WRITING ADVICE: Who Cares What People Think? (Or Don't Write With Anyone Whispering in Your Ear)

Emily Ciuffetelli as Kelly in a production of my play "End of the Movie"

Greetings to all of you writers and actors out there, young and not-so-young, and welcome to Theater is a Sport, my blog where I talk about all things theater that happen to pop up in my mind.  My name is Bobby Keniston, and I am a playwright, actor, director, and part-time drama teacher.

I sometimes wonder if Samuel Beckett's mother ever said to him, "Why can't you write a nice, ordinary play that everyone gets, huh?  What's with all the dark?  What's with all the crazy?  Can't you be a normal playwright, and write a sweet play about a lonely gal who meets a nice fella, and they wind up together at the end?  What's the matter with you?"

If she did, I'm glad he didn't listen to her.  We may have never had Waiting for Godot, or Happy Days.

I wonder if Eugene O'Neill ever had a friend say, "Gene, come on, already!  We get it... life's rough!  Give us a good comedy, huh?  And 'Ah, Wildnerness' doesn't count!"

It's not easy being human, and it's not easy being a writer, because our canvas, by and large, is humanity.  Writers, after all, are writing for human beings, and, more often than not, writing about the human experience (even if they're writing about Martians). 

And the human experience, along with being beautiful, can be ugly.  And scary.  And disturbing.  And dark.  And depressing. 

Playwrights, like all artists, often find themselves going into places that others do not necessarily wish to go, all for their art.  To some degree, I think it is almost the responsibility of the playwright to keep pushing themselves and challenging their audience.  Not just for the sake of doing so, of course, but for the sake of being honest, telling a true tale, and reflecting humanity (even some of the harder elements of it). 

When you sit down to write, sit down alone.  Don't let the sounds of your parents, friends, spouse, or children be whispering in your ears.  Of course you love these people.  Of course you want them to be proud of you.  But it is exceedingly difficult to write an honest play that comes from you if you are worried about disapproving voices. 

What will people think of me?

Who cares? 

Okay, so that's easier said than done, adopting an attitude of "who cares?", and, yes, I believe everyone cares at least a little bit what people think of them.  But honestly, if they don't like your play that deals with a murderer stalking single mothers in a small Midwestern town, then they can write their own play. 

If you are going to be a writer, you have to write from yourself.  You have to write with freedom.  You must let yourself go and see what happens.  You may have to fix things.  There will be a time for constructive criticism from others that will certainly help your play or story.  But constructive criticism does NOT include matters of personal taste. 

As a writer, your own inner voice, your muse (who dwells inside you), your inner idea manufacturer, has to be louder than the disapproving voices of others.  Writers can't seek approval from the masses--- it's a surefire way to never attain it. 

So be free, young and not-so-young writers.  If people think your nuts, then they clearly aren't fellow writers, thereby making their opinions on your writing far less valuable.  You can always just tell naysayers the simple truth:  "Hey, I'm working here.  Leave me alone."

So if you've been looking for permission to let loose in your latest composition, then consider granted by your truly, Bobby Keniston.

Remember:  write honestly, and theater is a sport.  See you next time.

Behind the Scenes Look at the World Premier of "The Three Gruff Billies or Why Houses Under a Bridge Are NOT Prime Real Estate"!

Greetings everyone.  My name is Bobby Keniston, and welcome to Theater is a Sport. This video is a behind the scenes look of "The Three Gruff Billies or Why Houses Under a Bridge Are NOT Prime Real Estate", a play I created on commission from Lakewood Theater in Madison, ME.  I was very proud of the performance.

This behind-the-scenes doc of the rehearsal process was made by Jeralyn Shattuck, and I can't thank her enough.

I am currently seeking publication for this play.  If you have any interest in performing it or reading a perusal script, please contact me at theater.is.a.sport@gmail.com! 

Thanks for checking it out!

Theatre Educators--- Help Create Actors, Not Parrots!

Greetings, and welcome to Theater is a Sport.  My name is Bobby Keniston, and I am an actor, director, playwright, and theater educator.   I feel lucky to be all of these things.

There are a great many misconceptions when it comes to the idea of theater education, particularly at a high school level. While many people would recognize that it is not a visual arts teacher's job to tell a child, "This is how you draw a sun, and this is the only way to draw a sun," these same people may expect that when directing students in a play, or teaching a high school acting class, that you tell the students how to act. "Read the lines this way, with a big smile on your face, then when he yells at you, act sad by sticking your lower lip out and lowering your head. Listen to how I say the line and then do it like that." This is simply not true. Or, at least, I believe it goes against every little thing theater education should be about.

As a director, I try to NEVER give line readings (having people imitate how I would say a line). To me, that is akin to a visual arts teacher saying, "You can only draw that this way." The only time I will do this, the only, only time, is if I have a really little kid who cannot think critically about what they are doing, and, only then will I do that in a production that people are paying money to see. I don't even like to do it then. Even when directing "Annie, Jr." and "Anne of Green Gables" at the Center Theatre, I didn't do this unless absolutely necessary, and never with anyone over the age of five. Why, Bobby, you may ask.  The answer is simple.  I feel my primary role as an educator is to create actors and not parrots. It is my job to teach young people about MAKING CHOICES. That is perhaps the number one job of an actor--- it is what they bring to the table as an artist.

I do my best to give all cast members or students tools toward building a character, understanding a script, and discussing with them how they help to tell the overall story. From time to time, I will have a students ask me in a rehearsal or class, "How should I say that line?" I always answer that question with another question: "Where is your character at?" or "What are they thinking?" or, most often, "What does your character want?  What is their objective for speaking this line?"

In this way, I am helping to create actors, and actors who can analyze a script critically.  If I tell them exactly how to do something, I cease being an educator or a director, and I become a pirate trying to train his parrots.

A director's job is to put everything together to create an experience that is magical coming from the work of many, and not just myself. 

My job with high school students or even younger actors is to facilitate them finding the answers for themselves, guiding them to create something which comes from their unique perspective, and discussing changes if I don't agree with their interpretations, or don't believe it fits within the world of the play.  This is an important job. 

You see, this is what happens in real life, in the real world of theatre. Actors make choices. They are not told exactly how to say a line. And I will not condescend to my students by expecting less of them than I would of adult actors.

 

If  a student registers for my class, or signs up for my plays, regardless of talent, I do my best to bring the best out of them.  This, of course, has varying results.  But by doing so, I am providing a richer experience for this student, and giving them a richer education. 

 

I do not, at the high school level, believe in asking the weaker singers to only mouth the words, or the weaker actors to stand in the background like props or furniture.  If I do this, then I fail as a teacher and as a director.  When it comes to theatre education, it is just as much about the journey as the final result. 

 

So I want my final result to be spectacular?  Of course I do.  Is that always going to happen.  Of course it isn't. 

 

But what can always happen, if I do my job, is that students can learn to think differently, use their minds more creatively and critically.  And that is what makes a win in my humble opinion. 

I do not create parrots. I assist young people in realizing they are actors.

 

Thanks for reading theater is a sport.  See you next time. 

THEATRE ETIQUETTE and BASIC GUIDELINES for School and Community Theatre Actors

Hey everyone, and welcome to theater is a sport.  Today I wanted to talk about the very important topic of theater etiquette, for those people who are perhaps getting involved in community or school theatre for the first time.  Now, granted, every director may have different thoughts on certain subjects, but I think the guidelines as I have outlined below are pretty standard.

• Please respect your director, stage manager, crew members, and fellow actors at all times. Be aware of their thoughts and feelings.  (This is perhaps the most important rule I can think of.)
• Acting is a hard enough job! Please leave the directing/design/stage managing to the people with those jobs. I would ask especially that your refrain from giving your fellow actors unsolicited advice or direction... The director will take care of that stuff. (now, obviously, if someone asks you, "How do you think I was in that scene?", you can give them your thoughts, but don't so in a way that would be stepping on the director's toes.)
• Remember that you  are part of  a team. There is no “I” in C-A-S-T (although, there is an “I” in director.)   :-)
• Please arrive promptly to rehearsals. As much as I love the social aspect of theater, it is important to be efficient with time, so be ready to go right at start time.  Directors are usually early to rehearsals, so if you have questions for them, go in a bit early.  Also, if you want to chat with your new extended family (your fellow actors) before rehearsal is always a good time.
• Please, unless there is a personal emergency going on, silence your cell phones or turn them off completely during rehearsal. (Let your stage manager know if you have to have an exception to this rule). Cell phones ringing (or being answered) are very distracting to the rehearsal process.  I literally have had students rehearsing a scene stop, answer their phones and actually start a conversation, mid-rehearsal.  Did not please me, to say the least. 
• Please don't chew gum while rehearsing a scene, unless it has been discussed that your character is a gum chewer.  It's a mouth and diction obstruction, and an unnecessary one at that.
• Please try to keep a positive attitude and stay focused while we rehearse. Sometimes, things may go very slowly with a lot of stops. Please stay focused and on the ready to resume.
• If you have questions about a note a director gives you, please speak to  them about it after notes are given, and privately. This goes also for any thoughts and suggestions. I am a collaborative fellow, but I don't like to get off-track while I'm giving notes. This doesn't mean I won't listen to your thoughts. I may not always agree with them, and, as director, I would ask you to trust me to try it my way, but I will always listen and consider your thoughts. Promise.
• Be safe! Don't jump on and off the stage, or put yourself or your fellow actors in any kind of risk at rehearsal (or, well, anywhere). We want to make sure we all stay healthy for the show!
• If you are going to be late or miss a rehearsal, give as much advanced notice as possible, and, ideally, give that information to the stage manager, and not the director.   

**** Do not take advantage of stage kisses.  Make sure everyone is comfortable.  At a theater I have been a part of for years, there was an actor we learned who had trouble keeping his tongue to himself during stage kisses.  This is very unprofessional (unless the kiss has been choreographed and planned that way).  Taking liberties like that with your fellow actors is wrong, and, quite frankly, pretty creepy.  And, in case you were wondering. that actor, once found out, never appeared in a play there again.

****Please do not make negative comments or suggestions to "improve" a designer's work.  (For example, "That set piece should be painted yellow, not green", or "Man, that costume is ugly.")  If you have concerns about something, please talk privately with the director, or, just keep your thoughts to yourself for the good of the show's morale.

• When we get to the point of being off script, if you need a line, just stay in place, stay in the scene, and call “Line”, and the line will be provided. In this way, you can stay focused and move smoothly. A lot of people will step out of the scene and make a big fuss (I have done this myself out of frustration), but it really is better to stay in place, say "Line" and then continue. 
• I know these guidelines may seem many, but honestly, remember, it is called a PLAY for a reason. It is good to have a good, productive FUN time in a TEAM environment!  Do your part to make sure everyone has a great time.

Thank you for reading this post, and I hope that you have found it helpful.

Remember, theater etiquette is important, and theater is a sport.

Thoughts on Building a Character

Whether you are cast in a community theatre production or a multi-million dollar movie, building a character is an actor's job. Sounds simple, right? Well, in my experience as an actor, director, and playwright, I have found that building a character that is unique in its own ways can be a very big challenge. Below are some of my thoughts on what an actor can do as “homework” to start giving their characters a life of their own, thereby facilitating a richer experience not only for the audience, but for themselves as well.

• Read the script. And then re-read it. As you do, pay close attention to how your character helps tell the overall story. What is your role in getting the overall picture across?
• What does your character want? It is important as an actor to ask yourself what your character's objectives are. Most likely, they have a grand objective for the show, but they also have objectives for every scene they are in (sometimes even from moment to moment). Really think about what your character wants whenever they are onstage--- after all, why else would they be there.
• How do you get what you want? Your character's ACTIONS informs how your character is played. Actions are what a character does to get what they want. For example, does your character flirt, deceive, or threaten to get what they want? Or do they coax, plead, or promise to get what they want? There are many, many verbs to create many, many actions. And have fun figuring it out! Play!
• Create an Autobiography! This can be a wonderful exercise to be creative about your character. Write out your character's life story. It needn't be an epic, but give them a back story: where are they from, what were there parents like, what major events have shaped who they are within the world of the play? Write this story in first person, i.e., “I was born in the Bedford Falls hospital at...” etc. For those with larger roles, there may be a lot of clues in the script. For those who have less clues in the script, here's a chance to create a great identity for your character. Every “townsperson” is more than just a “townsperson”! They are a human being! Give them a story that influences their reactions every time they're on stage. Give them a name, and give them a purpose! Have fun and be creative, but be sure to stay within the “world” of the play and within the playwright's intentions (for example, in “It's a Wonderful Life”, it probably wouldn't be wise to give your character a backstory that includes being a super villain on a distant planet who fell to Earth on a meteorite).
• The movie poster: This is an exercise I use with my casts a great deal to help the process of creating a physicality for their character. Imagine that your character, no matter how big or small it might be in the play, as the star of their own movie about them. What do they look like on the movie poster? Do they stand tall, chest out, shoulders back? Do they hunch? Do their eyes shift to the sides, or look straight on? Are they smiling? Are they angry? Really close your eyes and picture this movie poster, and then begin to bring the physicality in your body. Mimic the posture, and see if it feels right. In time, try walking about and seeing how the character's posture translates into a walk. What feels right? What part of the body leads your character? Where is your energy located? Imagine what your character looks like, and remember: they don't have to look like YOU. Eventually, you will have to try to look like THEM.
• Voice: What does your character sound like? Look for hints in the script. Do they speak haltingly? (“I'd like...a...uh... glass of...water?”). Figure out a cadence that seems right to you.
• Relationships: How does your character feel about everyone they interact with? Many may find clues in the script, but if there are no clues to be found, then determine on your own. In “It's a Wonderful Life” especially, it is important that everyone have thoughts about others in the town. It is a small town story, with small town gossip. Everyone knows everyone. You all will have opinions on Mr. Potter for example. You may have gossiped about who Violet is dating now.

All of this character building work is vital when building working inner lives and motivations for every character on stage. This is what makes a production tight and believable. The more you know your individual character, the more you are doing your part to help tell the story of the play.

And when you know your character, you can let go and really begin LOOKING and LISTENING and REACTING to your scene partners.

Thank you for reading this post.  In case you can't tell,   I am in the midst of directing a production of "It's a Wonderful Life".  Yay!

Until next time, please remember--- theater is a sport.

MY PROM DATE WAS A FELON, featured play in this month's Brooklyn Publishers' Newsletter!

Greetings, loyal readers of my blog!

I wanted to let you all know that my play, My Prom Date Was a Felon, is the featured play in Brooklyn Publishers' October newsletter.  If you click HERE, it will take you directly to the newsletter where you can read a new essay I wrote about the play called How This Playwright Finally Went to the Prom (all about how I can live vicariously through my characters), and, until OCTOBER 9TH, you can download a FREE perusal e-script of the play!

As many of you regular readers already know, this is a play that I am very proud of, and I am so excited that this newsletter is giving people a chance to learn more about it and to even read it for free!

I would be remiss if I did not mention that this newsletter also has information and synopses of many other great plays for schools and community theaters, including plays by some of my playwriting pals.  In fact, I'd recommend signing up for the newsletter so you can always see the great stuff that's coming out from the many talented folks at Brooklyn Publishers (who published my very first play and got me started in this business!)

All righty.  I guess that's it.  Again, you can follow the link above, or, hey, I'll make it simple, and say that you can just click HERE!

"BREAKING BAD" Finale and Greek Tragedy: A thank you to Vince Gilligan

BELOW IS MY PERSONAL ANALYSIS TO BREAKING BAD'S SEASON FINALE.  IT CONTAINS CRUCIAL PLOT POINTS (SPOILERS).  IF YOU HAVEN'T SEEN THE FINAL EPISODE YET, DO NOT READ THIS POST.  I DON'T WANT TO RUIN SOMETHING I CONSIDER TO BE ONE OF THE MOST BRILLIANT PIECES OF TELEVISION DENOUEMENT I'VE EVER SEEN.  (BY THE WAY, I POSTED THIS ON IMDB THIS MORNING, BUT WANTED TO SHARE IT HERE, TOO.)

YOU'VE BEEN WARNED. 

ENJOY.

I suppose the mark of any great work of art is that it is divisive, though I must confess I was surprised to see so many people dissatisfied with "Felina". I personally believe it to be a most stunning and fitting denouement to a series that truly deserves comparisons to a Greek Tragedy.

Part of the issue that seems to be sticking in a lot viewers' respective craws is that the series finale was "predictable". "Lydia and the ricin", "Walt going after Jack and the gang", are two big points people are making as arguments. But I ask these people: the foreshadowing with the gun made it clear long ago that Walt was going after somebody, and really, by this point, who else would he be going after with that kind of firepower? And Lydia and her tea has also been foreshadowed abundantly. Now, I think most fans must confess that Vince and all of the other writers on "Breaking Bad" are pretty clever, right? So isn't it logical to assume that perhaps they wanted us (the viewers) to know, or at least strongly anticipate these two plot points?

Here's the deal: "Breaking Bad" has been about a man backing himself into corners and finding a way out for five seasons. The writers have provided more amazing solutions than I could have ever dreamed of. However, the reason "Ozymandias" was so satisfying, at least to me, was to finally see the tragic hero with no other corners, no other solutions. He had to run.

After "Ozymandias", in true Greek Tragedy fashion, there was nothing left but denouement and catharsis. And "Felina" provided this. Big time.

In a sense, because "Breaking Bad" has such a loyal, rabid following (I am part of that--- in fact, this is the first time I have ever posted on a message board)--- this final season and all of its secrecy has led to a kind of achieved mythology of its own. We have been guessing about this last episode ("Will Jesse die?", "Will Jesse Kill Walt", and a million other things), and, of course, we all perhaps believed that this was going to be one more corner and one more clever solution we didn't see coming.

But that's not the point to tragedy. In Ancient Greece, the audience knew how the story ended, but they still went there for the catharsis, to see things tie up. To finish the journey.

And, besides, I don't think people are giving Mr. Gilligan and co. enough credit. There were still surprises, even if, as some people claim, they called how Walt was going to use Gretchen and Elliot (which I personally didn't). I was surprised when Walt admitted that he liked it, that he did it for himself (a tragic hero admitting his tragic flaw). But I think, perhaps the greatest surprise for me was that this finale didn't involve Heisenberg tying up loose ends and taking care of business. It amazed me that Walt came back as Walt. And, no, I don't think that makes Walt any more sympathetic, but merely reminds you of his humanity. He did not come back to be the kingpin, or the badass... he came back to end things on his terms.

And, to die, of course.

This episode, while riveting, was not designed to be "shocking" in the way others have been. Haven't we had enough "shocking" from this show? What is so brilliant about "Felina" is that it is about the inevitability of a person's actions, and following that inevitability. Mr. Gilligan gave us a series where the questions were answered... he didn't skimp, he didn't cheat. He delivered a Greek Tragedy, and a final image so haunting of our morally bankrupt tragic hero dying in the arms of his "Felina" so to speak. In the embrace of the only place he ever felt significant.

So, from me, Mr. Gilligan, I simply say thank you.