On May 31, I attended Theatre Reset's Short Play Festival #5, which featured a performance of my play, "Water to Whine," and I had an absolute blast. I loved everything they did, the performances were great, and I was happily surprised, in more ways than one. All the plays were great, and I'm so happy I got to see them.
The experience reminded me of a few important lessons about writing scripts, whether for stage or film, and I feel like sharing them here.
The script is the foundation.
I wrote the words, but director Susie McGarry and the cast brought them to life. I try not to include too many stage directions or specific notes about how a particular scene should be done because the director and the cast need room to interpret the material and bring their ideas, which more often than not build on what I've written and make it better.
For example, my play is set at a modern party in which Jesus Christ is the guest of honor, and there's a moment when Jesus pours water into a few cups (to turn the water into wine). On page, the description is a sentence or two, but on stage, the moment, featuring all the characters and several background extras, is blocked in a way that the entire scene resembles da Vinci's The Last Supper.
That moment got one of the biggest laughs of the show, and afterwards, I told Susie how I loved it because she made me look smart by creating that moment. There is no reference to the Last Supper in my script, but it worked perfectly.
There was another moment when Jesus breaks away from the main characters. In the script, I wrote that Jesus merely exits the stage. During the performance, Jesus breaks away from the characters and mingles with the extra partygoers, and in some more inspired comedy I didn't write, Jesus and the extras took group selfies, creating a funny background event the audience laughed at.
The point is: as the writer, you are the architect establishing the base for others to build on. Don't overwrite with overly complicated stage directions and descriptions. Get the ball rolling, and hand it off to others who will make it better. Don't try to direct from the page.
Let yourself be surprised
When I wrote the script, I envisioned, or more accurately expected, the water-to-wine miracle to be a quick stage direction. I figured the show would use red or blue Solo cups or something similar to hide the liquid during this key moment. Or maybe they wouldn't even have any liquids and would just fake it.
Imagine my surprise and curiosity when the lights came on, and I saw on the table a clear pitcher full of water and several clear glasses. When the moment of truth occurred, through some quick sleight of hand and a bit of food coloring, the audience witnessed the water take on the appearance of dark red wine.
I wrote "Water to Whine" as a silly comedy, but this was genuinely impressive moment of stage magic. It wasn't overly elaborate, but it wowed the audience in a way I hadn't expected, and in the midst of jokes and gags, it gave those funny moments some breathing room.
Trust your collaborators
I wrote a gag in which some characters dump putrid wine onto a potted plant, which promptly wilts and dies. I laughed when I wrote it, but I also figured I'd be asked if it would be OK to cut. I thought, at best, it would be a half-hidden background gag that would get next to no attention.
Again, I was surprised when I saw the plant, during the scene change, wheeled to the front of the stage, and when the moment of truth occurred, the wine was poured, the plant wilted, and the audience erupted. It was a simple puppet gag, with a performer hidden in a chamber underneath, but here it was, heavily featured and a prominent part of the show, and I thought it was going to get cut.
Obviously, know the budgets and parameters of the company you're writing for, but remember, actors, directors, and other crew members love being challenged. They love figuring things out and solving problems. Don't be afraid to give them the chance.
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