I've had the great fortune of being able to develop a new play this year with a theatre company out here called Moving Arts. I starting month four of what will amount to being an eight month process. I wrote a big new play. Then I wrote a few more drafts of the big new play and had a second reading of it last month. Now I'm gearing up for a public reading of it at the end of May. That will launch me into another series of rewrites. Then I will have a workshop in August and rehearsals that are gearing up for a big public reading at the end of September.
So I'm at the half way point and I'm at a turning point in the script. I have two schools of thought about which direction the play should go in. I've got a few people telling me there's a more traditional play in there that's waiting to come out. And then there's my instinct, which wants something a little more free form. After the reading in April, many good things came through. But the play felt a bit unfocused and largely that was by design. I've proclaimed that I wanted to do a Robert Altman-esque version of this play. Some thought that I was just experimenting in free form so I could write something that had a more classic story arc. I knew that I was never doing that. So I resisted notes that put me anywhere near anything classic or traditional.
Then two of my closest writing friends had some comments that leaned towards a traditional approach. Although they did have suggestions on how to do the more experimental version of the script. And I think that's what shook me to my core. I expected them to be more fully gung ho about the crazy version I was writing. So I took lots of notes and looked at what people were saying and what people were responding to.
So I had pressure from one end to do something that was a bit smaller. But that pressure had been there since before I had written one word. I think that's why it was so easy to dismiss. But having two of my most trusted confidantes way similar things really put a wrench in my plans. Then my friend David and I chatted about what this play could be. I was starting to learn towards this "smaller" version. But something just wouldn't let go of the "bigger version" of the play. So basically I have been sitting on it and thinking a lot. I haven't done any work on the play in two weeks.
Today, I decided that I would look at the script and see what came out of me. I started journalling about the play and then some ideas started falling out. I also looked at the script and what I had. I started thinking about the play's focus and the idea of "who's play is it?" I realized that I had two things fighting against each other: the students stories and the stories of the two faculty members. I had these two faculty members whose lives were being affected by their participation in the drills. And then I had parallels with the students. It became hard to know where to focus. As I was writing, it became clear to me that this play is the students' story. I might have all four students or I might have two or three. And I know that I want to focus on one character in particular. Since my first reading, Kramer's story seemed to leap out and grab people. Then I have the story of another guy named Wynn. He's an African American kid, decisively. I thought he might be Latino at one point. I think he needs to be black for reasons that really resonate in the wake of Ferguson and what's happening right now in Baltimore. And I've got two other characters who I haven't written as strongly: the two female high school students. But I realized why that was. I had two strong female teacher characters who were taking their place. And those four female characters were fighting against each other. As I was writing down notes in my journal, things became clear to me.
I wasn't choosing any more between the smaller more "produceable version" of this script and the more "experimental, non produceable" version. I was choosing for story, which is something I should always be doing. I think this version of the story will focus on the lives of the students more distinctly and less on the lives of the administrators. I can't say what form that will take in terms of structure. But I have an idea about how time passes in the play. And I have a specific idea about number of characters and how "big" this play will get. I think there's still a feeling of ensemble. I'm excited about working on it again in a way I haven't been excited since the last reading.
It's just interesting that given all of the resources I have with this theatre that the conversation quickly became about produceability. And that has not been a concern of mine. I always said that I wasn't going to write a small version of this that's four characters. And then I started getting feedback that wanted to turn it into that. And frankly, it was making me confused, frustrated and angry. So I had to step away from that conversation.
I'm about to go into "hermit mode" and get into the "writer's cave" (two expressions I hate). But I am sequestering myself over the next month. Funny, but this is exactly where I was last May. I won't be going away but I think I will be allowing myself time to be alone. I think I will need this time alone away from everything. I have two big things to write this month. This is different from last year, where I tried to do three things and I was just fatigued and couldn't do it. Two will be enough. More than that is just crazy making.
I'm going to allow myself the time to work on the play, which is the priority. The other script will be fine. I can get that done easily. I know what that is already and it's outlined. I can get that done in a week. That hopefully will feel like a breeze.
I feel full of hope again. Funny how that's fleeting sometimes.
I am grateful for writing sessions at the Weho Library.
I am grateful for the advice of smart people.
I am grateful for my champions.
I am grateful for music.
I am grateful for the love of friends.
I am grateful for support.
I am grateful for my community.
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