10 GREAT PLAYS FOR HIGH SCHOOL ONE ACT PLAY COMPETITIONS

This is me, your friendly host, Bobby Keniston

Hello, everyone!  With school starting right back up, and drama teachers all over the country (all over the world, in fact) will be wanting to order their plays for the year, if they haven't done so already.  That's why today I decided to do a post where I tell you about some plays that are perfect for high school one act play competitions. 

How do I know these plays I'm about to list are perfect for high school play competitions?  Because I wrote them!

Now, before you get the idea that I'm some kind of self-serving playwright, I want to assure you that I am also high school drama teacher who LOVES one act play competitions.  I always participated in them when I was a student, and I find the program incredibly valuable now.  One Act plays provide a deep potential for the education of student actors.  And I wrote each of these plays I am about the list with the intention of them being solid One Act competition plays. 

Heck, I wrote them to be WINNING competition plays! 

So, the title of each play will also be a link to read more or order the play.  If you like the synopsis, click on the play title to go to its official page and read a script preview if you like. 

Note:  I am listing these plays in the order in which I wrote them, not in any other kind of "superlative" order.

CONFESSION:  KAFKA IN HIGH SCHOOL
* available from Playscripts, Inc.  5 males, 4 females, simple unit set
Model student Connor K. wakes up one morning to find himself in his high school's conference room, being interrogated by the principal. How he got there, Connor doesn't know, but the principal is insistent that the only way out of the room is for Connor to confess to a crime that he couldn't have committed -- in fact, he doesn't even know what he is being accused of! Only ever meaning to be a good student, he learns that sometimes you have to speak up for yourself against injustice. This new twist on Kafka's The Trial brings the absurdism and existentialism of his work to high school with keen insight and dark humor.
Note:  This play has been used to great success in one act competitions in the U.S. and Canada since 2010!

CITIZEN'S ARREST
*available from Brooklyn Publishers   Flexible cast of 20, simple set
Dennis, an average guy, is caught littering by Dana, a “concerned citizen” who places him under Citizen's Arrest. While Dennis attempts to keep friendly about the situation, Dana stops every passerby to play a part in her "citizen's trial." Before he even knows what's happening, Dennis finds himself facing an out-of-work actress District Attorney, an ornery office temp Judge, a Jane Austen-obsessed construction worker Bailiff, and his own coffee shop employee Defense Attorney. As the "trial" progresses, a disgruntled tour group becomes the jury. Will Dennis be found not guilty at his "citizen's trial," or will he become victim to the will of the people? With plenty of laughs, mild social commentary, and a surprise ending, "Citizen's Arrest" is a perfect competition piece for high schools, and yet is simple enough to delight even at the middle school level. With twenty lively characters and one simple set, “Citizen's Arrest” is easy to stage and a hoot to perform!
Note:  Perfect to accommodate a large cast!

I DON'T MIND THAT YOU'RE UGLY
* available from Brooklyn Publishers  4 males, 5 females, simple unit set
Clyde is waiting at “The Only Fancy Restaurant in Town,” anxious to propose to his beautiful girlfriend, Kira. There is only one problem: Clyde is a very average-looking guy. When Kira arrives, looking stunning, Clyde's night is thrown into a whirlwind when everyone in the restaurant wants to gawk at his bride-to-be. When Kira accidentally makes the comment, “I don't mind that you're ugly,” to Clyde, the night really takes off in an unexpected direction. Will Clyde marry the girl of his dreams, or will his relationship be ruined at this wacky restaurant? Including several colorful characters, this one-act romantic comedy is sure to delight and make you say, “Awwww,” all at once!
Note:  One of my most produced one acts!

HOW I LEARNED TO STOP BEING AFRAID OF MY GYM TEACHER
*available from Eldridge Plays and Musicals  5 males, 7 females, 4 either, doubling possible, simple sets
Forget the school yard bully! There's always one teacher who can intimidate us! Will, an average high school freshman, used to love going to school…until he stumbled upon the terror of gym class under the formidable Mr. Breakwater's rule. Will's coddling mother and nervous wreck of a father (who hides out in the bathtub) are worried. Will's friends, who call themselves the Geek Squad, want to devise a plan to take Mr. Breakwater down. Can Will find a way to stop being afraid of his gym teacher? With a romance novel-obsessed principal, a jock chorus, and an unorthodox child psychologist, "How I Learned to Stop Being Afraid of My Gym Teacher" is a hilarious comedy with a touching and poignant ending.
Note:  My Number 1 produced play across the country!

THE DARK TOWER
* available from Eldridge Plays and Musicals, 5 m, 7 w, or with doubling 5 m, 4 w  Simple sets
Roland, a warrior and perhaps the son of a king, has reached the Dark Tower. After years of eschewing death, he seeks nothing but sweet release after lifetimes of wandering the Earth. At the Dark Tower, he is confronted by Three Sisters, each in her own window. While the Amber Sister taunts him, and the Silent Sister pities him, the Dark Sister encourages him to release his burdens by sharing his life story. As Roland travels through his memories, we meet classic characters such as Merlin and Nimue (the Lady of the Lake), as well as his wife, friends, and family that Roland has lost to the Dark Tower. Told in lyrical language and staged simply with theatricality, this adaptation traces the story back to its original roots, incorporating elements of the Arthurian legends, giving a depth and completeness to the tale that has never been seen before.
Note:  Also a great piece for community theatres!

FRANKIE AND THE GINGERBREAD BOY (ONE ACT VERSION)
* available from Brooklyn Publishers, 6 females, 5 males, simple settings
Frankie is an outcast, constantly put-upon by her peers. She is the quintessential loner. The only peace she finds is from her baking. One day Frankie decides to bake herself a companion, a perfect love who shares her soul and gives her joy. When her creation follows her to school one day, the social order of the high school is threatened, and the cruelty Frankie has known reaches new heights. Told by an energetic high school Chorus, this is a play that employs rhythm, dark humor, and high theatricality to tell its gripping story. With nods to Frankenstein, the Pygmalion myth, and even the Gingerbread Man nursery rhyme, this play will leave audiences riveted with its poignant tale of love, creation, cruelty, satire and tragedy. This one-act version of Frankie and the Gingerbread Boy is the perfect length for high school competitions.
Note:  Perfect social awareness play in regards to bullying!

MY PROM DATE WAS A FELON
available from Brooklyn Publishers, 4 females, 3 males, 1 either, 2 simple sets
Noah doesn't have a date to the prom, which, according to some, means he is missing out on one of the great milestones in his life. Feeling sorry for himself on Prom Night, he decides to get dressed up in a makeshift tuxedo (including the bow tie he has to wear for jazz band), and go out to a fancy restaurant, confronting what he's missing head-on. After a run-in with a rude waitress, he meets Indigo, a girl in a leather jacket and boots who decides to invite herself to dine with him. Indigo is a strange, sweet girl, who may or may not have just broken out of a juvenile detention facility. After Indigo helps him deal with a nasty bully, a smitten Noah asks her to go to the prom. Has Noah finally found the high school sweetheart he's been looking for, or will his prom date be escorted away by the police?
Note:  Can be a companion piece to How I Learned to Stop Being Afraid of My Gym Teacher, or stand alone.  I have seen this performed at one act competition, and it did very well.

AEROPLANE OVER THE SEA
available from Brooklyn Publishers, 2 females, 3 males, simple settings
A Good Doctor travels to an Unnamed Country that is in desperate need of help. He quickly learns that the government of this country distrusts all Americans, and that he is in great danger from the one called Peacemaker. After a bombing in the streets, the Doctor desperately tries to save the life of an injured girl, only to be apprehended by the Peacemaker on suspicion of terrorism. He is subjected to the questions of a sinister interrogator and then placed in a cell, alone, with only his thoughts of life back at home and the girl he tried so hard to save. This dramatic fairy tale is an emotional story of what it means to be good, and the strength we all have within, even when faced with dire circumstances. Perfect for one act play competitions!
Note:  I personally took this play to competitions with my school group to great success (2 acting awards, and a lighting award)

BETTY LOU TWINKLE'S TABLOID SCANDAL
* available from Brooklyn Publishers, 4-5 females, 3-6 males, simple settings
Betty Lou Twinkle wants to be a normal teenage girl and play soccer. Unfortunately, her mother has other ideas. Ever since Betty Lou was a toddler on “Divas in Diapers,” her mother has dragged her to every pageant or reality show she could find, determined to make her little girl the brightest star in the world. After winning “America’s Future One-Hit Wonders,” Betty Lou’s mother hires an obnoxious “Fame Mentor” who claims the only way to stay famous is to have a scandal in the tabloids. Tired of it all, Betty Lou escapes to the park to meet with her secret friend who hides under the bandstand, and appreciates Betty Lou for who she really is. Will Betty Lou find comfort and peace with her secret friend, or is this friend the very tabloid scandal Betty Lou’s mother has been waiting for? This laugh-out-loud satire targets the very notion of teenage fame, stage mothers, and the exploitative nature of the media.
Note:  New this school year!  You could be the first to produce it!

AVOIDING THE PITFALLS OF HIGH SCHOOL DATING
*available from Eldridge Plays and Musicals,  5 males, 5 females, simple unit set
Welcome to "Avoiding the Pitfalls of High School Dating," a seminar for high school students who have trouble going on dates. Your hosts for the evening are Lucky Daye and Starry Knight, two people who have invested their entire life savings into creating this simple system of five "never-fail" rules for dating success. Lenny and Matilda, two outcasts, have been brought in to demonstrate the system by going on a series of speed-dates to bring the five simple rules to life. Through a series of humorous and humiliating scenes and hilarious one-liners, we will see if the system is really all it is cracked up to be, or if Lucky and Starry are in for a long, long night. This one-act comedy is simple to produce, and will keep the audience rolling in the aisles-- even if they came without a date!
Note:  Brand new and lots of fun!

Thank you for reading my post today!  If you choose to utilize any of the plays on this list for your high school one act play competitions, let me say thank you in advance, and feel free to contact me at theater.is.a.sport@gmail.com with any questions or comments!

Have a great school year, and remember--- theater is a sport!

If you're interested, I've started a blog where I'm going to write a story every day for a year.  Each story will be between 100-250 words.  I call it Micro Fiction Experiment or Bobby's Short Shorts.
CLICK HERE TO READ IT!

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.

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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.