Bad Morning: Bobby Keniston Talks More About Rejection

Greetings, and welcome to Theater is a Sport.  I am your host, Bobby Keniston, and I keep this little part of the internet to write about theater.  As always, feel free to comment below if you agree with me, or think I'm full of poo.

Today's post is a bit more personal than usual--- I tend to like to act like an instructor of sorts, give out tips and advice, but, today, well, I've had the wind knocked out of my sails for a little bit.  I'll be fine, of course, I'm used to it, but, for the moment, I'd rather just write and see what happens.

I've talked about rejection before, but it bears repeating for anyone who is interested in pursuing theater, acting, and writing as a livelihood, or even just as a hobby.  You are going to face a great deal of rejection, and you have to learn to deal with that and not let it knock you all over the place.  At least, don't let it knock you all over the place for too long.

So this morning, I check my email, and, lo and behold, there is a nice rejection note from a nice company for a play I recently submitted.  It is a company I have other plays published with, and a good relationship with--- I like them a whole lot, love how they handle my plays, and am grateful for the work they do getting my plays productions all around the country.  I like the company so much, I gave them an exclusive first look at this new play, when, usually, I submit to a few companies at the same time.

Okay, so I should be used to rejection by now, shouldn't I?  I've been in the business long enough, and have certainly been rejected plenty of times.  Yet this rejection has hit me harder than many others, and I am trying to figure out why.

You see, usually, the second I get a rejection notice, the first thing I do is submit the play to another company.  It's good for the soul.  So I did that very thing this morning.  I went to another company I love, who have an online submission form.  I uploaded the play, filled in all the information, revised my synopsis to make sure it was as good as could be, spent a good half hour making sure everything was as it should be, and when I pressed the button to submit, and error occurred, telling me to try again later.  So, I don't really have that feeling of satisfaction yet, the feeling of moving on and trying again after my rejection.  I'm not going to let a computer error keep me from submitting to this second company, of course, but I just can't fill it all out again at this moment.  I don't have the energy.

So here I am, thinking about my rejection.

It's natural, and, indeed okay to feel bad about being rejected.  In fact, it's not easy to feel good about it.  It's all right to think, but not to wallow, and so, hopefully, this blog post will help me move things in the right direction.

So why is this one bothering me so much?  Here are some thoughts:

1.  I haven't had a play rejected in a while.  My submission numbers have been down this year, and every play I have submitted has been accepted.

2.  I really thought this company was going to accept this play.  Which, I guess goes to show, you shouldn't be overconfident about such things.  I just thought this particular company would think itself a good home for this particular script.  Alas, that is not my decision to make, and, nor should it be.  This is a fine company that knows what it is doing, and, if they don't think they can sell this particular script, then they made the right decision.  Again, their rejection letter was kind, and very mindful of the fact that I am currently one of their writers.  I shouldn't have assumed they would like this one as much as some of the others I have with them already.  (Of course, it's not necessarily a matter of "liking" the script, but whether they feel its right for their catalog--- two very different things)

3.  Many of the plays I write are accepted without a prior production, so I've never really seen them on their feet.  This show, however, I produced with my hometown theater as part of an evening of one acts.  I directed the play, had a great cast, and I saw fist hand how well audiences responded to the play.  So much laughter and cheering!  People loved it!  I've never had such positive feedback for a play I've written and directed!  And my hometown doesn't necessarily get excited about theater all that often.  I know the script is easy to produce, has witty dialogue, but is also poignant--- I've heard the laughs and seen the other emotional impacts of it--- so, I guess, what I'm saying is, I know that the play PLAYS and PLAYS WELL.

4.  Because it was so successful in production, perhaps I was riding high on the script as a surefire win.  It's easy to do so when you see how much an audience loves it.  It's like you've got proof that it should be a "hit", because your individual production was a hit.  But the page and the stage are two different things.

So, yeah, I'll get over this, and fairly quickly, but I am going to allow myself to feel upset about it for a while.

Perhaps that will make it all the more sweeter when the script does find a home.


To Learn More about my published plays, CLICK HERE, OR HERE, OR HERE, OR HERE!

I've started a new blog where I am writing a short story every day for a whole year!  Each story will be between 100-250 words.  Please check it out!  (I've had too much rejection for one day).  
CLICK HERE to read my new blog!

WATCHING MY PLAY IN COMPETITION: A Big Thank You to Cheverus High School!

A production of my play, "The Dark Tower" presented by Cheverus High School
From Left to Right:  Jesse Rodrigues, Heather Bridge, Zoe Leblanc, Abby Thomas

Greetings theater lovers!  Welcome to Theater is a Sport, my little piece of the internet where I talk about all things theater!  My name is Bobby Keniston, and I'm a playwright, actor, and director who's been at it for about 25 years, and am still learning more and more each time I'm involved in a play.

Today, I want to talk about the joy a playwright feels in seeing their work performed.  After all, that's why we write plays in the first place, right?

I live and work in the state of Maine, and, even though I have 33 published plays for the youth, high school, and community theater markets published, I very rarely get to see a production of one of my plays performed in my home state, except for productions I put on myself.  My plays have been performed in 43 different states, as well as in Canada, Australia, and even Prague, but, for whatever reason, I don't get a whole lot of action here in Vacationland.  For whatever reason, I seem to be most popular in Iowa, Nebraska, California, and South Dakota.

So, naturally, when I learned that Cheverus High School in southern Maine was producing my play "The Dark Tower" for the Maine Principal Association's One Act Play Competition, I was thrilled!
The talented group from Cheverus won their regional competition and made it to the State's.  I had the good fortune this last weekend to travel up to the state competition held at Stearns High School in Millinocket and cheer them on!  I remember when I was a high school student how much I loved the one act play competition, and to know that now, all these years later, a play of mine was there at the state level, in a location I may very well have traveled to, was a genuine full-circle kind of rush for me.

First, I should say, I was a little nervous.  Not because I was worried about their production--- after all, they had made it to the state competition, so I knew that they obviously had worked hard and done well.  I was nervous because it's always a little nerve-wracking for a playwright to see how well their script does in competition.  I wanted it to serve this group well.  I wanted their decision to do my play, and work their hearts out on it, to be one that they didn't regret.  And, of course, as I had never seen a high school group do this particularly challenging play, I was desperate to see if the play itself worked as a performance piece.  No matter how proud I am of a script on the page, seeing if it works on its feet is a whole different story.

I am proud to say that I was blown away with what Cheverus did with the play.  Their costumes, set, lighting, and sound were all fantastic, and really brought together a stage picture that captured the mood and tone of the play.  It is a bit of an epic fantasy in forty minutes, and the teenage actors handled the heightened language with ease, and made it accessible.  It was clear they had studied the script, and the legends it portrays with a a serious eye for detail, and had internalized the feeling and themes throughout.  In short, they got it.  They knew what I was trying to say with the play, and served the intentions, while also making it their own.

They made this playwright very proud.

I must give special props to the added fight choreography, which helped to break-up and change the pace of a very dialogue heavy script.  Well done!

After their performance, I waited in their section of the audience to make their triumphant entrance after striking the set.  I shook all of their hands.  They were tired from a long day of travel, tech, and, now, the performance, but their smiles and appreciation for my support was evident, and meant a lot to me.  I shook each of their hands and thanked them, and had them sign my playbill, and then let them rest.  After all, it was their moment.  While I wrote the play, this was their production, and I wanted their experience at states to be about them, and not about the playwright.

Their director told me that it was the first time their school had ever made it to the state competition, which made me feel good, too.  Now, obviously, I know it wasn't my play that gave them the edge to make it to the state's, but, rather, their hard work and dedication, but it still felt good all the same to have my work represented there.

The other plays performing that evening were "Dogg's Hamlet", "The Dancers", and "A Doll's House".  I must confess, I couldn't help but smile at the fact that I was on a bill with Tom Stoppard, Horton Foote, and Ibsen.  That's something that doesn't happen for me very often.

So, once again, thank you to Cheverus High School for choosing my play, "The Dark Tower".  I hope it is something you will  always remember with fondness, just as I will always remember watching you perform this play that is so special to me.  Your production is a prime example of why I write for teenagers, and you definitely showed the audience that theater is, in fact, a sport.

Until next time, thanks for reading my blog, and feel free to comment below, and follow me.

The Writing Process

Greetings all, and welcome to Theater is a Sport. 

Amazing playwright and buddy Bradley Hayward invited me to take part in in a #bloghop that asks writers about their writing process.  (To learn more about Bradley's many wonderful plays, click on his name above.  To read his answers to the questions, click HERE)

I rarely get invited to things, so I figured, what the heck?  I'll give it a shot.  I'm passing this along to playwright buddy Wade Bradford, so stay tuned for info about where to read his responses!

So, without further meandering....

THE WRITING PROCESS

1.  WHAT ARE YOU WORKING ON?
I have recently finished a batch of ten minute fractured fairy tales for a possible anthology at some point.  I have had a great deal of fun working in the ten minute form.  I am also working on a sixty minute play that I was commissioned to write by Lakewood Theater for their fall production for kids.

In other news, I'm also finishing up my first YA novel, and hope to be able to find a home for it someday. 

In a grander scale look at the question, I'm ALWAYS working on trying to become a better writer.  It's on of those goals that never has an end.  Thankfully.

2.  HOW DOES YOUR WORK DIFFER FROM OTHERS IN YOUR FIELD?

Interesting question.  I write for the youth and high school markets for the most part (though I still do write plays for adults as well), and I have nothing but respect for all of the fine ladies and gentlemen I have had the pleasure to meet and stay in touch with who also write for this market. 

I don't mean to cop out with this answer, but I believe EVERY writer brings something different to their work just by being themselves.  I admit, when growing up, I would find that a good number of the plays one found in high school catalogues seemed a bit formulaic, and those types of plays still exist, although I must say that the climate has changed. 

What I try to bring to my writing, is a base for younger people to grow from.  When I was writing my play Confession: Kafka in High School, I was truly hoping that my play might encouraged a student to seek out other absurdist works.  Kind of like a gateway play to some of the great writers.  I had a similar hope with my play The Dark Tower, which was based on the Browning poem.

One thing I've noticed about my writing lately is that I tend to write from a very "once upon a time" place and feeling, even my darker pieces.  This isn't true for all of my plays, but I think there's a part of me that is very much about fairy tales, and I don't just mean Cinderella.  I mean plays that have a feeling of myth and lore to them, even if they are set in modern day times.  Frankie and the Gingerbread Boy is a good example of what I mean.

3.  WHY DO YOU WRITE WHAT YOU DO?

The simple answers to this question are A. Because I think I'm pretty good at it, and B. Because I enjoy it. 

To elaborate a little, I believe that good plays for high school students and younger are VITAL for the future of Theater, not only in America, but all around the world.  Maybe if a student is in one of my comedies, they'll be inspired to read a comedy by Neil Simon or Moss and Hart.  If they read one of my absurdist plays, perhaps they'll be eager to devour the works of Pinter, Beckett and Ionesco.

I know that my love of acting and writing came to me while I was a young student, and wouldn't have happened without good, solid plays written for my age group.  Being in The Actor's Nightmare by Christopher Durang changed my whole impression of what plays could be.  To this day, I'm still a huge fan of Durang and all of his more adult-themed works as well. 

I like to imagine (particularly after receiving a royalty check that was smaller than I'd hoped), that some student, somewhere out there, got their first taste of theater by being in one of my plays, and have since grown a love for it that will stay with them forever, no matter what career path they may choose.

It's a nice thought that I hope is true. 

4.  HOW DOES YOUR WRITING PROCESS WORK?

It differs from play to play. 

For the most part, I like to write very quickly.  With a ten minute piece, I like to write it all in one setting, and then work on revision later.  With my longer one acts, I generally get a draft out in 2 to 3 days (although, I have written a few of them in a day).  Remember--- these are drafts.  Some rougher than others. 

I like to write in silence, and, to be honest, it is almost like having a conversation with myself, where I am playing all of the different characters in my head (I was an actor before I became a writer). 

Sometimes I outline (especially if I'm stuck), but most of the time, I don't.  Although, I do like to know how the story will end in my mind before I start writing. 

I like to think of "writing" as he term that also encapsulates all the time spent thinking about a project in my head.  Rolling it around back and forth, imagining all the sights, smells, sounds.  Envisioning a character's quirks.  When I'm actually sitting at the keyboard, I call that "typing" or "transcribing".  That's not to say that new and exciting things don't hit me while I'm doing the typing--- they certainly do.  But even the thinking is part of the "writing", whether you're making notes or not.

Speaking of making notes, if I get an idea that might be promising, I do keep a notebook where I'll write down possible titles and synopses.  To be honest though, the REALLY good ideas are the ones that I don't forget.  The ones that keep demanding attention in my head.  In a sense, they are demanding me to write them. 

I don't know if you'll find this interesting, but I do sometimes like to write longhand first, and I use white legal pads and different color pens when I do.  Writing this way sometimes forces me to think a bit more when I need to.  Other projects, the ones that are bursting to fly out of me, go write to the computer, however. 

Okay!  I guess that will just about wrap this up.  I'm passing along to extraordinary playwright, Wade Bradford.  Stay tuned and I'll link you in to his responses!  In the meantime, do check out Bradley Hayward's answers to these questions, and, while you're at it, check out some of his plays, too. 

But most of all, please remember--- theater is a sport. 

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.

How to Write a Play or How to Enjoy Repeatedly Banging Your Head Against a Wall, Lesson 4: Exposition (Blame it on the Maid)

Hello everyone and welcome to Theater is a Sport.  My name is Bobby Keniston, and today is Tuesday, March 5, in the Year of Our Lord 2013.  Since the Mayan calendar proved false, today, like every Tuesday, is playwriting tutorial day! 

I am going to assume that you have all read lessons 1-3, read some plays, thought about the structure of your favorite TV shows and movies, written a monologue, pondered the importance of conflict, and written a two-person scene demonstrating your knowledge of the aforementioned conflict, and are now ready to start looking at some of the big nuts and bolts of the craft of being a playwright.

(Note:  For those of you curious, a person who writes plays is called a playwright, not because people misspelled the word "write", but because a "wright" of any kind was a craftsperson back in the old days.  "Playwright" is literally someone who crafts plays.  Neat, huh?)

One very important nut (or if you prefer, bolt) is exposition.  Every playwright struggles with how exposition is handled, so, be prepared:  this is where the banging your head against the wall might start looking like more than mere hyperbole on my part. 

Exposition is backstory.  It is all the stuff that has happened before the play starts, but that is important to the play.  For instance, in Hamlet, we know the fact that Hamlet's father died and his uncle married his mother is all exposition, information outside the present action of the play, but, clearly very vital information for the play to work. 

If you have ever read a review of a play or a movie, you might have heard a critic refer to a certain piece as having "clunky exposition".   For some reason, "clunky" is the negative adjective I see paired with exposition the most often.  I suppose it makes sense:  exposition can be very clunky.  I have written clunky exposition (particularly in first drafts), and if you decide to write a play, so will you.  It gets easier with time.  It takes practice.

Once upon a time, murder mysteries used to be written using a certain tool to get most of the exposition out of the way in one big swoop--- the maid.  Yes, there are several old murder mysteries that seem to begin with a maid answering the phone and saying way more than what seems necessary in what the audience hears as one side of a conversation.  Tom Stoppard parodies this technique to great effect in The Real Inspector Hound.  Just for fun, I will create an example for you here and now.  Please feel free to bask in this clunkerific passage:

ACT I
SCENE 1

SETTING:  The parlor of well-to-do PROFFESOR WAINSCOTT.  The furniture is plush and expensive, with gorgeous carpeting and exquisite art adorning the wall.  There is a makeshift bar stage right.  Stage left is an ornate stand sporting a telephone. 

AT RISE:  MISS SPANKME, a young maid, is dusting the parlor when the phone rings.  She answers the phone.

MISS SPANKME:  Good evening, Professor Wainscott's residence.  No, I'm afraid Professor Wainscott cannot come to the phone right now.  He is finishing up his notes on the psychology of escaped convicts murdering everyone in their path.  And what a time to be writing such a piece, with a real-life escaped convict on the loose today!  Everyone knows he has it in for the good Professor, who put him behind bars 3 years ago!  This brute swore at the time he would have his revenge on the Professor, no matter how long it took!  (slight pause)  Oh, no, the Professor is not one to live in fear!  A brave man he is, far braver than a young lass like me could ever hope to be, me not having any real education to speak of.  The Professor still plans to hold his dinner party tonight, which will be attended by the famous Doctor, Peter Plankow and his new wife, who everyone says is too young for him, Mayor Breckenwith, who's trying to gain support for his re-election campaign, and, just for fun, Madam Batty, who claims to be a psychic.  I sure hope the bridge holds out in this hurricane weather.  I wouldn't want anyone to be trapped here until morning with a crazy escaped convict on the loose, and I pray we won't lose power.  (Pause.  BUTLER enters and listens in)  Oh, no, I'm sure we'll all be right as rain.  The only door in the house that remains unlocked is the back door way 'round.  So sweet.... the good Professor keeps that door unlocked so that his estranged wife, who disappeared without a word five years ago this very night, may always have a way to come back into the house and into his arms.  (pause)    Yes, I'll tell the good Professor you called.  (she hangs up)

BUTLER:  Miss Spankme!  Just who were you talking to?

MISS SPANKME:  (wheels around, surprised)  My Lord!  You gave me quite a fright, Mr. Pruneface!

BUTLER:  (not playing around)  Who were you talking to?

MISS SPANKME:  Just the New York Times, sir.  They wanted to see if Professor Wainscott wanted to renew his subscription.

END SCENE

Pretty ridiculous, right?  But that's not the only way exposition can be clunky.  Here's another example I'll make up for you:

JENNIFER:  Hello, dead beet ex-husband.  What are doing here?

PHIL:  You know why I'm here, ex-wife, who I divorced a year ago because we couldn't make things work.  If it wasn't for our two children, Mark, age 8 and Kara, age 6, I would have nothing to do with you!

JENNIFER:  You're just mad because the judge awarded me the house, car, and seventy percent of all our possessions.  You should be grateful  you still have your job on the police force, where you've been working for 10 years, and that you haven't seemed to inherit your father's heart disease, which he died from at the young age of 38.  Hey... you're turning 38 this weekend, aren't you?

END SCENE

The trick with exposition is to add it slowly and subtlety into conversation, and do your best to make it feel like a part of real conversation, and not an excuse to give the audience information.  It is also a good idea to place your exposition throughout new information if at all possible, but that's not always necessary.  Again, this takes practice.  An audience needs exposition to know what's going on, but if you hammer them with too much exposition at a time, it not only feels phony, but it can take an audience out of the present circumstances if it goes unchecked.  And you don't want to take the audience out of the present too much--- in fact, the goal is to want the audience to be eagerly wanting to know what happens next, not what happened three years ago or ten years ago, except as to how those things might effect the here and now.

Here's a little exchange from my play The Girl I'm Gonna Marry, available from Heuer Publishing.  In this scene, MIRANDA has been stood up at her wedding, and is talking to her best friend SIMON.  Unbeknownst to Miranda, Simon has always been in love with Miranda.  Oh, yeah--- and Miranda's a little drunk.

MIRANDA:  You're the only man that I trust.  And I love you, and always have.  We should get married.  How 'bout it?  It would be fun.

SIMON:  Well, we were engaged once.  Do you remember?

MIRANDA:  Whaaa?  (Pause- realizing)  Oh my God!  That's right.

SIMON:  When we were in college.  Philip and I were roommates....

MIRANDA:  You poor boy.

SIMON: Admit it:  he's grown on you.

MIRANDA:  Like a fungus you get used to, but go on.

SIMON:  Thank you.  It was that night we went grocery shopping because we were sick of dining hall food, and so we were at the grocery store and it had one of those little quarter vending machines...

MIRANDA:  With the plastic rings!  You know, they're like fifty cents now.

SIMON:  Yup.  And there in the store...

MIRANDA:  In the dairy aisle.  I remember, 'cause it was cold and smelled like yogurt...

SIMON:  I got down on one knee, and I proposed to you.  I asked you to spend the rest of your life with me.

MIRANDA:  And I said yes!

SIMON:  That's right.  But we never set a date.  (beat)  We should have set a date the second you said yes.

MIRANDA:  I always thought you seemed a little too serious that night.

END SCENE

Now, I'm not going to argue this is a perfect scene, but within in it, we have Simon and Miranda remembering a key event in their lives and telling the story together.  Meanwhile, we see that they are beginning to look at each other in a different way, while also learning about how they interact with one another--- comfortable, familiar, homey.  Again, it may not be perfect, but it's not as clunkeriffic as Maid Exposition, that much I'm certain of. 

So, try things out.  Keep your exposition in small doses, letting the info out when needs to be out, and try to avoid putting it into the mouths of people (like a maid or butler) who are only there for the sole purpose of being Mr. or Miss Exposition.  Characters should have more of a purpose for existing than to catch the audience up on what has happened in the the last five years leading up to the event of the play. 

I hope you have found this lesson on exposition enjoyable.  Once again, I'm Bobby Keniston.  If you want to know more about me or Theater is a Sport, feel free to check out the following links: 
https://www.facebook.com/#!/TheaterIsASport

https://www.facebook.com/#!/pages/Bobby-Keniston-Playwright-Page/148232788536601

To go directly to PLAYWRITING LESSON NUMBER 5, simply click HERE

I'll see you tomorrow for some more theater talk.  Until then, please remember:  theater is a sport, and don't blame your exposition on the maid.

COMMUNITY THEATRE IN ACTION: BOBBY KENISTON INTERVIEWS THREE WONDERFULLY TALENTED MEMBERS OF THE REEDY POINT PLAYERS IN DELAWARE



Emily Ciuffetelli as Kelly and Kevin Austra as Derk in Reedy Point Players' production of END O THE MOVIE by Bobby Keniston


Hi!  This is Bobby Keniston, and welcome to Theater is a Sport!  Today...

One of the great joys of being a playwrght is ocassionally being blessed to make contact with the people across the country who are prodcuding your plays.  For the last two years, I have been blessed to have been in contact with the Reedy Point Players of Delaware City, Delaware, ever since they put on a production of my play A Forgetful Remembrance.  This year, I learned they were producing my play End of the Movie, making them the first theatre group ever to produce more than one of my plays (my first repeat business, if you will)! 

I have been in touch with Gail Springer Wagner, who starred in A Forgeful Remembrance last year, via facebook, and she informed she would be directing End of the Movie for their annual one-act play festival.  I was overjoyed, and reached out to Kevin Austra and Emily Ciuffetelli, the two talented young stars, to offer to answer any qestions they may have while preparing for their performances.  I am delighted to say that I am now facebook friends with these three lovely individuals who worked so hard to come together and create a brilliant production of my play.  They received much acclaim with their recent performances during their one-act festival, by winning awards for Best Actress (Emily), Best Director (Gail), the audience's People's choice award, a special judge award, and an adjudicator's award.  And, most exciting of all, they were voted to repesent the Reedy Point Players at the upcoming Delaware Theatre Association's Festival. 

I asked Gail, Emily and Kevin if they would like to be interviewed for my blog, because I feel they exemplify some of the greatest joys community theatre has to offer.  I am very pleased they took the time to answer my questions.  So without waiting any longer, let me introduce you all to three talented, well-spoken, people who are truly passionate about the theatre they create.

BOBBY: Thank you Gail, Emily and Kevin for taking the time to answer some of my questions. As you know, the name of my blog is Theater is a Sport, because I believe that theater is not only a craft and an art form, but also requires the mental and physical commitment most athletes strive for. In your experiences, would you agree that theater is a sport? (feel free to give examples)

EMILY:  I completely agree that theater is a sport! Just like on a sports team we have to work very hard every day and "practice" to get a great final result. Being part of live theater in any aspect whether it's directing, acting, or being part of the crew requires you to constantly be on your toes and alert. I always say that rehearsals are like my yoga because they always calm me down and help me to relax. I'm actually doing my senior research project on music therapy and in one of the articles it talks about how arts in general are very valuable to having and maintaining good mental and emotional health which I could not agree more with.

GAIL:  I had never thought of theatre as a sport until you mentioned it in your blog.  Having been a serious athlete most of my life, I can now see how theatre is, indeed, a sport.  Superficially there are try-outs (auditions), the coach (director), the team (cast), equipment (props), field or court (stage).  We practice (rehearse) several times a week honing our movement (blocking).  Delving a little deeper, as actors we get into the zone the same as in sports and focus on the game (play).  While a play may followed a dictated course more than a sporting event, actors must be prepared mentally and physically for any turn of events such as a dropped or jumped line or malfunctioning props and recover to move forward with the play.  While we may not compete with other “teams” except in festivals, we do compete with ourselves to improve our stage skills.

KEVIN:  I would absolutely agree that theater is a sport! Just like an athlete would do prior to a game, theater has a lot of mental preparation and practice. It takes time to develop characters as it would take time to develop a "jump-shot" in basketball. Mental and physical commitment aside, it is VERY competitive!!!! Yes, I would definitely agree that theater is a sport!

BOBBY: You all appear to be regulars with the Reedy Point Players. Please give me some background on how you started with this fine group, a bit about the prductions you've worked on, and how the Reedy Point Players have shaped you as performers. Feel free to include details about the Reedy Point Players mission and their place in the community.

KEVIN:  The Reedy Point Players was the first theater group I've ever been part of. Originally, I got involved doing backstage work for community service hours for college applications! The first show I worked on was The Christmas Express (2004) which so happened to be the first show Gail Wagner did with the RPP. That was how Gail and I first met. It wasn't until the year after - 2005 - where I made my stage debut (in a cameo) as Harpo Marx on stage.  

RPP's mission is as follows:

“To present live theatre productions for the cultural education, entertainment, and inspiration of the community. 

To welcome and provide an avocational opportunity for all volunteers interested in the theatre arts to participate in the many activities of community theatre.”

GAIL:  When I graduated high school, I wanted to be an actor or a lawyer. I had never really been cast I much in high school because I wasn’t part of that “clique” or my sports schedule didn’t mesh.  Some coaches make you choose.  After auditioning for Ithaca University and tanking the audition, I lost my confidence.  I wasn’t aware of community theatre in my area or I may have been more involved.  After many years, I took some acting lessons locally and we worked on an indie film which brought the “bug” out of hibernation.   In 2005, I decided to jump back in with both feet and auditioned for 2 roles in different projects (1 with Reedy Point).  I was cast in four projects (2 through the other projects) which staged September, October, November, and December– the December project was my debut with Reedy Point and I was hooked.  Reedy Point has always been extremely welcoming without a lot of the cliques and “drama” that is sometimes prevalent in theatre. RPP is open and accepting of new talent both on and off the stage.  A few of our actors have taken a turn at writing their own plays – both full and one act –and have seen them staged by RPP.  Our Christmas shows cast children from the local community and helps them develop confidence and speaking skills.  Personally, the RPP stage has been my haven.  My parents both were very ill and passed within 6 weeks of each other – my father at Thanksgiving and my mother at New Year’s.  The Christmas show that year was my safe place to go and not be me for a little bit.  It helped keep me sane.

EMILY:  I first started with Reedy Point 4 years ago when I was a freshman in high school. Although having been at a performing arts school for middle school, I had only just started acting a few months before and only been in one show before. Matt, A friend also involved with the group, called me on the phone and said "Hey Emily, do you know the show Miracle on 34th street?"
"Well, I've seen the movie."

"Have any interest in being a part of it?"
"Yeah sure!"

"Great! You have an audition in two days!"

So I went and auditioned and was cast as Susan Walker (Natalie Woods' character) and  the rest is history. I've done 15 shows over the past four years, nine of which were with Reedy Point. I owe so much to Reedy Point Players. They introduced me to fabulous people who have provided me many opportunities and have helped me grow not only as a performer but as a person.

BOBBY: Emily, I see that you attend a performing arts high school. First off, I think it's very cool that Cab Calloway has a school named after him--- he was a great performer. Secondly, I have always wondered what the experience of a performing arts high school would be like (outside of playing Schlomo in a production of "Fame", I don't know much about them). Tell me a little bit about your experience at Cab Calloway and what the curriculum is like, and how it has shaped you as a performer.

EMILY:  I could talk forever about Cab but I'll try to be brief!  Cab Calloway School of the Arts has a middle school and a high school which you audition for prior to 6th and 9th grade. I have been there since 6th grade and have always been a vocal music major. This year I triple major in vocal, advanced acting, and triple threat. Being at a performing arts school provided a very unique experience and environment to grow in. While we are a performing arts school we don't just sing and dance around all day (like most people think) academics are very important to us and we are actually 2nd in the state for academics. No they were not exaggerating in Fame that there is constantly singing, acting, or instruments playing in the halls. There is always something happening. The best part about going to an arts school, is that everyone is talented, and the worst part about going to an arts school, is that everyone is talented. Meaning that you don't nearly stand out as much and there are very talented people who may never get cast in the shows but, you get an arts education like no other and that's something I wouldn't trade for the world. Also, oddly enough, there aren't really "cliques" at Cab. Everyone can get along with everyone else. In fact most of my friends aren't in the same majors I am. Before I came to Cab I was bullied and very shy and had very little self-confidence. Now they've "created a monster" and the real me can really shine. Being accepted and having the self-confidence I have now is something I could never thank them enough for.

BOBBY: Kevin and Emily: you both are young performers. What are some lessons you feel you have learned from being a part of theater that you can take with you as move on to the next chapter of your lives?

KEVIN:  I have learned SO MUCH from community theater. So many people who want to learn how to act go out and pay lots of money for lessons and such and in a way - I see that as a scam. Yes, those places teach upcoming actors "the ropes" of the business and offer them good advice, but take it from me, community theater gives you so much experience, insight and education of acting and theater and it's FREE! The lessons I have learned is networking (always keep in touch and stay on good terms with the people you work with), always show up on time - to be early is to be on time, to be on time is to be late, and most importantly to be humble.

EMILY:  Wow that's a great question. Of course working well with others of all ages is a big one. In a monologue a friend of mine performed recently there was a line directed to the invisible scene partner that said "Do you know why you can't act? Because you can't put yourself in someone else's shoes." That is so true. To be an actor you have to be able to put yourself in other situations that may have never happened to you. You have to be able to imagine how you and/or your character would react and feel to being in those situations. I think that alone could be the most valuable thing I could possibly take with me from theater.

QUESTION 5: Gail, you appeared in "Forgetful Remembrance" for Reedy Point Players last year, and this year directed "End of the Movie". Do you prefer acting to directing or vice versa? Why?

Gail Wagner in Reedy Point Players' production of "Forgetful Remembrance"

GAIL:  I love acting and usually when I act, I am still jazzed after I walk off that stage running on an adrenaline buzz similar to what I experience after a game. The audience gives me feedback and I know if the job I am doing is correct.  When I act, I really only have to worry about me and my character and making sure I perform well.  I may have concerns about the production as a whole but my focus is doing my job right.  Now, as a director, I love taking the seed of the play and watching it come to life.  At our theatre, the Director also usually ends up being the stage manager as well.  Our directors are very hands on.  No play is staged unless it has a director and the director takes the play from its submission through the performance and strike.  As a director, though, I worry about it ALL.  Costumes, lines, actors, set, lighting, audience, strike, parking, box office, etc.  It is an enormous job.  When I am done a show each night as a director, I am both physically and mentally exhausted.  It is the reason I try not to do any directing in a row.  I have encouraged actors to direct one acts or skits so they better understand the process and thereby, in my opinion, making them better actors.  I prefer acting but to see a particular piece staged, I will volunteer to direct.  It was the case with End of the Movie. The only caveat I wanted to add was that Kevin cast me as Sister Aloysius in Doubt.  It was the most mentally demanding role I had ever performed.  It was a challenge to be someone so against my own character and I was so exhausted (but satisfied) at the end of each performance.  It is a highlight for me.

BOBBY: This question is for all three of you: please tell me a bit about the rehearsal process for "End of the Movie".... though it is a short piece, there are a number of complex emotions involved. Gail, as the director, how did you guide your cast into building these characters, and Kevin and Emily, what are some ways you brought your own personal insights into the creation of these young people?

GAIL:  The actors needed to be able to carry those emotions and Emily and Kevin, or SuperKev as we refer to him, nailed it.  We worked on the show in chunks but always with an entire read or run first.  I feel it gets the actors into characters.  I also had Kevin and Emily write a bio for their characters – this, to me, helps gel the character in the actors mind and creates the back story.  We then discussed their backgrounds.  There were certain ways I wanted some things said or done but the actors also brought their own style to the characters.  They would try different ways of saying certain lines or moving a certain way.  I would ask for their opinion because the actor needs to be vested in the character.  We also worked on the pauses and silence and not rushing the lines.  It was one of the comments made to us about Forgetful Remembrance by a judge was to make sure we took advantage of the pauses.  In End of the Movie, they are powerful.  One item Emily and I incorporated was when Derek is looking at jumping the second time, she begins to use the fencing as a ballet bar.  To me it illustrated that Derek was trying to use the railing as an instrument of his death and Kelly was making it into something else entirely and distracting him.  Kevin and Emily are friends and have great chemistry together so they are willing to get into each other’s faces during the argument.  It really helped.   A conscious decision I had was for them not to touch until the end when they are leaving the stage.  Kelly hip checks Derek and playfully puts his arm around her.

KEVIN:  The rehearsal process for End of the Movie was - what I would call - 4 week boot camp! Although it was a simple One Act, we only had about 7 days total of rehearsal (not including Tech Week) which is not the norm. Emily and I had to pay strict attention during rehearsals and write all over our scripts with notes that Gail provided us. We were expected to use those notes in our performance - which required us to go home and practice and return for the next rehearsal and be better. Furthermore, Gail wanted us to develop a background for our characters so that we could relate to them and understand their pain - which we did, as well as presented them. The material for Derek I couldn't personally relate to it BUT I understood it - which is most important. By understanding the context, it's easier to fall into character and start "becoming." 

EMILY:  First off let me just say that Kelly is one of my favorite roles yet. It is one of the more emotional roles I've played and I love getting to play around with the levels her dialogue offers. Kevin and I have known each other and been good friends since I was in Miracle on 34th Street which really helped with building the relationship between Kelly and Derek because we aren't afraid to try things with one another and get in each other’s faces. Kelly doesn't have much of a background in the script. You know she's from the 80's and that she killed herself but you don't know why or what her life was like. So Gail asked Kevin and I to write bios for our characters. I had many options to go with Kelly but I decided to help with the bond between her and Derek that her story should relate to his. I had that she had never actually met her mom because she died when she was a baby from brain cancer and she also didn't have a very good relationship with her father. I saw Kelly as being an outcast at school and not having many, if any, real friends. She was bullied a lot except by one boy who had always been nice to her since kindergarten. But one day his friends pressured him into being very cruel to her and she had just reached her breaking point. In the beginning of the show I play Kelly as being on the verge of almost too peppy, then moving to very upset during her outburst, to being more of her real self after she recovers. I have her as overly peppy in the beginning because I feel as though after being depressed her whole life she is working on being more positive in her "group therapy sessions" so she tends to over-compensate. I had also decided that this was Kelly's first assignment on her own which makes her even more nervous and unsure of her own roundabout way of saving Derek. I really take the approach of how the lines make me feel and then relate them to how I think Kelly feels. Performing this show is exhausting with the amount of emotion that's stuffed into its short timeline. I loved and still love exploring Kelly and going on her journey.

BOBBY: I am happy that you will be taking "End of the Movie" to the Delaware Theater Association Festival. Would you say that the DTA is a good networking opportunity for the Reedy Point Players? Is it valuable keeping up-to-date with what other theaters are up to?

EMILY:  I personally have never been to DTA before but I am looking forward to going to meet more Delaware thespians and see what everyone else has to offer.

KEVIN:  Absolutely, it's a good networking opportunity! For the Reedy Point Players, DTA is a "promotional event!" It's our chance to get out there and show other theaters that we exist! It's also a way to recruit other actors/actress into our shows - which has happened before. Entering these festivals is NOT a money maker for us, rather it's a way for our theater to get noticed and to draw and bigger audience. It's valuable keeping up-to-date with what other theaters are up to because it gives the "artist" inspiration. Not only does it provide inspiration but there's nothing wrong with some healthy competitiveness. 

GAIL:  Yes, the 1^st time we entered a competition 5 years ago, we had no idea what we were doing but we brought back 2 very accomplished actors to perform at our theatre in another show.  We make contacts at the festival and can borrow sets/costumes/props from each other.  It also allows other theatres to see the actors.  I was offered a role in a show w/o audition because the person has seen my Forgetful Remembrance performance. 

BOBBY: (Again, for all of you) What are your personal goals or aspirations when in it comes to performing? How important is it to you that theatre remain a part of your life?

 GAIL:  Very important – it fills my creative need

 KEVIN:  In a perfect world, YES, I would love to be a professional actor! Whether it be Broadway, film, or TV, I would love to be part of it! Regardless, of the road I take in life, theater will ALWAYS remain part of my life as it is my creative outlet! There is truly nothing like it. 

EMILY:  Theater will always be a part of my life. I have always known that. I will be attending Elon University (North Carolina) in the fall as either a Musical Theater or a Theater Studies major while taking the education courses so I can teach it. I have experience directing and love that as well. I've always wanted to try writing a script so I see that in my future as well. In a dream world I would be a working actor for as long as possible and then settling down and teaching theater at a high school or college level. Last year I created and taught the theater program at the Delaware School For The Deaf and perhaps would like to make deaf theater a part of my aspirations to teach or at least influence.

BOBBY: This is not so much a question, as an opportunity for each of you to share a story you feel exemplifies the best of your experiences with performing, whether with Reedy Point, or any of your other experiences.

EMILY:  As I said before when I was in elementary school I was bullied a lot and had very few friends. I never felt accepted anywhere or like I really fit in. Even my first two years at Cab I felt a bit like an outsider. But then I was given my first role at the end of 8th grade. I auditioned and got the role of Todd, a 5 year old boy in Check, Please! Being in that show and on that stage was the first time I ever felt like I was home. And that was when I knew theater was what I wanted to do. That's my favorite theater story of mine because although I had always been exposed to theater since very young that's where it really started for me.

GAIL:  I have so many but the ones that jump right up are 1) Kevin Austra’s grandmother saying that the acting is Doubt was as good as she saw in NYC; 2) hearing people cry in the audience during Forgetful Remembrance and having men tell me they were mad at me for making them cry; and 3) most importantly, watching the actors grow and mature, especially the younger ones.  I see them grow in confidence and ability.  I always have a sense of pride when I see that happen.

KEVIN:  Plain and simple, I have had the most fun experiences in my life in community theatre. The people I have done shows with in the past have been incredible actors and friends and the relationship's I've developed with them has been something I will always treasure. You become a "Family" doing shows and that is very important to us as human beings - having that connection. 

BOBBY: If you could tell people one thing about community theatre in order to convince them to become a part of it, what would that one thing be?

KEVIN:  Community theatre is FUN. You meet loads of new people and you get the pleasure of captivating an audience! 

GAIL:  It is fulfilling on some many levels

EMILY:  Do it. Just get up and try it. I guarantee you will walk away learning at least one new thing about yourself even if it's just that performing is not for you. It's an experience everyone should have.

BOBBY:  FINAL SHOUT-OUT: Please feel free to give a shout-out to some special people who have made your time in the theatre so wonderful! 

GAIL:  All my fellow players for helping me grow as an actor, RPP for getting me back into acting and giving me a shot at directing, my husband for lending a hand where needed, and my two sons who are great actors on their own.

KEVIN:  Kristina Lynn (former RPP President and Founder), was the director of The Christmas Express and was the one that got me on board to do the backstage work. If it wasn't for her generosity, I probably would have never discovered this artistic realm. 

EMILY:  There are so many fabulous people I have worked with over the past few years! Some of the standouts are of course Gail who has watched and helped me to grow as an actor and taking me to new levels. Kevin is always a pleasure to work with and makes relationships on stage so easy. David Reyne has been a mentor for me and I could never thank him enough for what he has taught me not only as an actor but as a young adult. My best friend Molly Keifer who is my best friend that I met through Reedy Point and I know if she's not in the show is always in the audience to support me and I can always count on her to give me an honest critique of my work. And of course my parents who have never stopped driving me to rehearsals and feeding the fire to me "theater- junkie" life style. Much love to you all!

Again, I would like to thank Gail, Emily and Kevin for taking the time to answer my questions, but, even more, to thank them for working so hard to bring my play to life.  If you would like to learn more about the Reedy Point Players, check out their website here:  http://reedypointplayers.com/  To check out their facebook page and become a fan, click here;  https://www.facebook.com/messages/#!/reedypointplayers?fref=ts

To become a fan of Theater is a Sport on facebook:  https://www.facebook.com/messages/#!/TheaterIsASport

And to learn more about A Forgetful Remembrance and End of the Movie, visit www.brookpub.com and search for me, Bobby Keniston.

I am truly proud to be a playwright when I get to meet folks like Gail, Emily and Kevin.  They, and many others like them, are why I love to write plays, and it is their enthusiasm that keeps me working hard at it.  I wish them all the best at the Delaware Theatre Association's Festival! 

Until tomorrow, please remember:  theater is a sport!

HOW TO WRITE A PLAY or HOW TO ENJOY REPEATEDLY BANGING YOUR HEAD AGAINST THE WALL, Lesson 2: Let's Write a Monologue!

Greetings, my theater friends!  Welcome to Theater is a Sport.  It's Tuesday, so you know what that means... it's playwriting tutorial day!  Or, as I like to call it:  How To Write a Play or How to Enjoy Repeatedly Banging Your Head Against the Wall.  Again, it's not really as bad as all that.  In fact, beating your head against the wall over and over again can be a beautiful thing!  

Today we are going to focus on writing a monologue.  I'm going to assume that you all read some plays over the week since our first lesson, and have also been checking out the structure of your favorite TV shows.  And while we will be discussing dramatic structure a great deal on this blog, we are going to focus today on how it all comes together in the creation of a monologue.

First off--- what is a monologue?  A monologue is a long speech given by a character in a play, sometimes to other characters onstage, sometimes directly to the audience.  A soliloquy is another example of a long speech, though usually given by an actor alone onstage.

For the purpose of our exercise, we are going to be writing monologues for a single character, and our monologues are going to be complete pieces in of themselves, with a beginning, middle, and end.  Yes, a monologue can be a play all by itself. 

How do we write a monologue?  Well, first, you need to remember that all drama is about conflict.  When you have a single character, the conflict is within the character herself, or perhaps the character and some external limitation. 

Let's look at an example, shall we?   And if we're going to look at an example of a great monologue, let's look at a great example from one of my playwrights, Anton Chekhov.   Here is a link where you can read his monologue (which is its own play) called "On the Harmful Effects of Tobacco":  http://method.vtheatre.net/doc/tobacco.html

(Note:  This piece is in the public domain, and this is the only place I could find the full text online.  Aside from a few spelling errors, it is pretty close to the versions I'm familiar with.)

Now, I'm not expecting you to read this first and then come back and read the rest of my blog, but, if you do not, you will have to be ready for some spoilers coming. 

The reason I like to use this monologue as an example for writing monologues is, other than being quite funny, it is an excellent example of conflict.  Our character, Nykhin, informs us he is going to give us a lecture on the harmful effects of tobacco.  However, the monologue is not about tobacco at all, is it?  We learn quickly that our lecturer is prone to digressions, and the very digressions are what make up the bulk of the monologue.  Hence, we have some conflict already:  we are told we are going to hear a lecture on tobacco, but what we really hear is our lecturer share his comically sad existence with us, ultimately purging himself, until the very end, when he entreats us to tell his wife he gave a very fine lecture on tobacco. 

Certainly, one does not need to mimic Chekhov in tone or subject when writing a monologue.  But there are lessons one can take from this piece when writing their own.  Here are some examples:

1.  Character:  right away from the first stage directions ("worn-out flock coat", "bows majestically to the audience"), we as an audience get an idea of who this guy is.   The spoken text that follows takes us on a journey with him.

2.  The Dramatic Arc:  Nyukhin tells us he is going to lecture on the harmfulness of tobacco even though "I myself smoke, but my wife told me to lecture on the harmful effects of tobacco, so what's to be done?"  In that small line in the beginning, we get the first indication that our lecturer might possibly be a bit hen-pecked.  As he continues with his lecture, and things seem to be moving in the right direction... "When I lecture I blink my right eye.  Take no notice.  It is simple nervousness.  I am a nervous man".  This digression gives the author permission to go into WHY he is a nervous man, and thus, the rest of the story builds... the boarding home, his daughters, his wife's nest egg, etc.  So this action continues to rise, with the character purging himself, until, near the end, we learn he is a broken man with broken dreams, who longs only for "peace".  Of course, Chekhov ends the piece with the Lecturer becoming aware his wife is looking at him from backstage, so he hastily concludes with a last remark about the harmful effects of tobacco.
This trajectory is very effective for a monologue.  We meet a character, get an initial first impression, the character reveals more about themselves and their life, the focus changes, grows to a climax and then... we are back  to the beginning, knowing our character will never change. 

3.  Stakes:  stakes are tremendously important in any dramatic writing, especially a monologue.  In order for us to remain engaged by one person talking to us from stage, the stakes to rise and rise and rise.... (if you don't like the word "stakes", you can also think of it as "complications"). 

So, what I would like to give you for an assignment is this:  read through the Chekhov monologue, noticing some of the things I have talked about.  Then, I would like you to try writing your own monologue.  Make sure it is about something that is interesting to you.  It's fine to draw things from your own life, but I would suggest that as a jumping off point, and then letting you creativity take the stakes higher.  Your first monologue needn't be as long as the example I've given you:  you can have a good monologue with a beginning, middle and end in one or one and a half pages, even.  And think about this as your write:

1.  The character should reveal something about themselves that perhaps they are not even aware of themselves, and
2.  A goo way to create conflict is to have a character start out believing one thing, but by the end realize they have shifted to the exact opposite belief. 

If you would like to share your monologue with me (I can't promise an immediate response, but I will try to read them as quickly as possible), you can e-mail them to me at theater.is.a.sport@gmail.com 

If you would like to become a fan of Theater is a Sport on Facebook, click here:  https://www.facebook.com/#!/TheaterIsASport

If you would like to read a sample of a monologue I wrote called "Falling (And Not Getting Up)", click here:  http://www.brookpub.com/default.aspx?pg=sd&st=FALLING+(AND+NOT+GETTING+UP)

Thank you for joining me today at Theater is a Sport.  I hope you enjoyed your second playwriting lesson!

To go directly to LESSON 3, simply click HERE

Until tomorrow, please remember:  theater is a sport (and, banging your head against the wall CAN be enjoyable)