Stories High 12 Reading Cast of Thicker Than Wine (l:r-Patrick Silvestre, Rob Trinidad, Alan Quismorio, Aaron Niles, Gemma Calderon, and Aura San Miguel)Ooooos Ahssss And Hahahas are what hooked me into the Theater game in the first place, but those audience reactions were always a by-product of seeing a story brought to life on stage. One of my favorite audience moments was during the reversal scene from my play, BORDERS. In it, a woman discovers that a flirtatious guy sitting at the next table in a cafè isn't whom she (or the audience) thinks he is. "Oh my God," was caught from an audible whisper of the person next to me as I watch the scene unfold from my back row seat at the old (current Boxcar) Bindlestiff Studio Blackbox Theater.
Sometimes I get so caught up in being solo in writing a story that I tend to over intellectualize it. From dissecting the level of conflict, flow of dialogue, to character names, especially in during the incubation of a play can be a very personal and sometimes lonely journey. But the light at the end of the tunnel appears when I finally get that story in front of a real AUDIENCE during an un/staged reading. I'll define audience as consisting of a sample size of more than 10 strangers "off the street" type.
What I love about writing for the stage is, duh, the ALIVE audience! If they're asleep, you fail. Bored, looking around, reading the program, talking on a mobile - all the same. Fail. That's why the value of these pre-produced readings is Gold!
I recently had one of these readings produced by Bindlestiff Studios for my newest play, THICKER THAN WINE. I've already heard my play hundreds of times in my head, so I know it's good, but that judgment isn't worth spit if the people I'm writing for aren't engaged in the story I created.
There is a caveat to this though: don't let the audience change the core of the story. Their reaction can cause you to re-write the entire play, but the core/theme/message chose you to write. I've been down that road with THE GIFT. After a reading, I re-wrote the whole script with new characters and setting! Lesson learned: Don't do that again. But I did learn from that audience reaction from this staged reading.
Look for these opportunities to get your play seen in these types of readings cuz you'll def learn so much from them. I did!
Sometimes I get so caught up in being solo in writing a story that I tend to over intellectualize it. From dissecting the level of conflict, flow of dialogue, to character names, especially in during the incubation of a play can be a very personal and sometimes lonely journey. But the light at the end of the tunnel appears when I finally get that story in front of a real AUDIENCE during an un/staged reading. I'll define audience as consisting of a sample size of more than 10 strangers "off the street" type.
What I love about writing for the stage is, duh, the ALIVE audience! If they're asleep, you fail. Bored, looking around, reading the program, talking on a mobile - all the same. Fail. That's why the value of these pre-produced readings is Gold!
I recently had one of these readings produced by Bindlestiff Studios for my newest play, THICKER THAN WINE. I've already heard my play hundreds of times in my head, so I know it's good, but that judgment isn't worth spit if the people I'm writing for aren't engaged in the story I created.
There is a caveat to this though: don't let the audience change the core of the story. Their reaction can cause you to re-write the entire play, but the core/theme/message chose you to write. I've been down that road with THE GIFT. After a reading, I re-wrote the whole script with new characters and setting! Lesson learned: Don't do that again. But I did learn from that audience reaction from this staged reading.
Look for these opportunities to get your play seen in these types of readings cuz you'll def learn so much from them. I did!
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