About Arlene Schulman Expertise As a professional stage director and dramaturg, I have worked extensively with playwrights, lyricists and composeres in new play development. My areas of expertise are in character development, relationships, plot structure and stageability. I`d be happy to answer any questions in these areas, as well as in the process of getting a play from the page to the stage - including the stages along the way, director/playwright collaboration, the playwright`s place in rehearsals and so on.
Experience I am a professional stage director and dramaturg who has worked extensively in collaboration with playwrights, lyricists and composers on new plays and musicals. I have worked closely with them in the developmental process, helping to shape and edit their work - particularly in the areas of character development, relationships, plot structure and stageability - and acted as dramaturg and sounding board. I have brough these new plays to the stage in staged readings, workshops, showcases and full productions.
Organizations Society of Stage Directors and Choreographers - associate member Literary Managers & Dramaturgs of America - associate member Shakespeare Association of America The Shakespeare Institute -MA Candidate, "Shakespeare & Theatre"
Question I have a written a rather dark play which comes heavily from my own past, so I'll start by admitting I'm probably a bit over-invested in the details.
As I am getting close to the end of the first stage of creating what I'll call a polished draft, I decided to look online for more information on the process and have spent several hours reading the (most informative) answers you have provided to other people.
My first concern is that perhaps I have overstepped my role as a playwright. My play is technically quite simple, there is not much in terms of blocking, action or even stage design as much of it centers around the interplay of two characters with the other three characters speaking in turn in a monologue style about events that become increasingly connected to the interaction between the two primary characters.
I've selected certain songs which while isn't so much a question of moving the plot forward (to be played at scene breaks primarily), it definitely helps to set the look/feel. I am also aware that the music I have chosen will require obtaining permission from the rights holders.
I've provided some guidance on wardrobe, blocking, casting, set/stage design and even lighting instructions which are fairly essential to the flow of the play.
From my own perspective, I am quite particular about overall feel and mood of the setting, which is why I got into such details.
To what degree is this simply providing guidance versus overstepping my role and how much say can I expect to have in such things? I realize that much of that is entirely dependent on the contract but I also realize that being too onerous in ones expectations can be a limiting factor in seeing the play produced. I have specific reasons for every choice and have put a great deal of time into making those choices but at the same time I don't want to be difficult to work with and make an already challenging process (getting a play produced) even more complicated.
Also I am concerned about potential difficulties getting the rights to play the music I've selected, is that something which is usually just a matter of paying the royalties or is it more complicated than that? Should I prepare alternatives in case difficulties arise in that area?
Lastly, given the intensely personal nature of the play and the fact that it deals with a portion of my life and the related emotions that I haven't discussed with all but a few of my family and friends (but which would be clearly recognizable to someone who knew me as coming from my thoughts and experiences).
I have shared it with a select group of friends and with a broader audience (about 200 people provide minor feedback) thanks to a blog I have for my creative writing and while the response has been very positive, I'm not entirely sure the perfectionist in me will be satisfied that the overall concept and structure of the play will "work" without having someone more experienced and knowledgeable read it over.
I noticed in some of the other questions that you are willing to read plays and provide feedback (schedule permitting obviously) so I thought I would inquire if you would be willing to read mine and if so what would be the best way to get a copy to you. It is currently formatted in word (docx) format but I can easily reformat it into nearly any format desired.
Thanks in advance for taking the time to read my questions and I look forward to hearing your thoughts/response.
Regards,
RH
Answer Hi RH,
Sorry for not getting back to you sooner. I've been sick and away from my computer. But I'm back now so...
Many of the questions you pose here have no real "right" or "wrong" answers. But remember that theatre is a collaborative art - a blending of the playwright's vision and those of the director, actors, designers and more. The playwright's job is to write the script - that is, the dialogue which is the "blueprint" for the play which will ultimately be brought to life by the other members of the creative team. There may be specific action which you need to include (such as a fight, or a killing, or a love scene) which is necessary to the action. But HOW these are done will be determined by the director's staging and the actor's interpretation.
You may have a specific set or costuming or even lighting in mind when you write the play to create the mood you are looking for, but this is not your play alone if it is to be produced on the stage, and if you include these more than just a simple suggestion of these design details ("the set is a livingroom with a front door, a staircase leading to bedrooms, and a door to the kitchen", or "she enters elegantly dressed for a night on the town", or "as she opens the curtains the sunlight pours in") and try to tell the director and designers HOW to create these effects, you will be overstepping your boundaries, and, very likely, they will not pay much attention to your details anyway.
Remember that your ideas are not the only ones that will create the mood and effects you want, and the director and designers are trained professionals who know far more than you do when it comes to creating specific moods or looks, and will likely be able to give you want you want in a much better, stronger way than you imagined. Their job is to make your play come to life, and if your dialogue is strong enough and clear enough, then they will know what you want.
Remember, too, that you are envisioning the scene in your head and can create what you like. But the director, actors and designers must work within the limitations of their facilities and resources. You may have envisioned certain kinds of lighting, set, costuming, etc. But the theatre doing the play may not have access to that lighing. Their stage may not be big enough - or may be too big - for your suggestions to work in it. They may not have that particular costume or the ability to make it. Their job is to tell your story with the resources available to them. So every production of your play will be different and each will tell your story in its own way. And that is not a bad thing. Playwrights I have worked with have often wondered how I made their play so much better than they had imagined it. I didn't. I simply took what was there and brought it to life in my own way - adding my expertise to theirs. It is that synergy - the whole being greater than the sum of its parts - that makes theatre such and exciting medium.
As for suggesting specific music - I would caution against it. Many theatre companies will turn down plays that require them to pay additional royalties to use specific music. That can be a major obstacle to getting your play produced. And yes, it is more than simply paying royalties (which some theatres will choose not to do). Permission can be refused for many reasons. Why put yourself in the position of being adament about a piece of music which may limit the production of your play. If the music is not specific to the play - rather, just creating a particular mood - you are much better off simply suggesting that music be played at this point in the play to create that particular mood, and suggest the particular song you have envisioned "or something similar". That way the company has the option of choosing something else - perhaps a song not requiring royalties, or even music specifically composed for that production. Remember, they may have knowledge, experience or resources that you have not imagined. Directors and sound designers have a wide range of knowledge at their fingertips. Why not leave room to make use of those?
In my capacity as a professional dramaturg I do work directly with playwrights as a script consultant - reading their plays, making suggestions on dramatic arc, character development and consistancy, and structure, and generally acting as a sounding board. However, I simply cannot read every script that aspiring playwrights would like me to and offer comments without charge, any more than you would expect a doctor to examine and diagnose you without charging for his services. If I did, I would have time for nothing else and couldn't make a living. Reading and analyzing plays takes time and skill, and writing comments takes more. Generally reading a play for professional analysis takes me several hours, and then several hours more to actually write up my comments and suggestions. My time is valuable and I charge according. If you are looking for that kind of professional analysis, then I'd be happy to talk with you about that.
If not, then why not ask some local directors to take a look at your play? If they are experienced they might be able to tell you what they think of it and whether they think it is producible or not and why.
In the end, though, RH, it is you who has to decide when your play is read for production. Public staged readings with feedback can be helpful in finding out what is working and what is not. Working with a dramaturg or having directors read your work can help as well. But ultimate the choice to send out your play for submission is yours. There are many companies around that specialize in working with new plays and helping their playwrights develop them. You might want to try submitting to several of them. Be aware though that they are innundated with new plays and often take months to get back to you - and usually choose only a few plays each season out of the hundreds they receive, so the odds are not great that your play will be chosen. But if it is good enough and right for the company you submit to there is always a chance.
I wish you the best on your play, RH. If you have any other questions I'd be happy to try to answer them for you.
