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The dialogue is packed with dirty humour 'Think of all the potential fanny! The actors shine — but they'd be fools not to, given this gift of a script.


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What's more, the funny lines and quips usually dig at something quite profound. Urch's distinct voice. Chris Urch has penned a classic. Chris Urch's remarkably potent first full-length play. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter.

Charles Mee | the (re)making project | The Plays

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Your play will have a better chance of being produced if it can be adapted to fit any performance area. Keep your play as simple as possible in terms of props, scenery and lighting effects. The less complicated it is the better the chances it will find a home. Many touring theatre companies have a relatively small cast so it will help your chances if you limit the number of characters in your script. As you plan your story keep the number of characters to a minimum and keep asking yourself how a small cast would go about staging it.

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Start with a baseline cast of four: two men and two women. Depending on how the story develops you might have to expand this minimum cast considerably, but also keep an eye out for any opportunities for actors to take on more than one role.


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The more characters you introduce, and the more you have on stage at any one time, the greater the potential problems a small theatre company will face. To save time some producers prefer to read a story synopsis before tackling the script itself. See also Submissions. The difference between a One-act play and a Two or Three-act play is the same as the difference between a short story and a novel see Short stories and many of the same rules apply. Most One-act plays are presented as part of a series.

Argument from silence

For example, a theatre company might put on a performance of four or five One-act plays written around a common theme human rights, the future, consumerism the combined length of these plays being between 90 and minutes. It will be too long to be shown alongside shorter One-act plays, and too short to be put on as an individual production. If you have a long One-act play either cut it back to a maximum of forty-five minutes, or expand it into a Two-act play. In a full-length play you can introduce complex characters with hidden motives that are only slowly guessed at by the audience.

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Aim for a simple storyline with a punchy ending. In the same way that a short-story should end with a twist, your One-act play should go out on a high: something dramatic and memorable. Read guidelines carefully and follow them to the letter. Time-breaks Many playwrights use the intermission as an opportunity to introduce a time-break. Laying out your script Follow the format below.

Will they get it in the back row? Use curtain-lines A curtain-line is the cliff-hanger that ends an act — the last line spoken before the curtain comes down. His co-stars are no less accomplished at rendering the nuances of their characters lucidly. Armbruster a dead ringer for Laura Linney plays the ambitious Emily with a natural poise. Jensen handles the main combat chores with aplomb in the pivotal argument with Amir.

And although her role is the least substantial of the four principals, Ms.

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When a late-coming revelation about a sexual secret is added to the mix, this pinball machine threatens to flop into tilt mode. Everyone has been told that politics and religion are two subjects that should be off limits at social gatherings. But watching Mr.

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An Argument Against Contemporary Theatre