Tag Archives: one act play

Play focus: Work in Progress

The original production at RAF St Athan – helped along with Photoshop

It’s been a long time since my first play – about twelve years now. Not so long ago I wrote this post, which mentioned a little about how I write. This was especially true for Work in Progress, my first play. I had joined the Theatre Club at RAF St Athan to get out of the house a bit, having spent some time as a houshusband with Eldest Weasel in her early baby days. Mrs Dim said I should socialise with people who could use entire words, so I wandered off one evening and found myself lined up for a part in the pantomime (I was Wishee Washee in Aladdin. One of my finest moments on stage.) When the panto was done, we started looking around for a play to take to the annual one act play competition. Someone pointed out that if we took a play that the group had written, we would have a shot at the award for “Best self-written play” as no one else ever entered for that. The odds seemed good, and then someone pointed out that I was pretending to be a writer (I had just sold an article to “Mother and Baby” and a short story to “Take a Break Fiction Special”) and therefore I should write the play. There are times in your life when “No.” is a perfectly reasonable answer but totally impossible to say. I dashed off a play in an embarrassingly short time and passed it around the group. Everyone seemed to like it and asked if I would direct. I hadn’t directed before, but hey, up until that week, I’d never written a play before. How hard could it be? The secret at the heart of “Work in Progress” is that I had no clue what I was doing. I wrote a play about the things that really happened to me. If you haven’t read it (and it’s available to read HERE), the play is about a struggling author who can’t get the ending of his Detective novel right. While he’s trying to write it, the characters argue with him, and drag him into the action to make him see how wooden and false it all is. By seeing things from their point of view, and seeing them as real people, not cliche cutouts, he’s able to draft a more suitable story. Yes, this is what happened to me. I was trying to write a novel, but the characters wouldn’t do what I wanted. They said unexpected things, pushed the plot in new directions. Sometimes they did dull, tedious things and I could do nothing to move them along.

From the production by Mexico Area Community Theatre (MACT) See more by them on the Gallery page

Writing plays was like being released from a straightjacket. I could forget wrestling with adverbs and the fiddly details of description and get on with the action and the dialogue. No more worries about whether the main character had steel grey hair or steel blue eyes, or cast iron trousers. None of that mattered! I was free and I could write a mile a minute. And anything is possible on stage! I had the three fictional characters dress in black and white, and their section of the stage was all tones of grey. The guy playing the author wore a loud Hawaiian shirt and we shone a coloured light on him too. When the curtain opened on the performance in the competition, there was a gasp from the audience. My happiest moment. The adjudicator raved about the bold nature of the play. He compared it to the work of Pirandello, which was news to me (but go read about him here , unless SOPA has closed Wikipedia) and he said lots of other nice things. I felt like I had got away with a huge con trick, but the play has been performed again and again, and it would be disengenuous to say I don’t believe there’s something to it. It’s not really a good idea to write about being a writer, but I think what this play is about is showing that characters can be real. Just as a reader can feel affection, or friendship or revulsion for a character in a well-loved book, so an author can find his characters being more than words on the page. If you’ve performed in Work in Progress, or have pictures of a production, please do drop me a line in the comments box and we can arrange for your pictures to join the gallery, plus adding in any links to group websites.

Hello to Farewells

“A Time for Farewells” performed by FEATS

Kicking off the New Year, I had to resist the urge to write about resolutions, or latest projects, or review the failures/successes of 2011. Well, if not those, what? By far the most popular viewing on this site is the gallery of pictures for “A Time for Farewells“. Not my first play, maybe not even my favourite play, it’s nonetheless very popular around the world.

“A Time for Farewells” produced by Titirangi Theatre in New Zealand

Before getting into WHY it may be so popular, let’s have a brief summary of the plot for those who haven’t read it (and if you want to read it, you can find it HERE).

Alex is a batchelor lad until he meets Sarah. She’s not looking for love, she’s looking for a mechanic to fix her car. The play features episodes from Alex and Sarah’s life, interspersed with the couple themselves discussing their relationship. It’s clear there’s some sort of ending here, that this isn’t a loving nostalgia session, but an autopsy on a finished relationship. The play covers high and lows of their life together before bringing the audience up to date and letting them in on the event that Alex and Sarah are preparing for.

The original production, at RAF Halton, with Mark Blackman and Sue Fox as Alex and Sarah.

I like to think it’s a positive play, that the underlying message is hopeful. But I don’t think that’s what brings people to perform the play. There are some very practical reasons why this is a good one to pick, particularly for One Act Play Competitions.

Firstly, the set is simple. In the original set we had three stage blocks on the left hand side of the stage that could be rearranged to represent whatever location was needed. On the right hand side of the stage we had a bedroom set – actually, just the bed. The right hand side is where Alex and Sarah are when the play opens, that’s “now”. Everything that takes place in the past occurs on the left hand side. We had a doorway between the two, but I don’t believe that’s really necessary. So the set is simple, and doesn’t require any special effects or furniture moving during blackouts.

The cast is small. Aside from Alex and Sarah, there are only two other characters, and they really only appear in cameo. It’s essentially a two-handed play, and those two actors get to really stretch their acting muscles as they run through the life this pair have had together.

There’s comedy. I think that’s inevitable in the plays I write, since there’s very little I can take seriously, but in this case it’s important. Alex and Sarah make each other laugh, and the play is about recognising the valuable parts of their history together and holding on to them – the laughter and the tears.

Finally, it’s about people. The proof that this play is universal came with the success of Alan Leung’s production in Hong Kong. Though we had to have lengthy email conversations to sort out the peculiarities of English idiom (Alan was translating into Chinese, an unenviable task. Apparently the Chinese don’t have an equivalent for the phrase “Under the thumb” when it comes to henpecked husbands…) The Hong Kong production did so well in the competition that it was restaged later on, a tremendous complement.

One of the posters for the Hong Kong production

And after all the positive things, what about the flip side? Is there anything I would like to change? Well the one thing I hadn’t considered when I was writing the play was costume. Alex gets by well enough in a variety of shirtsleeves, but poor Sarah has to go from “stranded business woman” to “bride” to “holidaymaker by the pool” and so on. Most groups have found their own ways around my lack of vision there – in the original production Sue Fox managed to find herself a simple business-style dress that unbuttoned quickly, and went for and equally easy to don wedding dress. There have been other, equally inventive solutions, as the pictures show.

The relationship between Alex and Sarah seems to be one that people can believe in. Perhaps it’s also one they can relate to. Of course, I’m delighted that the play is so popular, and hope there are many more performances of it around the world. If you have a production planned, or if you’ve taken part in one, please let me have some photos to add to the gallery pages.

If you have any questions about “A Time for Farewells”, either about the writing or the staging of the play, feel free to drop me a line at dtrasler3@gmail.com. You can read “A Time for Farewells” and all my other published plays at www.lazybeescripts.co.uk