CONTACT CAROLINE
facebook
rss
tumblr
twitter
goodreads
youtube

  • Home
  • Write Away Blog
  • Books
    • Books
    • Trompe l’Oeil
    • Heart Land
    • Gothic Spring
    • Ballet Noir
    • Book Excerpts
  • Video Interviews
  • Press
    • News
    • Print Interviews
    • Plays
    • Ballet Noir in the Press
    • Trompe l’Oeil In The Press
    • Gothic Spring In The Press
    • Heart Land Reviews
  • Contact
  • About
  • Resources
    • Writer Resources
    • Favorite Blogs
    • Favorite Artists



Anatomy Of A Play — XI

Jan 22, 2015
by Caroline Miller
"Woman On The Scarlet Beast", the playwright's rule during production
4 Comments

The actors are in place, the stage is set and the curtain on my play, Woman on the Scarlet Beast is about to open.  Whether it will be treated kindly by the public or die in its first performance is something I am unable to predict.  But whether I succeed or fail, I will have achieved my goal, which is to get the play on the boards, the culmination of 30 years’ work.   What I’ve tried to depict in the “Anatomy of a Play” series is the story behind the story, a record of events that might not only interest theatergoers but would be of special importance to new playwrights as well.

 By now, it should be clear that mounting a production isn’t easy.  Finding a theater company willing to risk its reputation on a new playwright is more than good luck.  It’s a miracle.  After that, finding the right actors for the parts is a challenge. If they have any experience in the theater, they will have opinions about the play — what works for them and what doesn’t — as will the director and the Artistic Director who heads the company.  All this collaboration may come as a shock to a writer whose natural habitat is a dark cave into which few may enter.  Nonetheless, he or she must be reconciled to the fact that lines will be changed or cut once the play reaches the light of day.  No longer his or hers alone, the writer would be wise to let go of his creation and listen to the contribution of others. 

 During auditions, this last point is important to remember. I admit, I found it difficult not to have favorites among the actors reading for parts.  But as the writer, I wouldn’t be working directly with the players.  That is the role of the director and so I kept my silence.  I’m glad I did. When the parts were cast, we not only had  accomplished actors for the roles but professionals who knew how to work with one another.  Compatibility is a quality the director looks for but which the writer might not see.  A cast is a team like any other, after all.   

 As to textural changes, here a writer is  most challenged.  Having lived with a play’s characters, he or she assumes a full knowledge of them.  But there are colorings or insights an actor or a director can provide and to which the creator should listen.  The point of the collaboration is to give the play a full interpretation… to add depth.   To any unknown playwright who may be reading this blog, my advice is to avoid falling in love with your words.  Allow others to contribute to the play and they will be on your side, which is where you want them to be. 

 Should a writer ever hold his or her ground in defense of the words?  Yes.  But as in life, the battles should be chosen carefully and won with rationale and a heavy dose of charm.  A theater is the convention hall for egos, the author’s among them.  What matters above all else is the play.  The play’s the thing!

opening curtain of a play

Courtesy of martinwaxman.com

 

 

Social Share
4 Comments
  1. S. L. Stoner January 22, 2015 at 8:17 pm Reply
    Having seen the dress rehearsal of this play, I highly recommend it. Time and money will spent!
    • Caroline Miller January 23, 2015 at 6:44 am Reply
      I thank you very much for your comment.
  2. Janet January 22, 2015 at 8:47 pm Reply
    And proud we are to look forward to seeing this play Saturday night.
    • Caroline Miller January 23, 2015 at 6:44 am Reply
      I thank you for your support.

Leave a Reply to Caroline Miller Cancel reply

*
*

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Contact Caroline at

carolinemiller11@yahoo.com

Portland, Oregon author Caroline Miller had distinguished careers as an educator, union president, elected official and artist/advocate.

Her play, Woman on the Scarlet Beast, was performed at the Post5 Theatre, Portland, OR, January/February 2015

Caroline published a serialized novelette, Marie Eau-Claire, on the website, The Colored Lens.  She also published the story Gustav Pavel,  a parable about ordinary lives, choice and alternate potential, on the website Fixional.co.

Caroline has published four novels

  • Ballet Noir
  • Trompe l’Oeil
  • Gothic Spring
  • Heart Land

Subscribe to Caroline’s Blog


 

Archives

Categories

YouTube-logo-inline2 To access and subscribe to my videos on YouTube, Click Here and click the Subscribe button.

Banner art “The Receptive” by Charlie White of Charlie White Studio

Web Admin: ThinPATH Systems, Inc
support@tp-sys.com

Subscribe to Caroline's Blog


 

Contact Caroline at

carolinemiller11@yahoo.com

Sitemap | Privacy Notice

AUDIO & VIDEO VAULT

View archives of Caroline’s audio and videos interviews.


Copyright © Books by Caroline Miller