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Play Reviews – ONE ACTS, FULL LENGTH, PANTOMIMES Scripts from these and other publishers can be ordered by member clubs through the SCDA Discount Scheme, and a reading copy of most of these scripts is passed on to each of the SCDA libraries. For further details and application forms for the discount scheme please contact the National Office via the phone or by email. Please note that not all scripts reviewed are available for amateur production. Reviews by Stephen Lambert. NICK HERN BOOKS ‘Bully Boy’ by Sandi Toksvig One Act Drama in fourteen scenes Cast: 2 Male . ISBN 9781848422964 Falklands War Veteran Major Oscar Hadley is despatched to a combat zone to probe severe misconduct allegations against Private Eddie Clark a young squaddie from Burnley and part of a self-styled ‘Bully Boy’ unit of the British Army. As the interrogation progresses Oscar begins to discover that truth in a modern insurgency can be a personal point of view rather than a fact. This intensely moving and ferociously gripping play by Danish born writer, broadcaster and comedienne Sandi Toksvig tackles the challenging moral issues of contemporary military occupation and its effect on the mental health of serving soldiers with startling insight. An absorbing piece of writing which delves into an issue of burning relevance. Starring Anthony Andrews in the role of Oscar, it became the first production at the new St James Theatre, London in Autumn 2012. Background introduction provided. ‘Drawing the Line’ by Howard Brenton Two Act Drama. ISBN 9781848423725 Cast: 13 Male, 4 Female (with doubling) Another historical classic set in 1947 London, Delhi and the Punjab featuring leading politicians of the period including Atlee, Nehru, Ghandi, Jinnah and the Mountbattens. Summoned by the Prime Minister from the court where he is a Presiding Judge, Cyril Radcliffe is given the unlikely mission of travelling to India, a country he has never visited, and with limited survey information, no expert support or knowledge of cartography, is asked to draw the border that will eventually divide the Indian subcontinent into two Sovereign Dominions and to make matters even more challenging has only been given five weeks to complete the task. Wholly unsuited to his role, Radcliffe is totally unprepared for the dangerous whirlpool of political intrigue and passion into which he is plunged. As he begins to break under pressure, he finally comes to realise that the fate of millions of people lies in his hands. This historically illuminating play vividly reveals the chaotic story of the partition that shaped modern India and Pakistan. ‘Burying your Brother in the Pavement’ by Jack Thorne One Act Drama in ten scenes Cast: Principals 3 Male, 1 Female. Remaining 24 players plus extras are non gender or racially specific. Live music optional. ISBN 9781848424166 Tom’s brother Luke is dead and this has upset a lot of people except Tom. Rather it has upset him but in ways he cannot explain and other people can’t understand because Tom and Luke were never really friends – in fact Tom didn’t like his brother at all. So it’s an odd decision to try and bury Luke in the pavement of the Tunstall Estate where he was killed but to Tom it sort of makes sense in a stupid weird kind of way. As he steps out on the pavement he comes across planning officials, tramps, undertakers, policemen, sisters, mothers, estate agents, ghosts, elephants, dragons and a strange lad called Tight who wants to sell him a Travelcard. Jack Thorne’s play about coping with grief and looking at someone that little bit more closely was commissioned for the 2008 National Theatre Connections Festival and premiered by youth theatres throughout the country. Thorne is a BAFTA Award winning writer for television and films including Skins and Shameless. Ideal youth theatre material. ‘The Wardrobe’ by Sam Holcroft One Act Drama in twelve scenes. Cast: 13 Male, 9 Female, 6 non gender specific. All characters between ages of eleven and twenty. ISBN 9781848424098 Across seven centuries, small groups of children have sought sanctuary in the same solid old wardrobe because it’s the safest place they can find. A gripping journey through British history from 1485, through Stuart, Hanoverian and Victorian times to the 21 st Century that illustrates how our country was shaped and the connections which exist with our past. Commissioned for 2014 National Theatre Connections Festival, this beautifully written piece seamlessly weaves humour with historic moments that ultimately depict the loss of childhood innocence. Suitable music ranging from Baroque to Pop or sound effects could be utilised to identify the various time shifts. The Playwright recommends that only nine of the scenes (Director’s choice) should be performed. The imposing wardrobe which must accommodate four people remains on stage throughout rotating to reveal its period contents. Highly recommended youth script. ‘Same’ by Deborah Bruce One Act Drama in three scenes Cast: 5 Male 9 Female (doubling possible) ISBN 9781848424081 When Josie passes away in a Care Home her grandchildren gather to share their memories of her and the fellow residents feel the effects of her death as the funeral takes place. The play poses the question of whether the gulf between young and old is as wide as it feels or are we fundamentally the same inside whatever our age. The older characters in their seventies and eighties were written to be played by teenagers with the intention of enabling the audience to see the young person within the old. Another youth play from the 2014 National Theatre Connections Festival. ‘The Middlemarch Trilogy’ by George Eliot (adapted by Geoffrey Beevers) Volume of Three Full Length Plays Cast: 6 Male, 5 Female (with doubling) ISBN 9781848424050 The three plays ‘Dorothea’s Story’, ‘The Doctor’s Story’ and ‘Fred and Mary’s Story’ can be performed as a trilogy or separate stand alone productions and single editions are available, contact: info@nickhernbooks.co.uk 16 George Eliot’s Middlemarch is peopled with some of literature’s most memorable characters relating the story from the perspective of differing sets of folk from county, town and countryside. In ‘Dorothea’s Story’ set amongst the mansions of the local aristocracy, young and intelligent Dorothea becomes enamoured of the pedantic Reverend Casaubon and marries him much to everyone’s disbelief. However her friendship with Casaubon’s young cousin Will Ladislaw arouses suspicions in her new husband who will do anything to thwart their mutual affection. ‘The Doctor’s Story’ is set in the town of Middlemarch where everyone knows each other’s business and when idealistic Dr Lydgate arrives determined to achieve great success he catches the eye of the Mayor’s beautiful daughter Rosamund. Lydgate eventually becomes torn between ambition and loyalty when he is drawn into an alliance with a corrupt banker. In the poignant yet light hearted ‘Fred and Mary’s Story’ set amongst the hard working country folk, Fred attempts to please his parents by becoming a country gentleman but his childhood sweetheart Mary intervenes. These adaptations are an absolute delight of elegance and gentle wit. Actor and Director Geoffrey Beevers has made many TV appearances ranging from Jewel in the Crown to Dr Who and has a particular love for the works of George Eliot, having previously adapted Adam Bede and Silas Marner for the stage. Contains comprehensive notes on the adaptations and staging. SILVERMOON PUBLISHING ‘Flushed’ by Ron Nicol One Act Comedy Cast: 3 Female. ISBN 9781910457023 It’s Singles Night at the local dance hall and former school friends Meg and Jan are sharing a welcome break from their exertions by spending a penny in the somewhat dilapidated basement Ladies Room where the play opens with the hilarious routine of attempting to pass several spare toilet rolls from one cubicle to another with limited success. Meg eventually emerging with the back of her dress tucked into her pants, minus a shoe, draped in sheets of toilet paper with her leg make-up partially washed away by overbalancing and nearly being flushed down the loo. Next the girls start criticising Tara who is secretly hidden in another cubicle listening to their insults and when revealed a jealous fight ensues sending hair extensions flying. The disasters just continue to multiply with locked doors, fusing lights, losing mobiles down the pan, spraying people with a soap dispenser – and just when there is an opportunity to escape, Meg becomes trapped in her cubicle. Contains furniture, props, lighting and sound information. A fun choice for the Festival circuit from one of Scotland’s most prolific playwrights.
The Five Cs of Stage Presence Why is it that some performers draw us into them? What is it about their performance that means you can’t take your eyes off them? More than likely, it is the phenomenon known as ‘stage presence’. But what exactly is ‘stage presence’? And more importantly, how do you acquire it? People who have presence are able to walk into a room and turn heads; they seem to fill the room with their magnificence. We see and feel presence in performers, politicians and people from all walks of life. Not everyone seems to have ‘it’ but those who do seem to be able to generate that intangible sense that someone special has entered the space. The good news is that everyone is born with presence – everyone makes some kind of impact when they walk into and leave a space. The difference between people who command attention and those who don’t is the quality of their presence. So how does a performer improve the quality of their presence and develop the elusive attribute known as ‘stage presence’? Here are five tips for supercharging your ‘stage presence’: Confidence The first and most important step towards developing stage presence is confidence. Mostly this comes with preparation – researching your character, understanding what makes them tick, creating a believable back story for them, learning your lines, rehearsing your moves and interactions with other actors so that everything you do on stage comes naturally and appears effortless. Once you have prepared and rehearsed adequately, you also need to have the confidence to let it go and trust your preparation so you can be fully present on stage. Character If we look at individuals who have a strong presence when speaking in public for example, it is because they are authentic and comfortable with who they are and the message they are communicating. Their character is genuine. For actors it is about understanding the character you’re playing and ‘becoming’ the character so that you can play it truthfully and believably. Everything that you do on stage needs to be congruent with your part to enable audiences and fellow actors to trust and believe that you really are the person you are portraying. Connection When you are performing you are connecting with your character, with other actors and with the audience and generating a dynamic energy. This energy is what brings the performance alive; it is how the magic is created. Learning simple stagecraft helps to ensure that the energy flows effectively – for example by not upstaging or blocking other actors and by keeping your body open to the audience where possible. Creativity The rehearsal process involves a certain amount of creativity as you develop your character. It gives you an opportunity to explore your character’s traits and make unexpected choices that will ensure your character is interesting for an audience to watch. Try to come up with ways to avoid predictability which will keep everyone intrigued. Thorough preparation and concentration during your performance enables you to be alert and ready to creatively improvise in character if something goes wrong during the performance. Commitment The final requirement is commitment and complete focus. If you are not enjoying yourself and fully committed to what you are doing, how can you expect your audience to be? You need be passionate about the process and the performance and commit completely in rehearsal and during the performance. There is no way to fake this; it will show through at a subconscious level even if you or the audience are not aware of it on a conscious level. By incorporating the 5 Cs into your preparation and performance you will improve the quality of your ‘stage presence’. Your character will be captivating from the moment you arrive on stage until the moment the curtain closes. Your supercharged ‘stage presence’ will keep your audience spellbound. And isn’t that the ultimate goal of every performer? Mel Sherwood Mel Sherwood is a speaker, coach, trainer, writer and performer. She is passionate about communication and is the founder of Grow Your Potential, a company providing the seeds to speaking success. www.grow-your-potential.com
Page 1 and 2: scene Winter 2014 The magazine of S
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