George Talaszek's Lounge Discussions

You don't MAKE a play, You WRITE it! There is no one process... as many as there are playwrites. Take one of your screenplays - one you think would make a stage play. Imagine it on a stage, not a screen. Take away all the screenplay instructions (shots, close ups, Notes, etc. ). Start with that... but START ALREADY! I write for the stage,but every time I put in too much stage direction, I get asekd "Is this a Screeenplay?"). I don't write screenplays because I think it is too techy and subjective. I truly believe screenwriting is an art and that it occurs "on the fly"... actors, directors and others co-op to make the final product. For me, I write a play and don't like to give the actors much leeway... in a sense, I direct.... a habit I am tryingto break.

Samuel French used to have a little pamphlet, written in play format, that explains play format.

Good advice George. Another thing you might do Cherie is go see a number of plays to get the "feel" of the stage and audience, which sometimes is different, often more personally involved than a movie audience. The "feel" of the stage play should certainly include the restrictions and limits of the confined spaces and scenes and the more extensive use of dialogue and character introspection, rather than use of mostly visual storytelling. Read some famous plays too, just as you would screenplays to learn the format. From one who has acted in many stage plays, musicals and operas, I don't believe you can write a play before experiencing many, at least from the audience. Go for it and "break a leg" Cherie, as we say in theatre!

If you've been involved in screenwriting, I'm guessing you have a program for that. Most of the leading software programs for screenwriting also include something resembling standard professional format for stage plays -- this is substantially different from the format used in published plays -- either within the program or as a free add-on. If you don't have that, playwriting format is easy to do with Word or any similar program. And unlike what happens in Hollywood, literary managers and artistic directors of theatres are reasonably forgiving on format for stage plays, though some new play contests are annoyingly specific on their format demands. There's a whole section on stage play format in Playwriting Seminars 2.0 and similar handbooks. Here's the link to the Samuel French format guidelines (more than a few ADs and Lit Mgrs might raise an eyebrow or two at the placement of character stage directions, but it would be rare for any of these folks to toss a script because of that): http://www.samuelfrench.com/content/files/upload/General%20SFI%20Formatt...

Thanks guys. Every bit of advice helps. I have seen a few theatre productions over the years and will be seeing one next month. So I'm not new to its enjoyment. Actually it'll be my third this year. (and I'm not talking musicals) I am currently reading Oscar Wilde's 'The importance of being Earnest'. I own a book of his complete works including plays. I haven't been able to find any play writing contests here in Australia. It's a smaller world than in the US. Thanks for the link too.

Eugene Debs

I contacted Jim Clark andgot his permission for you to make contact. He has been involved in the Peace movement since its inception and has been a founder of Credit unions. He has hourded documents with the intention of granting them to Columbia. His background includes:STduied forthe priesthood - Green Beret - College Professer - father of6 kids and a tom more. We are in Staten ISland NY. If you are looking for background or Character development - either way, I think you'll find him interesting. Let me know and I'll make the introduction.

Hi James. Totally understand about the lack of male actors issue. The amateur group I'm with has the same problem. We had a guy that backed out on the day before the performance. I have a play has one man, but can be replaced with a woman, if interested connect with me.

James, did you find a play? If not, here's some info about my play NARROW HALLWAYS. NARROW HALLWAYS A full length play with no intermission but there’s a point one can be easily inserted One set: living room of a country house outside of NYC Set in 1933, a shooting at a weekend house party leads to more than the killer being revealed. Cast of Characters SIS HOWARD - 31. Married. East Coast society matron in the making. Her parents left her and her brother in charge of the party while they attend a funeral. BRO COOPER – 29. East Coast upper crust. Man-about-town. His goal is to find the best speakeasy. DENA NORTH – Mid 60's. East Coast society matron. So correct she makes Emily Post look like a floozy. PALO BARRIOS – Early 30’s. Cuban. Latin good looks. Suave. Dena’s house guest. RADA – 40's or 50's. Slight Eastern European accent. No nonsense. A spy in WWI who’s writing a book. EDEN – Late 20’s. Beautiful. Self-confident Black woman. A stenographer who is there to help Rada with her book. VERA LA VEE – 31. Down on her luck platinum blond. Bro’s girlfriend. Please let me know if this is something you'd be interested in. Good luck. Ann

Hmm, this was posted several months ago -- and then James Meehan stopped posting. I'm guessing this went into the void.

James, hello please visit my site: http://dreamartsproductions.com/what-have-we-done.html 'Talk to the Hand', 'Come Again' and 'That Irish Thing' are ready to be staged. 'Talk to the Hand' will gets its first staging in NJ around 6 months from now. Let me know if you want to read the full script of any of these. Ciao Brenda Iovino

My name is Ruth K Brown and I am proud to say I am the President of Aim for Applause, www.aimforapplause.com As a short introduction to me, I am an award-winning actor and director having started in my home state of Michigan and continuing in Delaware, Maryland, Pennsylvania and New Jersey since moving to the Mid-Atlantic area in 1997. I am also currently serving as Treasurer of the Delaware Theatre Association (DTA) and Secretary of the Eastern States Theatre Association (ESTA), comprised of DE, MD, PA and NY. I have long dreamt about being in a position to support original playwrighting and the subsequent production of original works. J&G has given me that ability and for that I am very grateful. Working with J&G Unlimited, LLC has rekindled and supported my long held belief that the linking between playwrights and production venues is difficult at best. What exists online seems to tend toward the larger venues and highly ambitious playwrights . When J&G approached me to work with them on their design for Aim for Applause (AFA), I jumped onboard because the design is geared to support theatres in our communities ... the first function being developed is to help community authors to market and community theatres to find original scripts they might have no other way of finding and performing. AFA has been under design and upgrade for months and now it is available to accept new members and new scripts. During this crucial preparation stage, people reached out to J&G asking about using AFA. This email is my Welcome Aboard!! to you and my offer to assist you with joining AFA as a member and loading any/all original and copyright/registered scripts into this online tool. AFA is in the beginning stages and the more scripts that are available online the more quickly outreach efforts to venues and theatrical decision makers will begin to result in productions. As President I am knowledgeable about the functionality and operation of AFA and will work with you to accomplish whatever you want to do with AFA. Please give me a call or email me (business card attached) and we can get started together. Thank you for your interest in AFA. I am looking forward to speaking and working with each and every one of you. After all, theatre success is directly dependent upon your creativity!

Hey Alle. Here's my pitch. It might be a little on the long side, but I'll give it a shot because I only finished the play a month ago, and everybody who seems interested in it, wants me to PDF them the play. Shepsel Malfatano comes back to his old neighborhood, East Harlem after a thirty year absence to find his half brother who is known by everybody as the Barracuda for biting a guys ear off in a fight to make a long awaited amends to Barracuda for costing him a three year prison stint when he left the Barracuda high, and try during a gun store robbery to be caught. Shepsel is not met by the Barracuda with open arms to say the least. It seems the only way the Barracuda will forgive Shepsel is by him proving his manhood to him by either hitting Jose; the kid who sells pot for Barracuda, or doing some kind of insane manly act. Shepsel stands firm to his pacifist ideals which came upon him as a member of Alcoholics Anonymous. In the course of the night these two half brother's will fight tooth, and nail in what really constitutes the meaning of manhood. Barracuda believes respect, and fear is what he wants the most out of life while on the other hand, Shepsel believes the meek shall inherit the earth. As the night goes, on Barracuda boast about how his father, the mafia hit man is proud of him because he turned out the way he did. Barracuda's peace with his father only triggers Shepsel into a realization that their father was anything, but a worthy father who gave neither one of them any love. Barracuda vehemently disagrees as he holds onto his illusion. In the course of the night Shepsel will grow stronger in comfortably of his manhood while Barracuda unravels to the point he tells Shepsel a deadly secret of how much he has actually failed as a man when he confesses the deadly truth of his relationship with his father. By this time Barracuda has been drinking heavily, and secretly plans his death on his own terms by shooting beebee pellets out the window at the Puerto Rican's across the street knowing full well they hate him. Even after, his pot partner, Jose warns him that Carlos has a gun, and will use it if you continue to shoot beebee's at them. In his own demented way; this is what the Barracuda wants. Shepsel desperately tries to talk sense into Barracuda, but barracuda is hell bent on destruction.; he failed as a man, and wants to end it. Finally, Carlos comes up with a gun, and points it at Barracuda, but is somewhat shocked when the Barracuda opens his shirt, and baits Carlos to shoot him. Finally, Barracuda lunges at Carlos with a knife leaving him no other choice but to shoot the Barracuda. Shepsel clings to his half brother, and vows from this day forward he will take care of him as an ambulance can be heard in the distance.

Understood, Mate. I knew when I sent it; I had my doubts about it. All I can say is I'm new at this after being away from the arts for many years to raise a family. Thanks for in the insight. I learned a valuable lesson from your feed back. Because of your precious feedback; I'm going to be more alert for what is really wanted. I guess I wasn't prepared because you were the first person to ask for a log line. Everybody else I just PDF'd the script to. So I guess it goes without saying; you don't want to read the play. I guess it all comes down to karma.

Coming soon - ME! As soon as I get control ofStage 32, I'll be making some of my work available.... An Irish play written by a pollack?

Hey George! That sounds like an interesting idea; an Irish play written by a POLLACK.