REHEARSAL NUMBER 2: Bobby Offers Advice to Community Theater Directors

REHEARSAL

#2

Greetings and salutations everyone.  My name is Bobby Keniston, and I would like to welcome you to Theater is a Sport, a blog run by me, Bobby Keniston, a realtively young man who has been obsessed with theater my entire life.  If you are a student actor, a playwright, a community theater junkie, or a plain old drama geek, you have come to the right place.  As Shel Silverstein might say, "Come in.  We have some tales to spin.  Come in.  Come in."

At this moment, aside from listening to the Magnetic Fields sing 69 love songs, I am sitting at my computer hoping to relay a little bit of advice to community theater directors about what to do at your second rehearsal.  A good while back, I wrote a post about the importance of a read-through and table work in general, and, assuming you agree, it is now time to talk about the first rehearsal away from the table. 

First of all, don't get me wrong--- there are some plays of complex themes and language that may require more than just a single rehearsal of table work.  If you are directing that sort of play, then, by all means, stay at the table if you must.  However, in my experience, I have found that the sooner the actors are up and moving around finding their characters in their voices and bodies, the better.  Clearly movement is very important on stage, and there is no time like the present to have your actors begin to start to feel things in their frames, renting out their bodies to their characters. 

Remember as I move forward that I am talking about community theater here.  The advice I am about to present is intended for amateur productions, where most of my experience as a director exists.  What I will present is also applicable to school theater, where I also have done a great deal of work.

When I direct community theater, which is composed of very game, often talented, but by and large untrained actors, I like to treat early rehearsals as almost an introduction to acting class.  In fact, I had an actor from one of my community theater productions tell me (in a positive tone) that after working with me, he felt like he deserved credit for basic acting college course.  WhileI don't know if that is true (although this young gentleman did learn a lot and grow exponentially), I do think education is part of being a community theater director (obviously it is the most important part of being a school director).

This is why, following the table work, I like to devote at least two, maybe more, rehearsals to character work.  Guiding the actors into finding their characters physicalities, voices, motivations, etc.  I like to start with brief physical warm-ups (including some voice stuff), and then move into what I call "The Movie Poster Exercise". 

The Movie Poster Exercise works very well with students, but is also appropriate for community theaters as well.  Have the actors close their eyes and focus on their breathing (they should be standing).  Pay attention to actors' breathing at this early stage, making sure they utilize dropping their breath into their middle (or diaphragm, as it is called).  Right from the start, make sure to encourage this type of breathing, as it will save you time later when dealing with vocal projection...

But I digress.

So, with their eyes closed, tell your actors to imagine their characters in their minds as if their characters were the stars of their own movies, and to picture how they would look as the hero on their own movie poster.   Assure your cast that the character need not look like them (one day they will have to look like them, but that's later).  Tell them to focus on how their character is standing, what body part do they seem to be leading with or exaggerating, what expression is on their face, how is their posture, etc.  Have them get a clear picture of this in their heads.  Then, and this is why their eyes are closed (so they won't feel silly or shy), have them slowly start to bring this posture into their own bodies.  Have them mimic their characters' movie posters with their own bodies.  Then, as they all seem confident, have them exaggerate it (use the idea of levels 1-10, and make them show this posture at an exaggerated 10, and then mess with different levels).  

Once you are through with this, have them drop it and return their bodies to neutral and open their eyes.  Now, I have found, is a good time to have them walk throuh the space, milling and seething as it is called.... have them start nomally, then play with the speeds (double speed, triple speed, half speed), making sure they do not bump into each other.  After a bit of having them walk as themselves, encourage them to start thinking of their characters' movie poster and start bringing that posture into how they walk.  Have them walk as their characters in a variety of different speeds.  After this exercise where everyone is doing it together, you might want to have people shar some things individually, point out where their character appears to be "leading from" and whether or not it is their intetion.  This is a great way to start having your actors creatively begin to "own" their characters, which is what every director should want.  Remember, you are their to guide and get a vision across, but it is very important to allow your actors to feel creative and to build their characters (if there is something that you feel is completely wrong, of course you will have to steer them in a different direction).  But this rehearsal should be a kind of productive play (after all, it is called a "play" for a reason).  This is all very fun, but it is also all very much a kind of work, too.  

In fact, the very foundation of work that everything else will build from.

In future posts I will happily be talking about character's voices, using improvisation in rehearsals, and all kinds of other stuff.  Thank you for tuning in tonight.

Until next time, feel free to check out the links below and remember--- theater is a sport.

 https://www.facebook.com/#!/TheaterIsASport

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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.

RUMPLESTILSKIN RAPS and BOBBY BECOMES A PUBLISHED PLAYWRIGHT: How I Got My First Play Published

                   (This photo from a search for "Rumplestilskin in the public domain)

It will be three years in March since my first play was accepted for publication by the good folks at Brooklyn Publishers.  I was twenty-nine years old.  The play, "Rumplestilskin the R-Dawg, Hip-Hop Minstrel" had been sitting in a drawer (or, more accurately, sitting in a computer file, untouched) for about six years. 

I will admit it--- I didn't know what to do when I graduated from college in the year 2000.  To say I was a bit aimless is an understatement.  It's not that I did not receive a fine education.  I'm thankful for Bennington College, and quite proud to be an alum.  I had several wonderful professors, including Gladden Schrock, who taught me playwriting. 

I think my problem, as I look back on it, was that I didn't believe in myself or my work, though I had received a great deal of praise for it at school.  Perhaps, more accurately, I was afraid of all of the "potential" everyone said I was chock-full of.  What if they were wrong?  Or, what if they were right, but I never lived up to this potential.  As the years go by, potential and a dollar twenty-five will get you a cup of coffee.  And no one wants to leave the world with everyone saying "He had so much potential". 

So yeah, I was worried about living up to my hype, and I submitted nothing to publishers except for a few short stories that were promptly rejected.  Then I did nothing.

Well, that's not entirely true.  I was a bit depressed because I was living back at home in Dover-Foxcroft.  My finances were grim.  A lot of student loans to pay. 

My father was the drama coach at SeDoMoCha Middle School for as long as I could remember.  Back in 2003-2004, when I was living another stint at home, my father asked if I would like to take a crack at directing the middle school play, and I said yes.  As long as I could write it as well.

I had an urge to finish a play, and figured that having this job would force me to finish writing one.  I hadn't had a deadline since I was in college, and, believe or not, I happen to think deadlines can be a great spur for creativity. 

I knew I would probably do something that was kid-friendly enough, like a mash-up of fairytales.  But I didn't want it to be the same bland re-telling of stories we have heard a hundred times. 

I wrote about twenty pages of a play called, at the time, "Rumplestilskin:  Master of Rhymes".  I wish I could tell you how I got the idea for Rumplestilskin to be a rapper, but I don't know for sure.  (I'm sure the dark playfulness of a fella named Eminem, who was so popular at the time on the airways, had something to do with it).  I wrote those first twenty pages to be used for auditions.  You see, I didn't know these kids, really, aside from a few I had directed in a theater camp when I was in college.  I wanted to see how many kids came out for auditions, and then try to tailor the play for the kids and their personalities. 

I held the auditions before the school's February break.  I had twenty-five kids audition, and I was determined to use them all.  The week of February break, I wrote the rest of the play, having let all of the kids know they were cast before their break.

Perhaps because I was writing so fast, I didn't have to worry and panic about the number of students I had to accomodate.  I just had fun.  Rumplestilskin was the rapper, but I gave him an overbearing mother and a bratty little sister named Rumplina (who I love).  The poor little guy just wanted to narrate the story, but kept getting into trouble.  I added Jack from Jack and the Beanstalk fame, who has lost all of his money on bad investments, but who is working hard to invent the folding chair to impress Stacy, a local storyteller, who also happens to be the daughter of the Miller, who the truly terrible (and Machiavellian) Prince overhears bragging about how his daughter can spin straw into gold.  Of course, I have a middle-aged woman, old before her time, who lives in a shoe named Sherry (well, she's named Sherry, the house doesn't have a name), with her many kids (named Perry, Terry, Scary, Sherry, Barry, and Cherry), and her carpenter husband who is obsessed with making shoe-shaped buildings and other objects.  Throw in an agent named Crazy Miranda (catchphrase:  "I'm Crazy!"), the Miller's neglected son named Jud, and a group of Royal Cheerleaders who announce the Prince (and, truthfully, hate his guts), and I had a big mash-up of stories that I found quite satisfying.  To my relief, the kids loved the script too, and worked very hard to make it a success. 

And it was!  They did such a great job.  It makes me feel old looking back on it, because all of these kids are adults now, I think, or very close.

At the time, I talked about trying to get it published, and was encouraged by so many people to do so. 

But I did not.  I left it alone. 

Why?  I'm not 100% sure, but I think it was partly the old self-doubt, but also this notion of how I had studied to be a "serious" playwright (whatever that means).  Pretty ridiculous when I look back on it, because I think this play has some of my funniest lines of any play I have ever written, including ones for adults. 

Cut to 2008.  I had been living in the Skowhegan area in Maine, but wound up moving back to Dover-Foxcroft.  While I had been gone, a new town community theater had been building called The Center Theatre (the theater camp I had directed while I was in college was the first big project the Center Theatre had done, long before they had renovated the space which is so lovely now--- my kids in that first camp performed on the tiny stage upstairs at the East Sangerville Grange).  I got involved at the Center Theatre, met a whole bunch of people, and, suddenly, it didn't feel like I was "stuck" in Dover-Foxcroft anymore, but was actually happy to be there.

In 2009, I directed a production of "Little Shop of Horrors" (one of my favorite musicals) for the Center Theatre, and, again, made so many wonderful friends who I began to share my writing with.  At this new wave of encouragement, I decided it was time to submit my work. 

I took a look at "Rumplestilskin:  Master of Rhymes", changed the title (which I had never really been happy with) to "Rumplestilskin the R-Dawg, Hip-Hop Minstrel", added some references to people calling him R-Dawg, made the ending a little less abrupt, and then submitted simultaneously to Playscripts, Inc., and Brooklyn Publishers.  

In March of 2010, I heard from David Burton, editor at Brooklyn Publishers, who accepted the play with the first of many pleasant conversations we have since had.  I had to go through the play, tweak it up some, copyedit it (fix any mistakes or typos--- for example, I had a character saying "hello" without the o on the end of the word), write a synopsis for the catalogue, write out a prop list and costume list, a bio for myself, etc., etc.  My heart was beating so fast, I don't know how much of this first conversation with David was actually heard past the reverberating thump in my ears. 

It was an exciting day (and exciting couple of days, actually--- my second play was accepted for publication the very next day by Playscripts--- that one is called "Confession:  Kafka in High School", which I will talk about next Saturday).  I had flowers sent to me, drank champagne with a dear friend, and received about a thousand congratulations from wonderful people. 

So... why had I waited so long? 

Again, it is hard to say, but I truly believe it had some notion of a fear of failure, perhaps with a new notion of fear of success... indeed, every time I go a stretch without publishing a play, I wonder if I'm all done, if this is it, my career is over!

But it's more than that.  I had to grow up and readjust my notions of  success.  I learned with "Rumplestilskin the R-Dawg, Hip-Hop Minstrel" that everything I write, whether it be for children or adults, silly or serious, comes from the same creative source.  I finally learned how to be proud of the fact that I was actually GOOD at writing for younger audiences.  So, no, I may not be Pinter or Mamet, but who cares?  I wrote a play that alot of kids enjoy, and, who knows?  Maybe it's the impetus for a kid to fall in love with theater.  And if that's the case, I sure can't ask for any more than that.  In fact, I have to say that's a pretty noble accomplishments.

Okay--- so, for those interested, it took about two months with that first script before a "proof" copy was sent to me via e-mail in PDF.  I went through the script, making sure there were no typos (getting help from my friends), and then sent back a few corrections.  Then I waited.  I believe it was another three months or so before I actually had a script I could hold in my hands.  And that was a sweet feeling. 

(Note:  since then, I have had other scripts that have taken longer, some much shorter... I've learned to expect anything).

Oh, and to date, "Rumplestilskin the R-Dawg, Hip-Hop Minstrel" has been performed in over ten states and two provinces in Canada. 

And, just for fun, my favorite line in the play:

Sherry, the woman in the shoe, has just been berated by Crazy Miranda, because two of her children were throwing rocks at her.  Crazy Miranda threatens to sue her.  Here's what Sherry says to her kids:

SHERRY:  What have I told you kids?  If you're going to throw rocks at someone, make sure they're not rich enough to be able to afford a lawyer!

Thank you for reading about my first publishing experience.  If you have any questions or comments, you can post them below, or e-mail me at theater.is.a.sport@gmail.com.

Tomorrow, I'll be talking about my feelings on how to become an actor in community theater (auditions, rehearsals, etc.)

Until then, take care, and remember:  Theater is a sport.

To read more about "Rumplestilskin the R-Dawg, Hip-Hop Minstrel", or to read a pretty lengthy script preview, follow this link:  http://www.brookpub.com/default.aspx?pg=sd&st=RUMPLESTILSKIN+THE+R-DAWG%2c+HIP-HOP+MINSTREL&p=1595

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.