"Doesn't the review bother you?" I was asked following a rather harsh criticism of a musical play that premiered this summer (2014). "It didn't even explain what the critic disliked very well."
Yes, the review bothered me, and I certainly agreed with my theater colleague that the review could have been more helpful, but every review is helpful to some extent. Some are simply more helpful than others.
A negative review tell you that something might be wrong with a work. It might not be, but critics at regional and national publications tend to know something about their specialties. In this instance, the reviewer is a playwright, so ignoring his views would be shortsighted. However, critics also have biases, and this critic hasn't demonstrated the greatest understanding of new work development in our small city. Shoestring theater seldom enables perfection, and even less often provides active development processes.
When you read a review, skip the snark. Reviewers seem to love demonstrating how smart they are, and how cynical they've become. Ignore the ego behind the review and focus on a list of concrete positives and negatives. Don't get lost in the flourishes of someone trying to impress his or her readers.
In this instance, the concrete claims appear to be:
1. Some of the musical numbers (tune and lyrics) were good.
2. The play was too long.
3. The three-act structure was problematic.
4. Direction lacked energy.
5. The play had little new to say.
As a playwright, I can't do much about any acting or directing issues, even with a new work. Things simply happen. Therefore, item four is beyond my control. Direction can also affect item five because a slow play without energy has no message, no passion. That means item five is likely a mix of problems with the script and the direction.
The length of the work and the structure are a problem. Reducing the snark to the core claim, that the play was long and oddly structured, I would agree that a new work usually needs more editing. As a writer, I tend to overwrite first drafts. Therefore, I can set aside the snark and admit the play needs another revision pass (or more).
I'm not sure I agree that the three-act structure is a problem, but it is if there are two intermissions in a modern play. Audiences want one intermission and quick scene pacing. The structure I wrote was applied literally by the director. I need to change the script — that's definitely my fault as a writer.
Learning to list the concrete claims made by reviewers is a skill writers and artists need. My final works are better because of this approach to "listening" to the critics.
Monday, September 8, 2014
Wednesday, August 13, 2014
Toilet Tanks and Books
Toilet tank lids should be flat. Perfectly flat, not merely sort of, kind of flat.
The tanks in our house appear to have flat lids. This is deceptive, a trick of the bright white color and lighting of the bathrooms. Closer inspection reveals a slight convex curvature, a bump in the middle of the lids.
You place a book, a cellphone, almost anything you decide not to hold and do not wish to set on the floor, on the lid of the water tank. The item slowly, imperceptibly, slides from the bump. It finally crashes to the floor, precisely the location you sought to avoid.
We don't yet have shelves in the powder rooms and they don't have sink counters; the first floor has a pedestal sink. There is no good place for items, because the one surface that should be flat (and safe) is not.
After we get around to painting and finishing the baths, I'm adding some shelves. We can place candles and decor on the shelves, but I'm making sure there's room for a book or two, as well.
The tanks in our house appear to have flat lids. This is deceptive, a trick of the bright white color and lighting of the bathrooms. Closer inspection reveals a slight convex curvature, a bump in the middle of the lids.
You place a book, a cellphone, almost anything you decide not to hold and do not wish to set on the floor, on the lid of the water tank. The item slowly, imperceptibly, slides from the bump. It finally crashes to the floor, precisely the location you sought to avoid.
We don't yet have shelves in the powder rooms and they don't have sink counters; the first floor has a pedestal sink. There is no good place for items, because the one surface that should be flat (and safe) is not.
After we get around to painting and finishing the baths, I'm adding some shelves. We can place candles and decor on the shelves, but I'm making sure there's room for a book or two, as well.
Monday, August 4, 2014
Reviews and Writing
Writers, and any other artists, have to be ready to accept the judgments of critics. I was sent a couple of nice notes regarding a negative review, from audience members (and friends) who liked the particular show reviewed, but I have to also consider the power of critics to make or break a work.
Pittsburgh City Paper: New Death... Airless and Deadly
How much do critics influence an artist? For me, that depends on the critic and his or her biases. If a critic has a history of liking a particular genre or a particular set of writers — and disliking others — then I have to ask if I fall into Column A or Column B.
Even when an artist is in Column B, and approval is a long-shot at best, I would still suggest listening and asking what the nuggets of truth are in the review and how to address those. A negative review is valuable, if you're willing to learn what you can and ignore the rest.
From the review above, I am reminded that opening nights aren't easy. Seldom does an opening occur without dropped lines, missed cues, and a nervousness that feels unnatural. That is simply the nature of new shows. Add in a new, untested script, and there's more reason for unease and mistakes.
As a playwright, I have to ask what I can do to help a cast and crew make the best of their talents. Did I tighten the dialogue enough? Did I balance the action with exposition? Did I make the most of the medium, especially as stages have serious limitations. Did I balance humor with whatever else I'm trying to convey?
I don't write farce or sitcoms. I don't aim for a joke or two a page. I write serious plays with lighter moments. When the audience starts to consider the work a comedy, that's a failing on my part to balance the early pages well.
As this production winds down, I'll look at the script and compare my notes with reviews, audience feedback, cast and crew notes, and whatever else is available. All my plays undergo endless revisions. A negative review, or a positive review, can influence the choices I make revising.
A fellow playwright say, "Not every play is for every audience." That's also something to keep in mind.
Never let negative marks (grades, reviews, audiences) stop you from taking chances. Take the feedback and move forward with the next idea. What you shouldn't do is try to please the negative voices, item by item, because then you aren't creating your own vision.
Pittsburgh City Paper: New Death... Airless and Deadly
How much do critics influence an artist? For me, that depends on the critic and his or her biases. If a critic has a history of liking a particular genre or a particular set of writers — and disliking others — then I have to ask if I fall into Column A or Column B.
Even when an artist is in Column B, and approval is a long-shot at best, I would still suggest listening and asking what the nuggets of truth are in the review and how to address those. A negative review is valuable, if you're willing to learn what you can and ignore the rest.
From the review above, I am reminded that opening nights aren't easy. Seldom does an opening occur without dropped lines, missed cues, and a nervousness that feels unnatural. That is simply the nature of new shows. Add in a new, untested script, and there's more reason for unease and mistakes.
As a playwright, I have to ask what I can do to help a cast and crew make the best of their talents. Did I tighten the dialogue enough? Did I balance the action with exposition? Did I make the most of the medium, especially as stages have serious limitations. Did I balance humor with whatever else I'm trying to convey?
I don't write farce or sitcoms. I don't aim for a joke or two a page. I write serious plays with lighter moments. When the audience starts to consider the work a comedy, that's a failing on my part to balance the early pages well.
As this production winds down, I'll look at the script and compare my notes with reviews, audience feedback, cast and crew notes, and whatever else is available. All my plays undergo endless revisions. A negative review, or a positive review, can influence the choices I make revising.
A fellow playwright say, "Not every play is for every audience." That's also something to keep in mind.
Never let negative marks (grades, reviews, audiences) stop you from taking chances. Take the feedback and move forward with the next idea. What you shouldn't do is try to please the negative voices, item by item, because then you aren't creating your own vision.
Sunday, July 13, 2014
A Musical Play Needs Your Support
The LAB Project, a new Pittsburgh, PA, theatrical company, is producing my musical play The Gospel Singer this August. The producer hopes to raise an additional $4000 for community outreach and education efforts. The play is about a gay gospel singer and his partner, during the 1980s. It's based loosely on real people. The play was awarded a development slot by Bricolage Production Company last year, as part their annual "In The Raw" festival.
Some people ask if a play about a gay couple arguing about faith and community is still relevant in 2014. Yes, it is. Laws are changing, and society is changing, but understanding the struggles are incomplete — especially within religious communities — is a valuable lesson.
Please consider supporting The LAB Project.
Some people ask if a play about a gay couple arguing about faith and community is still relevant in 2014. Yes, it is. Laws are changing, and society is changing, but understanding the struggles are incomplete — especially within religious communities — is a valuable lesson.
Please consider supporting The LAB Project.
Wednesday, July 9, 2014
New Play: A New Death World Premier
This is why I haven't been blogging a lot this summer. I've been working on several new plays…
A NEW DEATH
A World Premiere
By C.S. Wyatt
Directed By Kaitlin Kerr
Assistant Directed By Sarah McPartland
Presented by Throughline Theatre Company
July 18 - July 26
The Grey Box Theatre
3595 Butler St, Pittsburgh, Pennsylvania 15201
TICKETS:
Featuring:
Andy Coleman
Chelsea Faber
Hazel Carr Leroy
Eric Leslie
Tonya Lynn
Sarah McPartland
Jared King Rombold
John Henry Steelman
Thursday, July 3, 2014
Politics isn't Fun. Facebook Should be Fun.
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| christmas cookie making for 2007 (Photo credit: Wikipedia) |
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| Kitten (Photo credit: Moyan_Brenn) |
Kitties = Good. Kitties with cookies. Or maybe kitties, with cookies, with pun captions. Those work.
Breaking Rules
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| P writing blue (Photo credit: Wikipedia) |
"You can break the rules after you master the rules," I respond. "And then, only break them when you can defend the choice."
Imagine my frustration when a play was rejected because it lacked the "journey" of the main character.
When I decided to write a play without a complete Hero's journey, it was an intentional act (pun), a choice to parody a genre. There are characters in myth and legend that do not change. They don't mature. Mocking that notion of the invariable being seemed promising.
One of the readers providing coverage clearly didn't get the joke. The comments on the coverage sheet indicated the story needed a clear journey and transformation. Oops. My choice must not have been obvious.
There are two lesson: 1) breaking the formula is risky; 2) if the reader doesn't know the original story, parody doesn't work.
The other reader did like the script and scored it "highly recommended," but you need to run the gauntlet to be produced.
Both reviewers liked the dialogue, the wit, yet only one got the joke. That isn't good. I'm not sure following the traditional formula would have helped.
Will I break the rules again? Of course. But I also understand the risks.
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