36 thoughts on productions, process, and being a playwright
These have been inspired by Jose Rivera’s 36 Assumptions for Playwrighting. Although some of these statements seem obvious that is reason enough to give them breath.
It is more important to put it down on paper than to seek a production.
A well written play is not enough. You need to build a strong rapport with leaders in producing organizations if you want productions. And you want productions, so meet and greet.
Choose a director by going to what they have directed and compare their sensibility to yours. Not unlike playwrights, directors play to their strengths too. Interview them for the piece. Find out their favorite plays. Judge their passion for your play. See what you have in common. If they are going to be playing with your soul make sure you are comfortable with them.
Realize that particular directors have the reputation to carry your play to further productions. And you may have to ignore #3 at your own discretion.
In the beginning it is easy to feel intimated by the process, but a good director will listen to your concerns. Do not be hesitant to interrupt directors during rehearsal. They may want you to be quiet, but this is not school and you can find a way to communicate.
When your play succeeds, it is worth fighting to make sure those successful elements remain in the next production. Write down what worked and keep those notes. You will forget, believe me. So keep your notes up to date and in a folder for that play.
It is worth making sure your play is going into the right space. It’s great to get your play up, but the space could swallow it or the opposite it may not breathe. Pay attention to the space. Imagine your play in it. Imagine listening to an audience in the back as it hears the play. Measure the distance between the actors. Will they be lobbing lines at each other like tennis balls or spinning them back and forth like a ping pong ball.
If the play fails it may very well be because of the production.
Compromise, but prioritize your battles, because your play in your town will never be your play in another town.
After you've written your play, and before anyone reads it, write down three to five pages as to why you wrote it and what changed unexpectedly while writing it. This is a document you will need to return to regularly, reminding yourself of your initial intentions, because people will regularly question your initial intentions.
You do not have to answer every question by actors or directors on and about your play. Part of the collaborator’s process is to find the answer for themselves. Part of your duty is to let them find the answer for themselves. If they are way off base, say your piece.
Every time you write a play, you will forget how to write a play. Keep notes as you progress to remind yourself of your process. I will keep harping on about keeping notes. Trust me.
You write for yourself, first.
A play is about exploring ideas that fascinate you.
Be patient. More often than not, as a beginning playwright, you are sensitive to every suggestion and sudden inspiration from everyone, I mean everyone. And you will often apply that suggestion immediately to your work - Don’t. Let it sit with you for a time, see #10, then make the decision.
Each writing change you make during rehearsal, no matter how small, has an effect throughout the play - So make the change, but follow through so it is reflected in the whole play.
Each voice that contributes advice comes at it from their own particular taste. It is important to distinguish between structural advice and that simple question of taste.
Find a playwright who you trust, who is a friend and understands theatre, and make that person your first reader. It is important that the first critique you get is from someone you trust and understands the vocabulary to use when discussing the play with you. They will understand how to parse their words keeping in mind the sensitivities a playwright carries.
If you have the opportunity to watch your play in production as often as you like, watch it. But, that night, when both play and audience come together perfectly, remember it, savor it, and don’t return to watch that production again. It works now.
Don’t judge your play on its first preview.
If you want to know what your reviews are like during the run of your play and you inevitably will, call that friend who understands the vocabulary of the theatre to read them and to parse the words for you.
Do not attend all the rehearsals, you will second guess line reads as the actors attempt to get off book. This is an insecure time for actors as they dig deeper into the play. Let their questions sit with you for a day and then decide on the answer.
When you find the structure for your story it will unfold with clarity.
When you illustrate the obvious, you dissipate the tension.
Learn from critics, their style, their expertise, their tastes, their agenda, their foibles, their wit, and passion. Learn how to agree and disagree with them (with or without grace) through your own well-constructed ideas.
“Hilarious” in theatre speak is completely different to hilarious in life. Superlatives are part of the theatre’s world vocabulary.
Write and learn how to write Teleplays, Screenplays and Adaptations while writing your plays. This means seeking mentors in those worlds and explaining your difficulties to them. Writers want to help other writers, so don’t hesitate.
Seek to be an accomplished craftsperson and not the attention of being a playwright. You will recognize some playwrights as provaceteurs, but to be that you have to know you can be that.
Understand a theatre’s mission statement, audience, and leadership - It may not be a home for you. Go to their websites and see what plays they do and you will know if you plays fit their mission. Connect with their Literary manager and open the communication lines. Remember: A closed mouth doesn’t get fed.
Decide where on your life priority list writing is situated. When you make that decision, live with it.
A play creates great anxiety inside you. Be mindful of this fact. So run it out instead of smoking it out. Exercise!!!!!
Someone will inevitably attempt to associate you with the characters in a play. Unless you declared it autobiographical, never answer this question, otherwise you will begin to demystify your play.
Allow yourself to be envious, jealous, disgusted and resentful of other playwrights - But know it for what it is.
People will fall asleep beside you during your play and people will fall asleep beside you during a Stoppard play. Maintain perspective.
Be working on two pieces always. And for that matter write out loose outlines of your play that will offer you a roadmap for the plot. It will change as you write, but this idea saves time. And you know what else saves time: when you have completed your writing for the day, always, always, write a note at the end of the writing that details loosely where the next scene begins and what you intend to do. This will help you get into your work much easier the next day.
It takes 10 years, at least, to become a playwright. So don’t give up.
