service, most likely because of the long hair and hippie clothes.

Later, when explaining the origins of Godspell, Mr. Tebelak wrote of this experience, “I left with the feeling that, rather than rolling the rock away from the Tomb, they were piling more on.” He went home and worked on the manuscript for the entertainment you are about to watch in a nonstop race to completion. He first staged the script at Carnegie Mellon with students from the music department, then moved it to the La MaMa Experimental Theatre Club for a two-week run in 1971, utilizing much of the same cast.

Tebelek's production came to the attention of Edgar Landsbury (Angela's brother--- you know Angela Lansbury--- not only a Grand Dame of the Theater, but also a famous teapot and a woman who inexplicably finds murders wherever she goes), who, with other producing partners, wanted to move it to Off-Broadway. They hired Stephen Schwartz, another Carnegie Mellon alum (known these days as the composer of Wicked and Pippin, among many others) to re-score the show (though the lovely “By My Side” from the original Carnegie Mellon production by Jay Hamburger and Peggy Gordon was kept in the final show--- I may write a separate blog post about just this song some day because I love it so much). Shcwartz incorporated several styles, including folk, pop, and even vaudeville to complement the energetic, colorful nature of the piece.

Before taking New York by storm, however, Godspell had a rich life in prominent productions in Australia, England, and South Africa. I personally wish I could have been around in 1972 for the Toronto production which helped to launch the careers of Victor Garber (who reprised his role of Jesus in the film adaptation), Eugene Levy, Andrea Martin, Gilda Radner, Dave Thomas and Martin Short, all under the musical direction of a fellow named Paul Shaffer! The nomadic feel of Godspell's early life, and its reputation later on as a touring show, only adds to the nature of the script itself, which feels like a tight ensemble community helping to spread Jesus's message to each individual audience, inviting everyone who watches into their community for the duration of the performance, perhaps even after.

I think the reason that a show like Godspell is so popular in community theater (despite some mild controversies along the way that are, to be honest, so very silly), is because it is a show that is about building communities and inviting all people into it. Which is exactly what community theater should be about, too.

John-Michael Tebelek died in 1985 at the age of 35 from a heart attack, but he is survived by this musical, and every family of actors who perform it, including this lovely tribe of storytellers here at Lakewood Theater. May its music lift your spirits, and its message of Peace, Love and Acceptance follow you long after the curtain has closed.

Note:  This essay originally was written for and appeared in the program for Lakewood Theater's production of Godspell.

To learn more about his musical, you can visit https://www.godspell.com/

If you would like to produce the musical, you please visit Music Theatre International to obtain licensing rights.  You can do that by CLICKING HERE

RESPECT for the STAGE

The Center Theatre, Dover-Foxcroft, ME

Greetings, and welcome to Theater is a Sport, my own little place on the internet to talk about theater. My name is Bobby Keniston, and I'm an actor, writer, director, and all-around theater geek (and proud of it).

Today, I want to talk a little bit about "the stage".  Some are fancier than others, some are bigger than others, some higher off the auditorium level, and, of course, some theatrical performances are not even held on a stage.  Yet, however grand or humble your space may be, there is something important to respect about it:

IT'S WHERE THE STORY IS TOLD.

Up or down there, on your stage, or in your performing space, is a separate place from the auditorium or "house", whether your play breaks the fourth wall or not.  It is where the lights hit the actors and the actors tell the story.  In the wing, actors wait to come out as characters.

I guess what I'm trying to say, at the risk of sounding a bit silly or cliche, this space, this stage, is where the magic happens.  It is the focal point for the spectators to become one with the performers, and to be sucked into your story.

Actors must respect their magic space.

And here are some thoughts on how to do that:

1.  GREET YOUR SPACE.  I know this may sound way out there, but an exercise one of my professors in college had a cast do was to walk around the space and say "HI!" to everything we saw. This was also a bit of a vocal warm-up, as we were projecting the word "HI!"  Silly as this may sound, I found that it gave me an appreciation for the stage we were using that I never really had felt before.  It is good to know every little nook and cranny of the area you're performing in.

2.  IMAGINE THE FEET THAT HAVE "TREAD THE BOARDS" BEFORE YOU.  I have mentioned before in this blog that I was fortunate enough to have Lakewood Theater as my summer home growing up.  It is a historic theater in Madison, Maine, and the stage has been acted upon by many a famous person, including Humphrey Bogart, Betty White, John Travolta, Jessica Tandy, Geraldine Page, and Hume Cronyn, just to name a few.  It's a very old theater, and, when I'm performing there, I sometimes like to imagine these people who were there before me, waiting in the wings or in their dressing room, nervous and excited about going out on stage.  Even if the stage you are performing on is younger, and, perhaps without an "illustrious history", it doesn't really matter--- people who have come together to CREATE something have been waiting in the same wings you are now waiting in, or standing in the same spot delivering lines as you are now.

3.  ALWAYS BE IN CHARACTER WHEN YOU'RE ONSTAGE.  This is hard, of course, and all actors do their best, but, whatever you do, don't break the reality of your magic space by waving or winking to an audience member that happens to be your friend in real life.  You'll have plenty of time to talk to them later on, at a pub or a restaurant.  When you're onstage, you're onstage.  You're in a different world.

4.  APPRECIATE THE SPACE EVEN AFTER THE FINAL CURTAIN.  You have just spent a few hours helping to tell a story. You have worked hard to bring the audience into the world you and your fellow cast have created.  You have created an aesthetic to draw people in to a story.  Now that the show is over, don't just break that completely.  Change out of your costume before going into the house to meet your friends and family, and don't greet them by crossing the stage as if it were just another surface to walk across.  Come down into the house out of the stage doors, not from the stage itself.

I know this may all seem odd, to make such a big deal out of an area where one performs.  But I have found that being on stage, in character, in front of a captivated audience, to give some of the greatest joys and excitements of my life.  The stage has given me this.

The least we can give it in return is respect.

Thanks for reading Theater is a Sport.  If you want to learn more about me, click HERE, or HERE, or HERE .

And, while you're at it, you can check out my other blog, where I am attempting an experiment to write a short short story every day for a year, between 100 and 250 words.  It's an experiment I'm nervous about, but excited for, and really hope I can make it.  You can check out that blog by clicking HERE.

Thanks again, and feel free to comment below with your thoughts on theater in general, or respecting the stage specifically!

Why Bobby Keniston Writes for Younger Audiences: Bobby Keniston Interviews Bobby Keniston

A new House Seal made for me by my student, Claire Hamlin
Note:  Theater is a Sport is in no way affiliated with HBO or "Game of Thrones" (fine as the show may be)

At long last, Bobby Keniston, me, yours truly, is getting back to Theater is a Sport, and I would like to welcome you all for tuning in after my long absence.  It will be explained shortly.

I would like to get back to basics here at Theater is a Sport, just as I am trying to get back to basics in my own life.  Which is why this issue is dedicated to a question I am asked quite frequently:

"Bobby, why are you so handsome?"

Wait, that's not it (although I am asked that question quite frequently). 

"Bobby, why do you write plays for children and young adult audiences?"

Ah, there's the question.  And it is often approached delicately, as though it were a taboo subject. 

It's not.

I will, however, answer this question, and some others, in a way I find most comfortable.  So, yes, Bobby Keniston is going to interview himself again.

BOBBY KENISTON INTERVIEWER:  Bobby!  So goood to see you again!

BOBBY KENISTON:  It's always a pleasure.  You're looking well.

BKI:  Thanks!  So are you!

BOBBY KENISTON:  I've been trying to get in shape, improve my overall fitness.  I'm playing the role of "Prez" in The Pajama Game at Lakewood Theater this summer.  I want to look like a ladies man. 

BKI: That sounds like fun!  So, Bobby, I think the question on everybody's mind first and foremost is what's up with the long hiatus from "Theater is a Sport"?  It's been about 10 days!

BK:  I know, I know, and I feel awful about that.  I've been on vacation from teaching this week, but, vacation, for me, is still work time.  I have been writing a great deal to get some submissions into different publishers while there's still time for them to be accepted and make it into the fall catalogues.  So that has taken a good deal of my creative energy.  Also, my mother has been a bit under the weather this week...

BKI: Oh no!

BK:  It's okay, she's doing much better now. 

BKI:  That's good to hear.  So, from what I understand, you would like to talk a little bit about why you write for younger audiences, is that right?

BK:  That's right.

BKI:  All right.  Well, let me start by asking you a few questions.  What was the first play for younger audiences you wrote.

BK:  That would be Rumplestilskin the R-Dawg, Hip-Hop Minstrel.  I was only a few years out of college, and I was hired to direct a middle school play.  I decided to write it as well, so I could tailor it to the kids I had auditioning.  It turned out to be pretty good, if I do say so myself. 

BKI:  I'm guessing it is a much different play than the plays you wrote in college though.

BK:  That would be a correct guess.  I didn't write children or young adult plays when I was in college.

BKI:  Why not?

BK:  In all honest, I don't know.  I suppose at the time, and remember, I was young, I was trying to explore different aspects of myself.  Aspects that required naughty language and adult situations. 

BKI:  Is that the only reason?

BK:  In all honest, no.  It's not.  To be completely frank about it, I probably would have considered writing that type of play as "lightweight" when I was in college.  Not "serious" or "important" enough. 

BKI:  I see.  Do you still feel that way?

BK:  Not at all.  Remember, I was young.  I am older and a bit wiser now.  And I understand that writing for the youth and high school markets is very challenging, and also of utmost IMPORTANCE. 

BKI:  Why is it important?

BK:  Because youth and high school theater is the training grounds for young people who then may go on and pursue a life in the theater.  It is also where many people actually fall in love with the process for the first time.  It makes me very happy to think that some kid or teenager I never meet may be inspired to be an actor or a playwright because they fell in love with theater from being in one of my plays.  That very idea keeps me warm on cold days.  Keeps me writing on slow days.  Keeps me smiling on sad days. 

BKI:  Do you ever feel that your career in this field is keeping you from living up to your potential as a "serious writer"?

BK:  I do not.  Not anymore.  I've struggled with that idea, but I have won the struggle.  I think some people may believe that Iam not living up to my potential, but I don't see that as the case.  I am proud of my work. As I said, I think it is important, and there's no reason to defend it because it doesn't need defending.  I am a serious writer.  I work very hard at what I do.  And besides, I still write so-called "grown up" plays.  I just happen to write many more plays for children and high school students.  I like the market.  It's challenging.  And there happens to be a lot of space for a voice like mine, thankfully, and people seem to like my stuff.  That's always important. 

Here's an example of something I feel is important about the plays I write:  my play, Confession:  Kafka in High School is a play that attempts to take the questions that Kafka poses in The Trial and make them accessible and relatable to high school students.  I like to think that maybe some kids have been in that play and then been interested enough to go out and read some Kafka.  I think that's a pretty good legacy.  It might even inspire them to write their own absurd or existential stories, who knows?

BKI:  Do you hear a lot form kids and teenagers who have been in your plays?

BK:  Every now and again, and it is always exciting.  I heard from a girl in Australia recently who was working on a monologue I wrote called Falling (And Not Getting Up).  I've also developed online friendships with community theater actors who have been in my plays.  And about a month ago, I received a very nice e-mail from a student who was writing a report on my play How I Learned to Stop Being Afraid of My Gym Teacher.  That was very cool.  I wouldn't trade it for anything.

BKI:  Well, I think I speak for everyone reading this when I say that we all hope you won't be taking any more long breaks from Theater is a Sport, and it is very good to have you back. 

BK:  Thanks so much!

BKI:  Anything else before we sign off.

BK:  Sure.  If people would like to learn more about me or Theater is a Sport, they can follow this link:  https://www.facebook.com/messages/#!/TheaterIsASport.  If people want to learn more about my plays, they can go to www.brookpub.com, www.histage.com, www.hitplays.com, and www.playscripts.com and search for my name, read about my plays, take a look at a free preview or two, what have you. 

BKI:  Cool!  Anything else?

BK:  Yes!  My father, who is a very talented poet, has started a blog where he shares his poems with the world.  I'd like to give him a shout-out!  If you're interested in checking out my Dad's poems, follow this link:  http://www.azwosbiscuits.blogspot.com/

BKI:  Thank you, Bobby for taking the time to talk with us tonight.

BK:  My pleasure.  And remember:  theater is not just a craft or an artform.  Theater is a sport.  Good night.

Why Don't They Want Me?: Bobby Keniston Talks About the Pain of Rejection

Yes, Rejection is Heartbreaking

Greetings to all of you out there, and welcome to Theater is a Sport.  My name is Bobby Keniston, and I will be communicating my thoughts to you through your computer screen.  If you like, imagine that we're sitting down over a cup of coffee or chicken broth, just shooting the breeze about theater.  Why not?  We're all personable people here, right?

Tonight I'm going to talk about rejection, particularly in terms of student and community theater, for actors, writers, and anybody who has ever been rejected.

Rejection sucks.  There you go.  I won't sugar coat it.  It's not fun.  People, by and large, will prefer acceptance over rejection any day of the week.  I think it has something to do with the whole "being a part of the human race" thing. 

Any time you audition for a school or community theater production, or, any time you submit a script, or portfolio of your designs or any other such creative endeavor, you are taking the risk of being turned down.  It's as simple as that.  Perhaps this is a part of what Fehrlingetti is talking about with "constantly risking absurdity". 

Make no mistake--- all creative endeavors are a risk, and you are going to win some and you are going to lose some (pardon the cliche, but it's true).  Even I, a veteran of over sixty plays, do not always get the parts that I want. 

There is a very small percentage of the human race who lets rejection roll off their back without too much thought about it, and are eager to go out and try again.  There is a much larger percentage of the population who SAYS that rejection doesn't bother them, and then go home and cry, cuss and wonder why the whole damn world is against them.  I am part of the latter group myself.  And then, on the other end, there is another small percentage who, upon being rejected, tell the rejectors in no uncertain terms how ridiculously stupid they are, right to their faces, effectively lighting a match and burning a bridge. 

If you are in the same group that I am in, my advice is for you.

Okay, so you've decided to take the plunge and audition for a play or submit a play forpublication.  Congratulations!  Good for you!  It's a noble pursuit that can change your life.  You've already shown tremendous courage by making the decision to put yourself out there. 

So you've worked hard, given your best audition, or best callback, and now it's just a matter of waiting.  Try to relax.  It's not easy.  As Tom Petty said, "the waiting is the hardest part".  It's nice to know one way or another, but resist the temptation to contact the theater group before they contact you.  You don't want to bug people.  This goes for publishing houses as well (only, with them, once you wait the amount of time they specify in their submission guidelines, it is okay to drop them a friendly, albeit brief, line to inquire). 

Finally, you get the letter or e-mail from the director or casting people of your local community theater (or, of course, the cast list is posted at school).  You take a look, and the message starts out "We want to thank you so much for taking the time for auditioning.  Unfortunately, when casting a play..."  Or you scan the cast list two or three (or ten) times, and you do not find your name. 

PAIN.  CRUSHING.  PAIN. 

WHY DON'T THEY WANT ME?

It's tough with acting and writing, because they are so difficult to separate from YOU.  You the person.  For an actor, your body is your instrument.  It feels very personal, because, in effect, it is. 

Or maybe you didn't get the part you wanted.  You wanted the juicy lead, but only got a small part with 8 lines, and you know, just KNOW that you are better than that fathead who got the part (who, more likely than not, is actually a friend of yours, or, a well-established nemesis... both happen a lot at schools and community theaters). 

It's okay, in the privacy of your own home, to vent.  It's okay to cuss, cry, and say things like, "That stupid place doesn't appreciate me!  I give and I give, and they just throw me a bone every time!"  or "I'm too good for that place.  They don't even deserve me!  Their plays are all crap, anyway!"  You're a human being.  Don't beat yourself up for feeling your feelings.  Anger is a natural response to having your feelings hurt.  Truly.  I'm speaking physiologically.  In the brain, when your feelings are hurt, particularly with something you are very invested with, you chemically are geared to the part of the brain responsible for anger and jealousy, and grief.

So, again, feel your feelings. 

But do not wallow.  After a certain amount of time, and it varies from person to person, pick yourself up, look in the mirror, and give yourself a pep talk.  I do this a lot.  And remember that pain is a part of life.  Granted, not a pleasant one, but it is sometimes necessary for growth.

And remember, casting a play is based on the opinions of the person (or very few people) who are in charge of the production.  And, of course, there are always other factors beyond talent.  For example, school and community theater, females have it tougher than males, at least statistically speaking.  Women try out for theater more than men.  That's why a male who seems "less than talented" can wind up getting parts.  Directors need men.  Not fair, but it's how it is.  Then there's the matter of casting to make decent "stage pictures" and "stage families", and that is all stuff beyond your control, so don't take it to heart (I know, I know, it's easy for me to say).

Also--- there are some roles that a person just isn't right for.  I hate to admit it, because in my heart, I feel like I can play ANYTHING, and would like to play EVERYTHING.  But, I do consciously know that no director is going to cast me as the typical "leading man" type, tall dark and handsome.  I'm short.  I look like a sidekick.  And, though I would love to play the part before I shuffle off my mortal coil, not many casting folks are gonna consider me for Hamlet, unless I mount the production and cast myself.  It's not easy to come to peace with such truths, but it can be very important to do so. 

If you find that you are getting rejected far more than you are being accepted, it might behoove you to ask the group or drama teacher why.  Now, this doesn't mean approach them demandingly, saying, "Why the hell don't you ever give me a part?"  That would not bode well.  Instead, if you take it from a different angle, you might get some good advice.  "I really am interested in acting, and I want to keep growing and learning.  Do you have any tips for how I might audition better?"  Drama teachers will be happy to talk to you, of course, and a community theater director should be, too.  It's all about learning, remember that.

Unfortunately, this isn't the case for professional theater by and large, and it is not really the case for writers either.  Maybe a writer, if they submitted a play to their local community theater for consideration, could have a conversation about what works and what doesn't with the artistic director, but editors and the publishing houses are usually too swamped to give personal feedback.  However, if you find that your script keeps getting rejected, maybe you could have an old creative writing teacher, or a person involved with theater read it and offer suggestions on how you might tighten it up. 

Most of all, if theater is important to you (and it must be if you are constantly risking absurdity), then keep trying, keep growing, and keep finding ways to act or write.  You're a strong, resourceful person.  Put up your own show, go to open mics, play scenes in a classroom, take an acting class, shoot a video... whatever--- just DON'T GIVE UP. 

I guess what I'm saying is, the only rejection that is permanent is the rejection of self.  And you're too good for that. 

You are.  I mean it.  I may not know you personally, but I know that any human being is too good for that. 

So, until next time, keep the chin up, cuss and cry if you have to, but keep playing that sport I call theater.

This is Bobby Keiston saying good night.

http://www.brookpub.com/default.aspx?pg=ab&afn=Bobby&aln=Keniston
http://www.histage.com/author/authorinfo.asp?AuthorID=528
http://www.hitplays.com/default.aspx?pg=ab&afn=Bobby&aln=Keniston
http://www.playscripts.com/author.php3?authorid=1113
https://www.facebook.com/#!/pages/Bobby-Keniston-Playwright-Page/148232788536601
https://www.facebook.com/#!/TheaterIsASport

INTERVIEW WITH PROLIFIC PLAYWRIGHT PAT COOK, and TALKING ABOUT HIS TREMENDOUS CAREER IN THE COMMUNITY THEATER MARKET

PLAYWRIGHT PAT COOK, photo courtesy of his website

Today at Theater is a Sport, I am pleased to announce the very first interview for my little blog, and I couldn’t be happier that the subject of this interview is none other than Mr. Pat Cook, who, in my mind, has carved out an amazing career writing plays for the Community Theater and School markets.  With over 150 plays in print (several of them translated into German and Dutch), Pat Cook has delighted audiences with his plays since 1976, the year his first published play, Rest in Peace, was released by Dramatic Publishing. 

I can’t imagine there are too many directors for community theatres across the country who have never heard the name Pat Cook.  His plays range from comedies to mysteries, adaptations to dramas, and several holiday plays for every season.  Flip through a good number of play catalogues, and you are bound to see one or, most likely, more titles by this talented and prolific playwright.

On a personal note, when I received my first play publications, I decided to reach out to established playwrights and ask for advice.  I remember e-mailing Mr. Cook, telling him about my two plays which had been published back-to-back, and asking him a variety of questions.  When I hit the “send” button, I truly thought I would never get a response--- I mean, he’s Pat Cook!  He’s produced everywhere!  He’s probably way too busy to answer my e-mail, full of such naïve questions about a market he pretty near sits on top of. 

I received a response the very next day.  And what a generous, encouraging response it was!  Right away, Mr. Cook (I do call him Pat, but some habits are hard to break) treated me as a colleague, answered all of my questions, and asked me to keep in touch, that he loved hearing from others “in the trenches”.  I will never forget this kind gesture, and, indeed, over the last few  years I have had a nice e-mail correspondence with a writer whose career is a true inspiration to me. 

I’m very pleased he agreed to answer some questions for my blog, and feel I have waited long enough to share the humor and wisdom from this playwright I so admire with all of you reading.

BOBBY:  First of all, thank you for agreeing to answer some of my questions.   According to your website, you've published over 150  plays! Is that number still current?

PAT COOK:  That was my total at the end of last year and it still holds true. I do have two more under consideration.
 

BOBBY:   Did you grow up in a "theatrical" household? Was your family interested in the theater?

PAT COOK:  Outside of my Mother and Aunt playing piano I'm the only one in any way associated with theater.
 

BOBBY: What was the first play that you saw that made you think,  "I'd like to write a play"?

PAT COOK:  When I saw the movie version of "The Odd Couple" I remember thinking that that's the kind of stuff I wanted to write.
 

 BOBBY: I know that you have had a variety of jobs throughout your life, including acting in local commercials, playing piano, performing on stage, etc. How would you say this has impacted your work as a playwright?

PAT COOK:  You never really know at the time (at least, I didn't) what will come in handy later. Playing piano, by its very nature, ingrains in someone a sense of timing and, of course performing on stage gives someone a very good idea about what works on stage. When I was in college, majoring in Drama, I, like all majoring in the Arts, had to work backstage, do lights, costumes, build sets, etc. And to this day,  when I write a play I wonder if this set changes is really needed and, if so, do they stage hands have time to make the change. The same is true of costumes - I try to make sure the actors have time for a costume change and write the entrances and exits accordingly.

(INTERVIEWER’S NOTE:  It is this kind of consideration to the technical side of his plays that make them so attractive for theaters looking for simple-to-stage plays.  Aspiring playwrights, take note!)
 
BOBBY: When you sit down to write a new script, do you like to start with a character, a scenario, or just a scrap of an image or piece of dialogue? Do you like to know the end before you write the beginning?

PAT COOK:  It's never the same way each time. Sometimes I begin with a type of show (Christmas, Halloween, mystery, etc.), sometimes just an opening. In fact, I've started with just a title and went on from there. Oh sure, I have a notepad next to my keyboard and, whenever I get an idea for a line I jot it down, hoping to work it in later. And I NEVER know how a play will end when I begin one.
 

BOBBY: Part of what I would like to achieve with my blog is to stress the importance of school and community theaters (the "amateur" markets) to our overall culture. Do you believe that the amateur markets are necessary, not only for individual communities, but for the world of professional theater as well?

PAT COOK: I have no idea how amateur or community theaters affect professional theaters other than as a springboard for budding talents. I remember hearing years ago that comics would work the Catskills to hone their craft before hitting the big time. I suppose, in many ways, this is true of the amateur theaters as well.
 
BOBBY: In looking at your "Monday" murder mysteries, I can't help  but imagine it must be fun to write a series of plays with the same  protagonist. With this series, did you find it easy or difficult to
keep the character growing from play to play, yet still have each individual play work as a standalone piece?

PAT COOK:  Actually, when I wrote the first "Harry Monday" play I had no idea there would be sequels. However, when I got an idea for a new mystery he just seemed to fit the scheme of things. The easy part is knowing your main character before you start, without having to invent him all over again. After that, just coming up with other characters to react to him becomes slightly easier as well, since I know him so well. As far as each piece standing alone, here I try to make sure the story and dialogue are intriguing enough, even in Harry wasn't involved, to hold an audience's interest.
 
BOBBY: Here comes an "advice" question: What advice would you give to a playwright who would like to focus on the school and community theater publishing market? Do you find it challenging to write within the guidelines of what is considered publishable for this  market?

PAT COOK:  First, write the play - that should, by its nature, dictate which market you think best suited to it. Then go online and look up publishers web pages - they usually have submission guidelines along with the kinds of plays they publish and what they're looking for. It's actually much easier these days to find this kind of info, what with the World Wide Web and so on. I remember, when I started out, I found a book called "the Writer's Market", which listed hundreds of publishers, play publishers as well, and how to submit. They may still be putting that book out, in fact. If so, I'd heartily recommend any playwrights look into it.

(INTERVIEWER’S NOTE:  The book is still in existence, and is highly recommended, along with the Dramatists Sourcebook, for aspiring writers)
 
BOBBY: You have plays published with nine different publishers. Do you find the editorial process fairly similar with each of them, or do they differ quite a bit (you needn't mention favorites or least  favorites)?

PAT COOK:  This seems to have changed a bit over the years. Not mentioning any particular publishers, I know one (at least one, anyway) which listed in their contract that they may change any lines or characters they deemed necessary. Some will send you the 'galleys' for your to proofread while others simply take care of that themselves and you find out later what changes they made AFTER you get your complimentary copies. For what it's worth I'd recommend that when a publisher offers to publish your play you ask about their editorial process. This can save a world of heartaches later.
 
BOBBY: Aside from a few here in Maine, I have yet to travel to see too many of the productions that are done of my plays... they're so far away. Do you like to go see productions of plays that you have written?

PAT COOK:  Like you, I rarely go very far to see any productions, especially these days. Again, a great thing about the age we live in is they can send you a DVD, if they've received permission to record the production. One note here about seeing one of you shows - always wait until you're invited. I can't tell you how many times I saw one of my plays advertised and went to see it, only to wince constantly at the changes made to the script. It's only when they do the play according to the script do they feel comfortable inviting the author.
 
BOBBY: If you could have coffee and talk shop with any playwright, alive or dead, who would it be and why? What would you like to talk about with him/her?

PAT COOK:  First, George S. Kaufman, then Neil Simon. Simon's work inspired me to write plays, as mentioned above, but I really learned about comedy characters, structure and diversity. What would I talk about? Nothing. I'd let them do all the talking, with a possible question or two from me.
 
BOBBY: What finally prompted you to decide to write full-time? Was this a scary endeavor, or were you at point where you knew things would probably work out?

PAT COOK: Actually, I had a few plays published by the time I met my wife, Rose Ann. After we got married she taught me how to use a computer (this was around 1990.) Then after she had nailed down a good job, we agreed that I would just write play after play and see where it went. Not just occasionally but making it a full time job. Up until that time I would normally write 1 or 2 plays a year. That year I wrote 7. I suppose it was a bit scary but now that I look back at it I don't believe I worried about it at that time. Fortunately, after I was making a living as a playwright, Rose Ann wanted to get out of her then job (computer engineer) and buy a quilt shop. I told her to go ahead now that I would support us both. By the grace of God we are both now doing something we love.
 
BOBBY: A good number of writers talk about having a first reader, or even an Ideal Reader. Who is this person for you, and how to they inspire your work and your success?

PAT COOK:  Actually, no one reads my stuff here, although I tell Rose Ann what I'm working on and she give me lots of advice, in some cases even ideas for new plays (my play "Scrambled" was her idea, complete with title.)

(INTERVIEWER’S NOTE:  “Scrambled” is one of my favorites of Mr. Cook’s recent plays.  From the first scene, you can tell it’s a pro writing this script, the way he weaves the subplots into the main plots, and introduces characters so seamlessly.  It is available from Eldridge Publishing, and I highly recommend it for any community theater groups out there)
 
BOBBY: I know this is probably not an easy question, but I'll try it anyway: is there a particular play of yours, or maybe a few, that you feel are special to you but haven't had quite the success you think they deserve?

PAT COOK:  That is a tough one. I really can't think of any offhand. I don't know if this is true with other writers but after I finish a play and submit it I think it over and wonder if it's any good at all, I start
picking it apart and looking for faults. Then, if it DOES get published, I stop all that. Go figure.
 
BOBBY: This isn't really a question so much as a chance for you to acknowledge any special community theater groups that may have a fond place in your heart or that have helped you in your life, past or present.

PAT COOK:  Not any particular theater but a group of guys and gals I used to know both back in college and at Astroworld. I knew SUCH a variety of characters then, full of enthusiasm, idiosyncrasies, adventures and schemes. I now have a wealth of character types to draw from and, to this day, I miss them all.

Again, I would like to thank Pat Cook for taking the time to answer my questions.  If you would like to learn more about him and his plays, I encourage you to visit his official webpage:  www.patcook.org

Thank you all for taking the time to read this interview.  Tomorrow at Theater is a sport, I will be talking about the writing process of my second published play, CONFESSION:  Kafka in High School.  (Click here to read that post!)

If you have any questions, please 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's facebook page, please follow this link:  https://www.facebook.com/#!/TheaterIsASport

See you tomorrow.  Until then, remember:  theater is not just a craft or an artform.  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.

FROM THE MOUTH OF A WOLF... BOBBY INTERVIEWS HIMSELF ABOUT HIS NEW BLOG

I have had the pleasure of knowing Bobby Keniston, noted playwright, actor, director, and drama teacher for my entire life.  I have seen firsthand the passion he brings to every project he is involved with.  When I heard he was creating a new blog, I must admit I was a little surprised.  Why would someone like Mr. Keniston suddenly jump on the bandwagon?  Don't get me wrong--- he has plenty to say (aside from being blessed with a certain boyish charm, he happens to be incredibly intelligent), and what he has to say is certainly worth listening to.  I was merely surprised that he waited so long.  Why now?  Shouldn't he have dived into the whole blog phenomonon at least five years ago?

I sat down with Bobby at his home in Dover-Foxcroft, Maine, to talk with him about his plans for this new blog, with the intriguing title, "Theater is a Sport".  Always the gracious host (he's so sweet!), Bobby offered me an iced tea and a comfortable chair, and a good half-hour to answer all of my questions.  You will find the transcript from this lively interview below.

BOBBY INTERVIEWER:   I want to thank you, noted playwright, actor, director and drama teacher Bobby Keniston, for taking the time to talk to me today about your new endeavor, namely, your new blog called Theater is a Sport.

BOBBY:  No problem, Bobby.  You know I always enjoy talking to you.  When I haven't had my medication, that is.  (Laughs--- he's so funny!)

BOBBY INTERVIEWER:  I guess the first question I have is quite simple:  why a blog?  Why now?

BOBBY:  Well, I was recently interviewed for a blog that my neighbor runs, and I got to thinking how nice it must be to have a little space of your own on the internet where you can just write down your thoughts to share with the world.  But it's more than that, really....

BOBBY INTERVIEWER:  More how?

BOBBY:  I won't lie--- I feel compelled to have this blog at this time in my life.  I just turned thirty-two after all...

BOBBY INTERVIEWER:  No!  You can't possibly be thirty-two!

BOBBY:  That's kind of you to say, but I speak the truth.  By the way, Bobby, you look pretty young for your age as well.  (What a nice guy!--- Bobby Interviewer)
 I have been a theater-lover, a drama geek, a stage junkie, call it what you will, for twenty-five years now.  I think if you add up the number of hours I have spent on stage in my life, it would equal more than the combined hours I have spent kissing a girl.  I have dedicated my life so far to my passion for theater and theatrical writing, and I feel I have a great deal to share on the subject. 

BOBBY INTERVIEWER:  Who are your target readers?

BOBBY:  Anyone and everyone who loves the world of theater.   Drama geeks, theater patrons, high school drama clubs, community theater participants, drama coaches and teachers, amateur directors, playwrights, story-spinners, anyone with a tale to tell.  People who have uttered the expressions "What's the house like?" or "how'd the audition go?"   People who know the joys and pains of being in a play, who understand the nobility of being a part of what is, in my mind, one of the greatest communal activities this planet has to offer.
Also, anyone who wants to learn more about plays... how to purchase them, produce them, etc.  A guy has gotta eat, after all.

BOBBY INTERVIEWER:  Tell me a bit about the title... how did you choose "Theater is a Sport"?

BOBBY:  Once, on a break from college I think it was, I went to see some plays my father had directed at my hometown middle school.  In one of the plays, a fifth or sixth grade boy was playing the wolf.  He didn't look like your standard
wolf--- he had  a long black wig and a bright red hat.  I don't recall him having any lines, but he would hold his hand out to the audience, as though he were about to scratch us all, and say, "Rrrrrrrrrrrr."   He stole the show.  Seriously.  He was terrific.  After the show, I went to talk to him.  If I remember correctly, the little boy's name was Anthony.  I asked him if he enjoyed being in the play, and he said, "Yes.  I play baseball, but I think theater is my favorite sport." 

This was more than just a cute thing for a kid to say.  In fact, it had a bit of a profound effect on me.  I can't even tell you the number of times I have told this to a cast I was directing since then.  "Energy, people," I'll say.  "Theater is a sport!" 

Because it is.  Theater is a sport.  It involves physical and mental discipline.  Now, many people say that theater is a craft, and I believe that to be the truth.  Some call it an artform, and I definitely agree with this as well.  But, beyond all this, theater is a sport.  It's about the body and mind, it's about pushing yourself, training yourself, competing with yourself, going the distance for yourself.  It's about coming off the stage sweaty and spent.  It's about leaving it all out there, night after night after night.  And it's about teamwork, learning when to pass the ball, learning when to back a play.  It's about connection with your team, known in our circle as your cast, and connection with the audience. 

Little Anthony couldn't have been more correct.

BOBBY INTERVIEWER:  Wow.  Wow.

BOBBY:  I know, right?

BOBBY INTERVIEWER:  So what types of subjects do you plan to tackle through this blog?

BOBBY:  All sorts of things.  I plan to speak out particularly about what's called the "amateur market", i.e., community theaters and school theater.  I believe amateur theater is TREMENDOUSLY important, perhaps of PARAMOUNT importance to keeping theater alive in our country.  All the big theater magazines of course will deal with professional thater, Broadway, Off-Broadway, Regional Theaters, and this is all awesome and interesting, and I love it, but there are directors, actors and playwrights who work very hard to keep "amateur" theater alive and thriving, and I think this benefits professional theater perhaps more than it is given credit for.
I also have this following plan:
1.  Fridays, I will interview people who have worked in theater (playwrights, actors, designers, editors), as much as I can.
2.  Saturdays, I will plug my own plays. What I mean is, well, yes, I will plug my own published plays, but I will also write teh background of my plays, why I wrote them, what I was trying to get across.  I love reading how playwrights came up with their work, and while I'm not saying too many people will be interested, maybe I'll have a few who want to know about how and why I write the plays I do.
3.  Mondays, Wednesdays, and Sundays, I will write about topics important to me when it comes to creating a strong community theater or high school theater program (or anything else that I might feel like writing about).
4.  Tuesdays I will be giving an on-line playwriting course, free of charge, for anyone who might be interested in learning to write a play!
5.  Thursdays will be 'THEATER STORIES" day, where I will tell stories from my experiences acting, directing and so forth in the theater, and, by my mistakes and funny tales, hopefully help others.

BOBBY INTERVIEWER:  Sounds pretty exciting.

BOBBY:  I think so.  I mean, I do hope people will find it interesting.

BOBBY INTERVIEWER:  And if they don't?

BOBBY:  Well, I'm no stranger to crying.   (He's so sensitive and in touch with his emotions!)

BOBBY INTERVIEWER:  Well, I know I'm excited to read and subscribe and all of that stuff.  And I know I will encourage everyone to do the same!

BOBBY:  Thanks so much!  I truly appreciate it!

BOBBY INTERVIEWER:  Thank you for taking the time to talk with me today.

BOBBY:  My pleasure.  Thanks for helping me out.

Bobby wished me well in his usual manner, and we shook hands and parted ways.  I, for one, know I am looking forward to see what Bobby has to say with his "little part of the internet". 

If you would like to know more about Bobby Keniston, check out his playwright's page on facebook that you can find here:  https://www.facebook.com/#!/pages/Bobby-Keniston-Playwright-Page/148232788536601

Also, make sure you keep coming back to his blog.  Subscribe, even!  Why not?  Tomorrow, Bobby's going to give you the full story about the first play he ever published, called "Rumplestilskin the R-Dawg, Hip-Hop Minstrel".  You won't want to miss it.

Oh, and remember--- like Bobby says, theater is a sport.

See you next time.