The 1000 Monkeys Project featuring five Calgary playwrights is just one of the many shows you can see during the unrestricted, unexpected, unforgettable 17th Annual Calgary Fringe Festival running in Inglewood from Friday, August 4th to Saturday, August 12th.
Other shows include:
Mail Ordered by Shanice Stanislaus – a “Pick of the Fringe” at last year’s Vancouver Fringe Festival that has been described as “Wildly Funny” and “Delightfully Interactive.”
Date Night by the Sunflower Collective Theatre – an interactive, semi-improvised play about dating, caring, and mental illness in today’s world where audiences navigate the awkwardness and joy of second dates and the intimacy of telling someone who you really are behind the dating profile.
Underbelly by Ragmop Theatre – a one-woman surrealist physical comedy featuring monsters, dismemberment, shower opera, inconceivable truths, and a hot date.
For complete details about all the shows in this year’s festival and to purchase tickets for in-person shows or on-demand shows visit the Calgary Fringe Festival Website or drop by the Fringe Festival Box Office at Festival Hall and pick up a program. Regular tickets are just $20 bucks with several shows offering multiple pay-what-you-want performances.
My own ten-minute comedy Happy Birthday Theo about two old friends who have fallen on hard times and now live in a junk heap is a part of the 1000 Monkeys Project and is presented by the Alberta Playwrights’ Network. I contacted Trevor Rueger the Executive Director of APN by e-mail to ask him a few questions about the Fringe and what exactly the 1000 Monkeys Project is all about.
TREVOR RUEGER
The two previous years we partnered with the Calgary Fringe and invited playwrights to spend 24 continuous hours writing a piece for presentation at the end of the 24 hours. We housed, fed, and watered the playwrights at Festival Hall the first weekend of the Fringe. When the 24 hours were up, the writers would go home and sleep, while we would read and rehearse the plays and then present them to an audience that evening.
Because the Fringe is getting back to pre-COVID levels for the amount of work they present (which is a great thing), our presentation time was limited. So, this year we decided to model the 1000 Monkeys Project on an event we produce in Edmonton called EDMONten. We invited Calgary and area playwrights to submit complete 10-minute plays. We had 23 entries, and a jury selected the 5 works that are being presented at this year’s Festival. So, we are considering ourselves the best value for money at the Calgary Fringe – you’re going to get 5 plays for the price of 1.
JAMES HUTCHISON
I like the ten-minute format. In fact, I think you can cover a lot in ten minutes. What are the things you think make for a great ten-minute play and just how big a story can you tell in that time?
TREVOR
I love 10-minute plays, not just because I have a short attention span… (stops writing because he gets a Twitter notification) …sorry where was I? I love 10–minute plays because as a writer you have to get to the crux of the story immediately. You don’t have a lot of time to linger in exposition, specifically about the time and setting.
This means that as a writer you are kind of forced to create a situation that is immediately recognizable to an audience and is universal in its theme. You are also forced as a writer to make the action immediate. If Hamlet was a ten-minute play, you would have the ghost of Hamlet’s father show up and say he was murdered by Claudius. “Ghost: Revenge my untimely murder. / Hamlet: I’m on it pops!” The plays this year are a variety of big themes and events, and small snapshots of human interaction.
JAMES
So, tell me a little about the plays we’re going to see. Are they comedies? Dramas? Rants about corporate greed or diatribes about pineapple on pizza? Are they stories of love? Ambition? Hope? Despair? What are we going to see?
TREVOR
You’re going to see a beautiful mix of plays – an absurdist look at corporate culture, a drama about the restaurant industry, a Beckett-esque search for the meaning of life, a scene from a mysterious waiting room, and a memory play. Each play is wildly different from the next, but what makes them fantastic is the well-crafted characters in a variety of situations dealing with a myriad of crises.
JAMES
Alright, you can’t have a reading without actors. Who are some of the actors you’ve lined up for the show?
TREVOR
Casting a number of plays for one presentation always presents a challenge. We can’t afford to hire the perfect actor for each character. So we cast an ensemble of really talented character actors who are able to make big, strong, and quick choices. What we tell the audience before we start the presentation is that “not every character will be portrayed exactly as written in terms of age, race, or gender, so we ask you to use your imagination.”
In the cast, this year is Elinor Holt who was most recently seen in the Stage West production of 9 to 5: The Musical, for which she received a Betty Mitchell Award for Outstanding Performance, Lara Schmitz an incredibly talented actor and writer, Eric Wigston who audiences will have seen on stages all over the city, and myself reading stage directions and taking on a couple of roles.
JAMES
This is the 17th year for the Calgary Fringe. We have Fringe Festivals all across Canada including some big ones in Edmonton and Winnipeg. There are lots of festivals in the U.S. and of course the big one in Edinburgh. I’m curious about a couple of things. First, what do you think the Fringe offers artists and second, what do you think audiences get out of Fringe Festivals?
TREVOR
What the Fringe offers artists is an opportunity to create and present without limits. It provides an artist, or collective of artists an opportunity to experiment, develop, and test-drive their material in front of a live breathing audience. What audiences get are the fruits of those labours. The Fringe offers both the artist and the audience an opportunity to take risks. As an artist you might discover that your work has the opportunity for a bigger life after the Fringe, and for an audience you might be seeing the first version of a play that makes it big!
JAMES
I’ve seen some great shows at the Fringe including Six Guitars and Nashville Hurricane by Chase Padgett, God is a Scottish Drag Queen by Mike Delamont, and Clarence Darrow with Brian Jensen playing the legendary lawyer. What has been a great show or two you’ve seen at the Fringe and why and what has it been that has made them so memorable or inventive?
TREVOR
My very first Fringe (Edmonton) as an artist, in 1990 I saw a production of Macbeth by a company called English Theatre In A Suitcase – 5 actors, 90 minutes, 7-minute two-handed broadsword fight at the end. It blew my mind. The only thing that wasn’t created on the stage by the actors was the lighting. It was so simple and dynamic at the same time.
Two of the other memorable shows were made memorable by the fact that they were one-person shows by people who were not actors. They were people who had overcome something major in their lives and shared their very personal experiences. What made them both great was that what they shared was not for the benefit of their own personal healing, but was for the audience to examine themselves and their own situations and hardships. What makes a Fringe show great to me, is the same thing that makes theatre great – the sharing a story with an audience, not the indulging in a story for the artist’s ego.
“Imagine truth as a chain of great mountains, their tops way up in the clouds. Writers explore these truths, always looking out for new paths up these peaks.”
“So the stories are paths?” Pasquale asked.
“No,” Alvis said. “Stories are bulls. Writers come of age full of vigor, and they feel the need to drive the old stories from the herd. One bull rules the herd awhile but then he loses his vigor and the young bulls take over.”
“Stories are bulls?”
“Nope.” Alvis Bender took a drink. “Stories are nations, empires. They can last as long as ancient Rome or as short as the Third Reich. Story-nations rise and decline. Governments change, trends rise, they go on conquering their neighbors. Like the Roman Empire, the epic poem stretched for centuries, as far as the world. The novel rose with the British Empire, but wait…what is that rising in America? Film?”
Pasquale grinned. “And if I ask if stories are empires, you’ll say- “
“Stories are people. I’m a story, you’re a story…your father is a story. Our stories go in every direction, but sometimes, if we’re lucky, our stories join into one, and for a while, we’re less alone.”
Excerpt from Beautiful Ruins a Novel by Jess Walter
I finished reading Beautiful Ruins by Jess Walter a few days ago and I really liked that passage, and I thought stories can be many things but in the end maybe the whole purpose of a story is as Alvis puts it – to make us feel less alone. And maybe it does something more. Maybe it also makes us feel more connected to each other. And in this age of disconnection and conflict and rage maybe that’s a good thing.
But I have to wonder if that’s about to change. I wonder if the creation and telling of stories is about to be disrupted.
Tom Scott – I tried using AI. It scared me.
That’s because I watched a YouTube video by Tom Scott and he had a story to tell about how he thinks AI might be about to change everything. Scott is a British YouTuber and web developer who produces educational videos across a range of topics including science and technology. Scott thinks a big disruption is coming. Artificial intelligence could soon be ushering in a revolution in how we work and interact.
What that will look like exactly – I’m not sure.
But I will say this, artificial intelligence makes complete sense to me. And it will eventually be much smarter than us. It’s something we already do. We build machines that are faster than us – such as cars and airplanes. They exceed human ability. And bulldozers and excavators and dump trucks exceed our physical strength many times over. So, of course, we’re going to eventually build machines that are smarter than us. It won’t be biological intelligence it will be machine-based intelligence and the mechanism will not be the same as our brains. After all, do machines such as excavators use muscle and bone – no. They use steel and hydraulics. So, why wouldn’t AI be based on something other than what makes our organic brains work?
Where did all the secretaries go?
So, what does this mean? On a big scale, it might mean that the old idea of work for pay and jobs and how we organize the world will change. Remember secretaries and secretarial pools? Do you remember how many people were employed as secretaries? It was huge. In 1950 if you said one day there won’t be these huge numbers of people working as secretaries people would have a hard time imagining that world. Who would do the work? How would managers handle all the filing and paperwork and scheduling? Where are the secretaries now? They’re gone for the most part – yes there are a few but in the past, secretaries offered everyone administrative support. Nowadays we have administrative assistants who provide support to the top brass. A lot of the jobs and the work secretaries did was replaced by Microsoft Office and Google Docs.
So, we’ve had lower-level jobs being replaced by programs and machines for some time now but maybe we’re on the cusp of a change where AI might be able to replace more advanced jobs. Just think how different the world would be if you could eliminate half the middle managers in your organization. Heck, maybe you could eventually eliminate 90% of managers and vice presidents and in the long run maybe even a CEO or chairman of the board. Any job that requires decision-making could be a candidate for replacement by AI. Are we there yet? No. Will we be soon? Maybe. How soon? Well, that’s partly what Tom Scott’s video is about.
Star Trek offered hope for the future.
I’ve always liked science fiction stories about artificial intelligence. Who doesn’t like HAL? Everyone’s favourite homicidal superbrain. But you know one of the things I’ve always found odd was the desire of an AI character like Data from Star Trek to be more human. Why would an AI want to be human? I’m more interested in humans that want to be more like Data. Those are the stories that interest me. Humans that desire an increased capacity for analysis and decision-making without the interference of emotion. Although I must say I do enjoy Kryten’s attempts to be more human on Red Dwarf. Kryten is the robot from the long-running British comedy scifi series about a small group of misfits returning to earth after three million years in deep space. And I get it. I understand that even a story about artificial intelligence is actually a story about being human. I mean the same goes for Chicken Little and Paddington Bear and Woody from Toy Story. All stories are about some aspect of humanity and what it means to be human. They aren’t really about what it means to be a marmalade-loving talking bear or a chicken or a toy.
And so one of the reasons I loved the original Star Trek series and Spock so much was because the Vulcan culture was all about controlling your emotions and using logic to live life and make decisions. It was a rational way of approaching the world and I loved the idea of humanity reaching for the stars and overcoming our darker tendencies. Star Trek was hopeful. And in a world where we still live with the daily threat of nuclear annihilation, I like to believe that in the future we’ll unite in a way that allows us to reach the stars and explore space. I hope that humanity lives on long into the future and that our tendency towards emotion and conflict and tribalism doesn’t prove to be a great filter. The thing is if we’re going to reach the stars and subsequently ensure our survival as a species then we’re going to need AI. We’ll need robots. We’ll need machines and computers that exceed our human ability.
I’ve actually written a play about artificial intelligence.
I’ve actually written a short play about artificial intelligence called Perfect Match. The Perfect Match Corporation provides humans with robotic companions. It’s a half-hour comedy and you can download it from my website and read it for free. If you want a good laugh or some interesting topics to chat about or are looking for a short funny and easy-to-stage comedy I can’t think of a better option than Perfect Match.
Anyway, I have rambled on for some time following my mind where it leads me. Maybe that’s a big difference between human intelligence and AI. Our brain is never quiet – it is always thinking. And it is always – regardless of how logical we want it to be – tied into our emotional and physical selves. Our needs, desires, and hungers are part of who we are and they influence our actions as significantly as our intellect. Anyway, have a listen to Tom Scott and his recent story about how backing up his Gmail and trying to fix a problem with e-mail tags led him to think – Holy Sh*t! Are things about to change? He never actually said, “Holy Sh*t! Are things about to change?” I did. That’s me using some artistic licence and a more dramatic set of words to convey the idea.
If you don’t get a chance to watch it Scott basically looks back on the previous big disruption to the world when the internet and smartphones completely transformed the way we live and how we do business. The warning shot then was Napster. Napster changed the music industry and heralded in a very different world. This time the warning shot might be ChatGPT.
Oh, and while we love stories and stories connect us I guess the question for me is – will all the stories and plays and poems and movies and music we’ll be consuming in the future be the creation of the human brain or HAL?
And then just as I was working on this blog post right on cue, I got a newsletter from Descript which I started using a few months ago to help me with transcribing my audio interviews into written text. They just published a blog post titled: The ultimate list of AI tools for creators. I’m guessing the ultimate list of artificial intelligence tools will need to be updated – constantly.
I spend a lot of my time thinking about story and what story means and how stories should be told. I’ve read Story: Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee, Making Movies by Sidney Lumet, The Playwright’s Guidebookby Stuart Spenser, and The Hidden Tools of Comedyby Steve Kaplan among others and you can learn something from all of them. In fact, I’m starting to reread some of these books because most of them I read seven or eight years ago. I’ve listed these books along with a dozen others at the end of this blog post that you can check out.
Plus if you’re looking for some submission opportunities have a look at my Submission Opportunities for Playwrights page. I’ve listed several opportunities and provided a short description of each as well as a link to each opportunities website for further information. This is a list I update and add to a few times a year adding new opportunities or removing old ones that have been discontinued.
When it comes to writing you’re always learning – always seeking knowledge – always on a quest to improve your ability to tell a good story. Which brings us to the subject of this blog. What do you say when somebody asks you about your story? Do you have a one-line description? Do you dive into a quick summary of the plot? Do you even know where to begin? It can be a challenging question to answer because it depends on how you define your story.
Do you define it by genre?
Do you describe your story based on its three-act structure?
Do you describe your story based on a classification system such as the one described in the book Save the Cat by Blake Snider where he identifies ten different types of movies including Monster in the House, Dude with a Problem, and Superhero? Each type of movie Snider discusses has particular storytelling elements. For example, in Monster in the House, the protagonist is trying to survive a monster. The house must be a confined space and some sort of sin is committed that unleashes the monster. So, in the film Fatal Attraction the Monster is Alex Forrest played by Glenn Close and the sin is the affair. These are primal films.
That’s one book. Another book is 20 Master Plots by Ronald B. Tobias and his categories include Master Plot Classifications such as Quest, Escape, Underdog, Metamorphosis, Forbidden Love, and Revenge. Again, each Master Plot has specific elements and in the Quest plot, for example, your protagonist is motivated to find a person, place, or thing. The protagonist should have one or more companions on his journey and in the end what the protagonist discovers is different than what he thought he’d find.
And just this week I stumbled upon another book called The Seven Basic Plots by Christopher Booker. This is a hefty volume with the paperback edition coming in at 738 pages compared to 278 pages for 20 Master Plots and 195 pages for Save the Cat. This is a much more academic book and his classification system includes The Quest, Rags to Riches, and Comedy. Yes, comedy is a stand-alone category. So, too, is tragedy.
So, which of these classifications is the right one? The answer is they’re all right and you can use whatever one works for you. I’ve come to the conclusion that the most important thing is whether or not it helps you with your writing. Can you use it to understand your story and does it give you a way to talk about your story with others?
So, I’ve been thinking do any of these classification systems work for me? And I like a lot of the things they say and the story elements they discuss, but I think they’re too complicated. So, after some thought here is my unscientific story classification system including thirteen examples of each.
I think there are only three types of stories. There’s the survival story, the love story, and the quest story. That’s it. And each story can be told as either a comedy or a drama with extreme comedy being satire and extreme drama being tragedy. As far as genres go each type of story can have multiple types of genres so, for example, you can have a science fiction or fantasy story that is about survival, or you can have a historical fiction or a vampire story that is about love.
THREE TYPES OF STORY – SURVIVAL STORIES
SURVIVAL STORIES
TYPE
GENRE
ENDING
Ready or Not
Satire
Horror
Happy
Marathon Man
Drama
Suspense
Happy
A Quiet Place
Drama
Science Fiction
Happy
Misery
Drama
Suspense
Happy
Sleuth
Tragedy
Mystery
Unhappy
Shawshank Redemption
Drama
Epic
Happy
Parasite
Tragedy
Suspense
Unhappy
Star Wars
Drama
Science Fiction
Happy
Zombieland
Satire
Horror
Happy
Harry Potter
Drama
Fantasy
Happy
Death Wish
Drama
Revenge
Happy
The Incredibles
Comedy
Superhero
Happy
The Poseidon Adventure
Drama
Disaster
Unhappy
Survival stories are pretty easy to define. The main character is trying to survive. The threat could be a supernatural force or a real threat like a shark or an aspect of society such as an oppressive prison system. It’s also a category that doesn’t have a lot of comedy but the comedy it has tends to be satire and that’s probably because most of the time we’re dealing with life and death here. In terms of endings, it seems most of the time the protagonist survives the ordeal but often at a terrific cost. And if he doesn’t survive it’s often because the protagonist sacrifices his life for the greater good or for a particular person or cause.
THREE TYPES OF STORY – LOVE STORIES
LOVE STORIES
TYPE
GENRE
ENDING
The English Patient
Tragedy
War
Unhappy
While You Were Sleeping
Comedy
Romantic Comedy
Happy
The Princess Bride
Comedy
Fantasy
Happy
Airplane
Satire
Romantic Comedy
Happy
Up In the Air
Tragedy
Dramedy
Unhappy
Moulin Rouge!
Drama
Musical
Unhappy
Sleepless in Seattle
Comedy
Romantic Comedy
Happy
Die Hard
Drama
Action
Happy
Doctor Zhivago
Tragedy
Epic
Unhappy
Christmas in Connecticut
Comedy
Romantic Comedy
Happy
Some Like It Hot
Comedy
Crime
Happy
Her
Comedy
Science Fiction
Unhappy
Marriage Story
Drama
Family Drama
Unhappy
So, our second great human urge is love. This was an interesting category. A lot of the films make sense. The Princess Bride and While You Were Sleeping are obviously films about love but Die Hard? How is that a film about love? Well, the first Die Hard is about John McClane trying to save his wife and prove himself worthy of his family’s love. The later Die Hard films I’d classify as survival stories because the primary goal is simply survival and beating the bad guy since there is no longer the tie-in to love as a motivating force. The thing that defines a love story is that the main motivation which moves the story forward is the pursuit of the person who is loved. In the end, the protagonist either finds love or doesn’t find love, but either way he or she grows in some way as a person.
THREE TYPES OF STORY – QUEST STORIES
QUEST STORIES
TYPE
GENRE
ENDING
Chinatown
Tragedy
Detective
Unhappy
Lord of the Rings
Drama
Fantasy
Happy
Stand by Me
Comedy
Coming of Age
Happy
2001: A Space Odyssey
Drama
Science Fiction
Happy
Wizard of OZ
Drama
Musical Fantasy
Happy
Monty Python and the Holy Grail
Satire
Myth
Unhappy
Moana
Comedy
Myth
Happy
Pirates of the Caribbean
Comedy
Action Adventure
Happy
The Hangover
Satire
Buddy Movie
Happy
Raiders of the Lost Ark
Drama
Action Adventure
Unhappy
Planes, Trains, and Automobiles
Comedy
Buddy Movie
Happy
Jumanji
Comedy
Fantasy Adventure
Happy
The Good, the Bad, and the Ugly
Drama
Western
Happy
Quest stories are those stories where the main character is on a quest to gain knowledge or solve a problem or get home. It’s often a story of transformation as the person who starts the journey isn’t the same as the person who ends the journey. For example, the first Indiana Jones movie Raiders of the Lost Ark is different than any of the other Indiana Jones films because Indy isn’t a believer in the supernatural. It isn’t until his encounter with the supernatural forces unleashed at the end of Raiders that he realizes there might be more to this world than he thought.
There’s one type of quest story where the protagonist doesn’t really change and that’s the traditional detective story. Miss Marple, Sherlock Holmes, Columbo – none of these characters go on a personal journey. Instead, they solve a crime. Do we really want our detective to be going through a personal journey? No. We want our detective to outsmart the killer.
CLEAR OUTCOME
So, each of these categories has a clear outcome. In the survival story, the protagonist either defeats the enemy or is defeated. In the love story, the protagonist either wins the love of the person they want to be with or they don’t. In the quest story, the protagonist either completes the quest and wins or doesn’t complete the quest and fails.
If you look at something as complicated as Game of Thrones it becomes clear that the story at its very basic level is a quest for the Crown. And of course, what we learn is that anyone who goes after the throne is eventually destroyed.
So, what am I going to do with this? I think it’s a good way for me to keep my stories focused when I start working on a new project. That means I need to figure out which category my story fits into and then I need to make sure that what drives my story is either survival, love, or a quest. The specific elements of the story are based on the genre. And that’s something I’ll need to think about on a deeper level because there are all kinds of genres out there. The good thing is I don’t think you need to understand every genre you only need to understand the genres you write about.
STORY PLANNER
So, I’m going to incorporate some of these ideas into my story planner and that means one of the first things to decide when I start writing something new is what type of story is it? Is it a story about survival like my comedy 500 bucks and a pack of smokes, or is it a story about love like my comedy, Under the Mistletoe, or is it a story about a quest like my detective story Heart of Stone: A Jessica Quinn Mystery? And then I’ll evaluate whether or not this is a helpful exercise.
In the meantime, I have some reading to do. The Secret Life of the American Musicalby Jack Viertel beckons. Plus, I’ve recently finished a new blog post called The Four Rules of Comedy. In the meantime, check out some books on writing and submission opportunities for playwrights by following the link at the bottom of the page.
BOOKS ON WRITING
I thought I’d add a section to this blog post and list some of my favourite books on my bookshelf related to writing so you can check them out for yourself.
Stephen King – On Writing
A Memoir of the Craft
“Immensely helpful and illuminating to any aspiring writer, Stephen King’s critically lauded, classic bestseller shares the experiences, habits, and convictions that have shaped him and his work. “Long live the King” hailed Entertainment Weekly upon publication of Stephen King’s On Writing. Part memoir, part master class by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer’s craft, comprising the basic tools of the trade every writer must have. King’s advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported, near-fatal accident in 1999–and how the inextricable link between writing and living spurred his recovery. Brilliantly structured, friendly and inspiring, On Writing will empower and entertain everyone who reads it–fans, writers, and anyone who loves a great story well told.” (Description from Thrift Books.)
With insight, humor, and practicality, Natalie Goldberg inspires writers and would-be writers to take the leap into writing skillfully and creatively. She offers suggestions, encouragement, and solid advice on many aspects of the writer’s craft: on writing from “first thoughts” (keep your hand moving, don’t cross out, just get it on paper), on listening (writing is ninety percent listening; the deeper you listen, the better you write), on using verbs (verbs provide the energy of the sentence), on overcoming doubts (doubt is torture; don’t listen to it)—even on choosing a restaurant in which to write. Goldberg sees writing as a practice that helps writers comprehend the value of their lives. The advice in her book, provided in short, easy-to-read chapters with titles that reflect the author’s witty approach (“Writing Is Not a McDonald’s Hamburger,” “Man Eats Car,” “Be an Animal”), will inspire anyone who writes—or who longs to. (Description from Authors Website)
“This description may be from another edition of this product. Learn the basic techniques every successful playwright knows Among the many “how-to” playwriting books that have appeared over the years, there have been few that attempt to analyze the mysteries of play construction. Lajos Egri’s classic, The Art of Dramatic Writing, does just that, with instruction that can be applied equally well to a short story, novel, or screenplay. Examining a play from the inside out, Egri starts with the heart of any drama: its characters. All good dramatic writing hinges on people and their relationships, which serve to move the story forward and give it life, as well as an understanding of human motives — why people act the way that they do. Using examples from everything from William Shakespeare’s Romeo and Juliet to Henrik Ibsen’s A Doll’s House, Egri shows how it is essential for the author to have a basic premise — a thesis, demonstrated in terms of human behavior — and to develop the dramatic conflict on the basis of that behavior. Using Egri’s ABCs of premise, character, and conflict, The Art of Dramatic Writing is a direct, jargon-free approach to the problem of achieving truth in writing.” (Description from Thrift Books.)
The Last Book On Screenwriting That You’ll Ever Need
Here’s what started the phenomenon: the best seller, for over 15 years, that’s been used by screenwriters around the world Blake Snyder tells all in this fast, funny and candid look inside the movie business. “Save the Cat” is just one of many ironclad rules for making your ideas more marketable and your script more satisfying, including: The four elements of every winning logline The seven immutable laws of screenplay physics The 10 genres that every movie ever made can be categorized by — and why they’re important to your script Why your Hero must serve your Idea Mastering the 15 Beats Creating the “Perfect Beast” by using The Board to map 40 scenes with conflict and emotional change How to get back on track with proven rules for script repair This ultimate insider’s guide reveals the secrets that none dare admit, told by a showbiz veteran who’s proven that you can sell your script if you can save the cat. (Description from Thrift Books.)
20 Master Plots and How to Build Them by Ronald B. Tobias
“This book shows the reader how to take timeless storytelling structures and make them immediate, now, for fiction that’s universal in how it speaks to the reader’s heart and contemporary in detail and impact.Each chapter includes brief excerpts and descriptions of fiction from many times, many genres – myth and fairy tale, genre and mainstream fiction, film plots of all types, short story and novel.Find 20 fundamental plots that recur through all fiction – with analysis and examples – that outline benefits and warnings, for writers to adapt and elaborate in their own fiction.Ronald B. Tobias has spent his career as a writer moving from genre to genre, first as a short story writer, then as an author of fiction and nonfiction books and finally as a writer and producer of documentaries for public television. He is currently a professor in the Department of Media and Theatre Arts at Montana State University and the author of the Insider’s Guide to Writing for Screen and Television. He lives in Bozeman, Montana.”
The Complete Guide to Turning Story Concepts Into Movie and Television Deals by Michael Hauge
“No one is better than Michael Hauge at finding what is most authentic in every moment of a story.” –Will Smith “Michael Hauge is a story master, and this book is an absolute must have for anyone serious about telling great stories for the screen.” –DeVon Franklin, Vice-President of Production, Columbia Pictures Concise, authoritative, and comprehensive, Writing Screenplays that Sell is the most complete guide available on the art, craft, and business of screenwriting for movies and television. Renowned Hollywood story consultant Michael Hauge–considered “one of the most sought after lecturers and script consultants in the U.S.” by Scriptwriter magazine–covers every aspect from concept to deal: screenplay development, artistry versus commerciality, adaptations, copyright protection, living and working outside Los Angeles; finding an agent; and more. Reflecting the latest trends and scripts, Writing Screenplays that Sell includes insight and detailed information on: Finding and selecting commercial story concepts Guidelines for story structure, including: Opening scenes that immediately grab the reader – The five most common goals in Hollywood movies – Why most adaptations fail – The most effective use of flashbacks – Creating emotionally powerful endings Tips for marketing a script–script consultants, script competitions, pitch fests, virtual pitching, e-mail blasts, log-line listings, audio script readings, and Internet resources for screenwriters A complete, in depth analysis of the screenplay for Avatar, the biggest box office success of all time Whether you’re an aspiring artist looking to break into the business or a seasoned pro looking for tips to boost your skills, Writing Screenplays that Sell is the one essential guide you need. (Description from Thrift Books.)
Break Through the Blocks and Win Your Inner Creative Battles
A succinct, engaging, and practical guide for succeeding in any creative sphere, The War of Art is nothing less than Sun-Tzu for the soul. hat keeps so many of us from doing what we long to do? Why is there a naysayer within? How can we avoid the roadblocks of any creative endeavor-be it starting up a dream business venture, writing a novel, or painting a masterpiece? Bestselling novelist Steven Pressfield identifies the enemy that every one of us must face, outlines a battle plan to conquer this internal foe, then pinpoints just how to achieve the greatest success. The War of Art emphasizes the resolve needed to recognize and overcome the obstacles of ambition and then effectively shows how to reach the highest level of creative discipline. Think of it as tough love . . . for yourself. Whether an artist, writer or business person, this simple, personal, and no-nonsense book will inspire you to seize the potential of your life. (Description from Thrift Books.)
“Could you be getting in your way of producing great work? Have you started a project but never finished? Would you like to do work that matters, but don’t know where to start? The answer is Do the Work, a manifesto by bestselling author Steven Pressfield, that will show you that it’s not about better ideas, it’s about actually doing the work. Do the Work is a weapon against Resistance – a tool that will help you take action and successfully ship projects out the door.Picking up where The War of Art and Turning Pro left off, Do The Work takes the reader from the start to the finish of any long-form project–novel, screenplay, album, software piece, you name it.Do The Work identifies the predictable Resistance Points along the way and walks you through each of them. No, you are not crazy. No, you are not alone. No, you are not the first person to “hit the wall” in Act Two.Do The Work charts the territory. It’s the stage-by-stage road map for taking your project from Page One to THE END.” (Description from Thrift Books.)
Turning Pro is the follow-up work to Steven Pressfield’s classic, The War of Art. What we get when we turn pro is we find our power. We find our will and our voice and we find our self-respect. We become who we always were but had, until then, been afraid to embrace and to live out.
Substance, Structure, Style, and The Principles of Screenwriting
Robert McKee’s screenwriting workshops have earned him an international reputation for inspiring novices, refining works in progress and putting major screenwriting careers back on track. Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the “magic” of story construction and the relationship between structure and character than Robert McKee.(Description from Thrift Books.)
Thanks, But This Isn’t For Us by Jessica Page Morrell
A (Sort of) Compassionate Guide to Why Your Writing Is Being Rejected
A fun, practical guide that reveals the essentials of good fiction and memoir writing by exposing the most common mistakes literary writers make. All great works of fiction and memoir are unique-but most bad novels, stories, and memoirs have a lot in common. From clunky dialogue to poorly sketched out characters, sagging pacing to exaggerated prose, these beginners’ mistakes drive any agent or editor to their stock rejection letter, telling the aspiring writer “Thanks, but this isn’t for us,” and leaving many to wonder what exactly it is that they’re doing wrong. Veteran writing coach, developmental editor, and writing instructor Jessica Page Morrell will fill in the gaps in every rejection letter you’ve ever received. In Thanks, But This Isn’t for Us, Morrell uses her years of experience to isolate the specific errors beginners make, including the pitfalls of unrealistic dialogue, failing to “show, not tell,” and over-the-top plot twists. These are just a few of the problems that keep writers from breaking through with their work. Sympathetic and humane, but pulling no punches, Thanks, But This Isn’t for Us shows writers precisely where they’ve gone wrong and how to get on the right track. In sixteen to-the-point chapters, with checklists, exercises, takeaway tips, and a glossary, Morrell helps readers transcend these mistakes so that they don’t have to learn the hard way: with another rejection letter. (Description from Thrift Books.)
While other books give you tips on how to “write funny,” The Hidden Tools of Comedy offers a paradigm shift in understanding the mechanics and art of comedy itself, and the proven, practical tools that help writers translate that understanding into successful, commercial scripts. Steve Kaplan unlocks the unique secrets and techniques of writing comedy, deconstructing sequences in popular films and television to show when comedy works, when it doesn’t, and why. (Description for Kaplan Comedy)
An insightful primer on the art of dramatic writing
An accessible, contemporary guide to the art of dramatic writing During the ten years that Stuart Spencer has taught playwriting, he has struggled to find an effective playwriting handbook for his courses. Although most of the currently popular handbooks have good ideas in them, they all suffer from the same problems: they’re poorly organized; are composed mostly of quirky, idiosyncratic advice on how specific playwrights have gone about writing their own work; and are full of abstract theorizing on the nature of art. As a result, they fail to offer any concrete information on how to construct a well-written play or any useful guidelines and exercises. Moreover, few of these books are actually written by working playwrights. Out of frustration, Spencer wrote his own book. The result, The Playwright’s Guidebook, is a clear, concise, and engaging handbook. Spencer addresses the important principles of structure, includes insightful writing exercises that build upon one another, explores the creative process, and troubleshoots recurrent problems that playwrights actually face. (Description from Thrift Books.)
Why does a director choose a particular script? What must they do in order to keep actors fresh and truthful through take after take of a single scene? How do you stage a shootout–involving more than one hundred extras and three colliding taxis–in the heart of New York’s diamond district? What does it take to keep the studio honchos happy? From the first rehearsal to the final screening, Making Movies is a master’s take, delivered with clarity, candor, and a wealth of anecdote. For in this book, Sidney Lumet, one of our most consistently acclaimed directors, gives us both a professional memoir and a definitive guide to the art, craft, and business of the motion picture. Drawing on forty years of experience on movies that range from Long Day’s Journey into Night to Network and The Verdict –and with such stars as Katharine Hepburn, Paul Newman, Marlon Brando, and Al Pacino–Lumet explains how painstaking labor and inspired split-second decisions can result in two hours of screen magic. (Description from Thrift Books.)
Scrooge was in love – once long ago. This must be clearly understood or nothing wonderful can come of the tale you are about to hear.
That’s not exactly how A Christmas Carol begins. No, it begins with Marley was dead and looooong buried. Marley was Scrooge’s business partner and only friend in the world, but Scrooge had once been in love. That is true. He had loved Belle. They were engaged. His life could have been very different and that’s what makes Scrooge such a tragic and sympathetic character.
This Christmas, 176 years after the story was first published, the Johnson City Community Theatre is producing my big cast version of a Christmas Carol from Thursday, December 5th to Saturday, December 22nd. The production is being directed by Melanie Yodkins and stars Tom Sizemore as Ebenezer Scrooge. I connected with Melanie and Tom early in November to talk with them about the Johnson City Community Theatre and the production of the play.
JAMES HUTCHISON
Tell me a little bit about the Johnson City Community Theatre.
Director Melanie Yodkins
MELANIE YODKINS
Johnson City Community Theatre is the longest consecutively running community theatre in the entire state of Tennessee and next year will be our 108th season. The patrons have always kept it going. The people who love to perform. The people who love to be in the productions.
We have an archive going all the way back 108 years with photographs and production brochures and memorabilia. We’ve got folks who have been here forever. Generation after generation.
That’s really the joy of community theatre. Family is really the biggest piece. My husband Jason and my son Andrew are in the play. My son is a year old and cute as the dickens.
TOM SIZEMORE
No pun intended.
MELANIE
No pun intended. I literally only have them walking across the stage and they light the lamps in the street scenes. Andrew is definitely not old enough to handle much more than that. My husband and I actually met on that stage six years ago. We met and fell in love. We were doing a Christmas play, and we started dating on December 18th. We were married less than two years later. And just before our third wedding anniversary, Andrew was born and now he gets to perform on the same stage.
JAMES
But, isn’t that nice. We were talking about history and so when your son is twenty years old there will be a production photo of him and his dad in the play. So, what do you think theatre provides a community?
MELANIE
I think people crave story. I think they crave that connection with literature with the past with people with opposing viewpoints, and I think theatre allows those doors to just be blown wide open, to allow for people to see and to experience things that otherwise they would not.
Actor Tom Sizemore
TOM
And with the times we’re living in people can be transported to, in this case, Victorian England and so it’s a way for them to feel better and feel good about things that maybe in other areas or other walks of life they’re not feeling so good about. And I think it’s a wonderful way for children to develop self-esteem, self-image and confidence.
JAMES
How young were you when you got on the stage, Tom?
TOM
Well, I’ve been doing community theatre for about twenty years. But my parents always said that I was singing before I could talk. I’ve been singing my whole life and after college and having been in a few musical productions it just made sense for me to branch out and do some non-musicals as well.
JAMES
You’ve had a lot of vocal and musical training and I’m wondering when you’re doing a play like a Christmas Carol, which is not a musical, how does your vocal training impact your ability to portray a character?
TOM
Quite a bit, actually. There are moments in this play that are sublime – that really tug at the heartstrings – that are very tender – that are very touching. And so, from a vocal standpoint, and especially in a smaller, more intimate venue, which is what is here at the theatre in Johnson City I’m really trying to use different vocal techniques to bring out some tenderness – to bring out in this character, some vulnerability. Which I definitely think should be there. But at the same time when the spirits are aggravating me to death and wanting me to see things that I really don’t want to see and I don’t want to deal with – then my disapproval or my impatience with that whole situation comes out and I use a lot of vocal techniques to let them know that I’m not happy.
JAMES
So, Tom, you and Melanie are talking to me from a room in your home that is filled with Christmas Carol memorabilia. Clearly this story is a love and a passion for you.
TOM
It is. I told Melanie that this is a dream come true for me. I had played Marley in a previous production but to play the old miser is something I’ve always wanted to do. I grew up in the Washington DC area and it was a tradition for us to go to Ford’s Theatre, every Christmas and see their production of Christmas Carol. I’ve been fortunate because I’ve been able to meet Charles Dickens’ great-grandson and his great, great-grandson and to have been to Dickens’ home in London. When I was growing up the story was one that I just loved, and I’ve seen every version that I could find whether it was film or television or just in any media. And then I started collecting things that are related to that including a 1916 poster from a version of A Christmas Carol, and I actually have a silent movie and was produced by Thomas Edison.
JAMES
You’ve been prepping for this role for a long time.
TOM
I have.
The Ghost of Jacob Marley and Ebenezer Scrooge in the Johnson City Community Theatre Production of a Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Directed by Melanie Yodkins. Eric Donahue Photography
JAMES
Melanie, I’m curious to know what resonated with you about my particular adaptation?
MELANIE
I read over fifty scripts and when I was reading through your script what it provided that no other script did was the ability to add my own creative flair to the story. And you had already written in several things that I wanted to do. For example, the part where Christmas Future comes out of the box and wraps all of the chains around Scrooge and then Scrooge ends up in the box and I wanted to do that very same thing and it was already written in your script.
And I was reading it myself but I decided I needed more voices so I could just sit and listen to the voices telling the story so I could visualize it. So, I put together a table reading with some folks who I trusted and I just sat there and I listened. And it just resonated so deeply with me. And it was a no brainer. I was like, “This is the one I want. This is the one I want to do.”
JAMES
So, tell me a little bit then about some of the things you’re doing in terms of design elements for your vision of the story?
MELANIE
Andrew Whitman is our set designer. He’s actually one of my students from eons ago. He was in high school doing a summer arts program and I was one of the teachers running the program. And he has since graduated from college and worked at the Barter Theatre, the equity theatre up in Virginia. And so, I asked him to pitch me some ideas after reading the script himself. And one of the things that he brought up was that he wanted the desk to also be Scrooges bed and Scrooges tomb.
So, we’ve built this gargantuan desk. It’s big enough that Tom can fit on top of it. And Tom can also fit inside of it with another person. We really wanted to play on that concept that the desk represented Scrooges Empire. It really is his idol. It really is his life and then to have him buried in it or entombed in it we thought would be a really poignant way to drive home that little nugget. And then we also have it on a three-foot-high platform. So, I’ve got two staircases that kind of move around this platform so you can create different spaces based on where the stairs are so for example when they’re both in front of it that’s when it’s Scrooge and Marley’s. So, it’s this homage to the great and powerful desk and Scrooge.
JAMES
One of the most challenging parts for me to write was the scene where Belle leaves Scrooge. I rewrote that a number of times because I needed to make it very clear what was going on there. I love that the older Scrooge watching the scene tells his younger self to “Go after her you fool.” That’s a wonderful moment but we wouldn’t feel anything unless we had the earlier scenes where we see some real tenderness and love between them.
MELANIE
You have to feel something for Scrooge, or it wouldn’t matter. It’s not enough to know that he is who he is. You have to understand how he got to be the way he is. And you have to understand what he sacrificed to become that person without even realizing that he was sacrificing it.
You know, the first time the actors playing young Scrooge and Belle went through that scene their levels just kept going up and up and up until they were actually yelling at each other. And all of a sudden she says, “Are you not miserable?” And he just looks at her and there’s this dead silence there for a minute and you just sit there holding your breath. And, then she goes on to say, “I have no choice but to release you. And, I hope you’re happy in the life that you’ve chosen instead of a life with me and I will always mourn the life that we could have had.” And she leaves him standing there absolutely shredded.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
The Johnson City Community Theatre Production of A Christmas Carol. Adapted for the stage by James Hutchison and directed by Melanie Yodkins. Eric Donahue Photography.
JAMES
Tom, what are your thoughts about Scrooge’s journey to redemption?
TOM
By the end of the play he needs to show how deeply affected he is by what he has been shown, but he resists and fights it tooth and nail and he tries to make excuses. And one of the other ways I’ve looked at it is Scrooge is a businessman and being a businessman he’s smooth and persuasive and he’s used to getting his own way and when he doesn’t that’s not a feeling that he is very comfortable with. But I also think there is a humourous aspect to it as well. For instance, when the Ghost of Jacob Marley asks him, “Do you believe in me or not?” Melanie has blocked the scene so that Marley is only about an inch from my face. And then Scrooge says, “No, I do not.”
JAMES
Why do you think A Christmas Carol resonates today so many years after it was originally written?
MELANIE
I think there is a little bit of Scrooge in every single person. To the extent that we get wrapped up in me, me, me, my, my, my, this is my world, this is what I’m doing. These are my goals. This is my focus. And then all of a sudden, Christmas comes around and we’re like, oh, hey, we can give ten dollars to a charity or we can collect food for the food bank or we can give gifts to people that they’re going to love. But then you still have people who don’t even want to do that.
I love the fact that this truly is a story of redemption which makes a really beautiful connection to Christmas too. Because if we think about the biblical side of it Christmas represents the time of Christ’s birth and the beginning of redemption and you kind of have a really nice parallel with Scrooges own redemption and the redemption that we find in Christ, which is much of what literature of the time alluded to back when A Christmas Carol was written. People weren’t writing Bible stories, but they were utilizing the same moral concepts from Scripture and putting it into story form.
And so it touches people’s hearts in such a way that doesn’t make them feel like we’re shoving Jesus down their throat. We’re touching people’s hearts on a totally different level and reminding people about charity and compassion and those are the things that should really be our business in life. That’s why we’re here. We’re here for all of humanity. It’s all our responsibility. And all of those elements work together to create a reason why so many people love this story.
JAMES
Tom, how about you?
TOM
Tiny Tim and Ebenezer Scrooge in the Johnson City Community Theatre Production of a Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Directed by Melanie Yodkins. Eric Donahue Photography
If Scrooge can change, we all can change, but that process is not easy. And in Scrooge’s case I think there’s a reason Dickens wrote it as a ghost story. It’s significant to me that in order for this process to begin, Scrooge has to be scared to the point that his legs are shaking. He’s never experienced anything like this before in this life. So, in order for change to occur sometimes, we have to experience something that we would never expect or something out of this world has to happen in order for a person to change. And because of all of the relationships, the family bonds, the love of the Cratchits the story is timeless. We probably all have, truth be known, family members that we are reminded of from the story.
JAMES
Why should folks come out and see Johnson City theatre’s production of A Christmas Carol?
MELANIE
Because the artistic concept of how we’re presenting this play, while telling an absolutely fabulous story, isn’t like anything I’ve ever seen. It’s incredibly original. And we have incredible actors. After Tom auditioned, I needed to find a Marley that matched the epitome of the Scrooge that Tom brought to his audition. And the young man who is playing Marley, absolutely, bar none just blew me out of the water. It brings such a high calibre of performance quality to this production that people need to come and see the hard work, the dedication and the heart of storytelling that is found only on this stage this season.
TOM
I think it’s definitely an ensemble cast so that each person brings something to their role and their character. People will be talking about it and raving about it. And it goes without saying that I’m just honoured and privileged to be part of it.
Cast A Christmas Carol
Olivia Ares, Gavin Arsenault, Larry Bunton, Asher Church, Lorelai Church, Sam Church, Adam Derrick, Tony DeVault, Camden Downes, Hudson Downes, Cierra Fannon, Jada Greenlee, Shanna Greenlee, Danielle Hammonds, Andrew Headen, Jason Headen, Linden Hillhouse, E.C. Huff, Landon Kell, Audrey Kuykendall, Magee Little, Jamie Lombardi, Richard Lura, McKenna Marr, Tom Sizemore, Nathaniel Oaks, Evangeline Perreault, Matthew Pickle, Raelyn Price, Elizabeth Renfro, Saqqara Scott, Derek Smithpeters, Alice Tester, Lucy Tester, Daniel Tester
“You may find me cold and unfeeling sir, but I would venture to say I am a man of my word; a man whose word carries weight; a man whose word allows him the ability to strike a deal and back it up with his signature. My signature is worth something. Yours it would appear – if you continue to treat your financial obligations and business dealings in this manner – will soon be worthless.”
Jerry Radburn as Scrooge in the Wokingham Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Directed by David Stacey. Photograph Simon Vail Photography
These are the words of a man who hates Christmas! A man who hates anything that does not make him richer and so he hates Christmas most of all. These are the words of a man filled with pride who has forsaken humanity and measures his life in dollars or pounds sterling only. These are the words of Ebenezer Scrooge.
And this Christmas those words, which happen to be from my adaptation of A Christmas Carol by Charles Dickens, are being brought to life in Wokingham England where Wokingham Theatre is producing my small cast version of the play from December 4th to 14th. The production is being directed by David Stacey who I connected with in early November to talk with him about Wokingham Theatre and his production of the play.
JAMES HUTCHISON
Tell me a little bit about Wokingham. The community and the theatre.
Director David Stacey
DAVID STACEY
It’s quite a traditional lovely old English town that has a good community atmosphere. The theatre group itself started back in the 1940s. And through community spirit and amateur theatre clubs it developed and sustained itself and in the 1980s they built a theatre. Unlike a lot of other theatre groups who have to either rent accommodation or share the space with other societies or groups Wokingham Theatre has its own space.
JAMES
Why do you think A Christmas Carol still resonates so many years after it was originally written?
DAVID
The Christmas that we know, certainly here in Britain, with the roast turkey or roast goose, the Victorian Christmas carols and all those kinds of traditions come from Dickens. Everybody, when they’re celebrating Christmas, encounters all of those as part of the Christmas season. So that’s partly it, but it’s also a lovely moral story that taps into what is important about Christmas. And that’s not necessarily anything to do with religion, even though it’s obviously a religious feast, but for those that aren’t religious they can still tap into the spirit of the story and what Christmas means. And everybody knows the story and they like to listen to it, again and again, year after year, and it has a happy ending which audiences love.
Vicky Lawford as Mrs. Dilber and Jerry Radburn as Scrooge in the Wokingham Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison and directed by David Stacey. Photograph Simon Vail Photography
JAMES
What are some of the unique things that you’re bringing to your production?
DAVID
When the spirits arrive there will be some video projection onto the stage to add special effects. And we’ve got music that has been written for the show. It’s not a musical or anything but rather than just taking pre-recorded Christmas carols or Christmas music, which everyone will have heard before, we’re composing music. I also wanted to keep it traditional. So, we’re still using the Victorian setting and we still have the Victorian imagery and everything, but we’re doing things slightly different with how the spirits look and how that’s played.
So, for example, the second spirit rather than dressed exactly in the costume, as described in the book, our second spirit is going to be on stilts. So, he’s quite the giant but a bit more like a circus or Willy Wonka type of character rather than a Santa Claus character in the big beard and costume. And the third spirit is traditionally done as a grim reaper, so I wanted to do something different with that. He’s quite creepy. You look at his face that has a mask on and a black suit and he has these long fingers. And we have an interactive set that moves and hopefully the audience will be magically surprised by that.
JAMES
What do you like about directing?
DAVID
It’s the creativity. I do acting as well as directing. And when I act in something I tend to miss the directing and when I direct something I tend to miss the acting. But I really like directing and trying to get my vision of the story out and seeing it created. Whether that’s doing a small black box studio theatre show or something larger on the stage in Wokingham with more people involved. It’s about bringing the magic of the story to the audience. And I will read the script and think this is my vision of it. And I want to then be able to turn that into a reality and that’s why I really enjoy reading play scripts, rather than novels. Because the play script is written for somebody else to take and to visualize it and to physically produce it and turn it into something for people to watch. And I find that really exciting, rather than books which stay in your head, you’re not expected to physically recreate the physicality of it. And I like that the audience is watching it from the front, and then from behind you have all of these sets that are actually all fake. And it’s all people in makeup and costumes that are taking on a character and I really, really like that.
Jerry Radburn as Scrooge in the Wokingham Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison and directed by David Stacey. Photograph Simon Vail Photography
Peter Pearson as Jacob Marley and Jerry Radburn as Scrooge in the Wokingham Theatre Production of a Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison and directed by David Stacey. Photograph by Simon Vail Photography.
Becca Tizzard as the First Spirit and Jerry Radburn as Scrooge in the Wokingham Theatre production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison and directed by David Stacey. Photograph by Simon Vail Photography
Jerry Radburn as Scrooge in the Wokingham Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison and directed by David Stacey. Photograph by Simon Vail Photography
Vicky Lawford as Mrs. Dilber and Jerry Radburn as Scrooge in the Wokingham Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison and directed by David Stacey. Photograph Simon Vail Photography
Wokingham Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison and directed by David Stacey. Photography Simon Vail Photography
JAMES
One of the things I tried to do in my adaptation was have Scrooge interact more with the spirits or speaking to the people that are memories and making him more resistant to changing by having him argue more with the spirits than what’s in the book. Scrooge has to take the whole night to change and that’s a process and a journey and I wonder if you’ve found that playing well and just how the actors are using it.
DAVID
That’s one of the things that attracted me to this particular script. And also because you introduced the device of the letters. The letters allow Scrooge to have more regret at the end. In the original book he wakes up the next morning and is going to change but there needs to be some sort of regret as well because he’s lost out on marrying his childhood sweetheart because he didn’t behave very well. And that’s life. You can’t go through life behaving badly and then decided to change your mind and get everything back that you’ve missed out on. The letters are a lovely, lovely device to really emphasize that and as you say the talking to the spirits is good fun. He’s particularly argumentative with the first spirit and we’re having the first spirit be quite argumentative back. She’s not playing it all nice. Because even though it’s not a complete nightmare, it isn’t a pleasant dream he’s having in any way.
JAMES
Well as a playwright I’m not set in you having to produce the play as I’ve described it. Generally when I write I try to minimize the amount of character description and character action I put in my scripts because I believe those things are going to be discovered by how you design the set, by the actors you cast, by how you want to stage the play, by the size of your stage, all of these things that I can’t anticipate. So, it’s absolutely wonderful and so fascinating to see the different takes on telling the story that all come from the same script.
DAVID
And because our audience is an adult audience we’re not trying to do anything that’s too saccharine or anything like that. It’s not really targeted to a child or family audience so we can have some bits that are maybe a little bit more unpleasant or you don’t have to worry about scaring kids or getting them upset.
And so one of the other things I’ve introduced for when Scrooge travels with the spirits is to make the journey quite unpleasant. Particularly with the first spirit. When she says, “I will take you or let’s go and see somebody else or the Fezziwigs – that kind of stuff – she grabs hold of Scrooge and it’s almost as if he’s being electrocuted. So, there’s going to be lots of special effects of electricity and sparks and things like that. And it’s painful for him. And then with the second spirit, it’s a bit more wonderous and swirly and everything is going to get spun around and he’s going to get physically thrown around as if he’s on a sort of like a roller coaster. I didn’t want it to be where they all just float off into the sky like Peter Pan and drift around pleasantly, because then I’m not convinced that Scrooge has changed. Or why would he change if it’s all been a nice dream? No, it’s because he’s been taught a lesson in a painful way and I think the script allows for that.
JAMES
I think you found my big cast version of the script first and then I sent you my smaller cast version for you to read. That version has one actor play Scrooge and then the other actors play multiple roles. How is that working for you in terms of staging the play and telling the story
DAVID
Wokingham Theatre is a relatively large group, but we certainly couldn’t have cast a thirty strong production. So, I really liked how you reduced it down and have the multi rolling and have it as an ensemble piece. And, that’s the main reason I went with the smaller cast version although we didn’t go strictly with the casting as you have it in your script. But I like the idea of the actors taking on more than one role because it gives them more to do and they do enjoy that in my experience, and it gives them a bit more stage time.
Peter Pearson as Jacob Marley and Jerry Radburn as Scrooge in the Wokingham Theatre Production of a Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison and directed by David Stacey. Photograph by Simon Vail Photography.
JAMES
Tell me a little bit about the cast.
DAVID
Jerry Radburn who is playing Scrooge and has been acting at Wokingham Theatre and at various other theatres for a very long time is someone I know very well. I’ve been in lots of plays with him but I haven’t directed him before. Most of the cast I know and I’ve worked with in various guises either being in plays with several of them or directed them in other shows but there’s one or two that I’d never met before who turned up because we have open auditions. And so, it’s really, really nice when we get new people coming along. And as part of this season I had a policy that I sent to all of my directors that you needed to cast at least one new person for each show if they’re suitable for a particular role just to expand the diversity of the group. And we have a youth theatre group, as part of Wokingham Theater, which runs classes and so we often tap into that to find keen youngsters who want to take parts and be in our main season shows. And so that’s kind of good fun to work with the youth cast as well. The key thing is that everybody’s doing it because they love it. Everyone has fun and that’s the main priority.
Wokingham Theatre – A Christmas Carol – Cast & Crew
Jerry Radburn – Scrooge
Matthew Lugg – Fred
Claire Bray – Bob Cratchit, Scrooge as a young man
Peter Pearson – Mr. Bentley, Jacob Marley, Thomas
Chris Westgate – Mr. Granger, Second Spirit, Mr. Fezziwig
Gary Smith – Mr. Harrington, Old Joe
Vicky Lawford – Mrs. Dilber, Mrs. Fezziwig, Mrs. Cratchit
Becca Tizzard – First Spirit, Martha Cratchit. Rose
Louise Punter – Cook
Sophie Marsden – Belle, Emma, Caroline
Andi Lee – Granny Cratchit
Youth Cast:
Oliver Lees, Nicholas Zezula, Amber Pearce, Annabel Brittain, Jonathan Willis, Joseph Rea
Director – David Stacey
Assistant Director – Heather Maceachern
Production Manager – Claire Lawrence
Stage Manager – Mike Rogers
Costume – Rosemary Matthews & Sue deQuidt
Props/models – Claire Willis
Lights – Nick Gill & Richard Field
Sound – John Gold
Original Music – Charlie Lester
Choreography – Lesley Richards
Set Design – Henry Ball
Stephanie Christiaens in the NNPF 2019 production of Written in Stone by James Hutchison. Directed by Heather Dick. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton.
Michael Halfin, Artistic & Executive Director Newmarket National Play Festival “I have always been fascinated by the 10-minute format. I find it exciting and I had my senior students write 10-minute scripts for production every year. I came to see that this was a format akin to the studies visual artists do before they explore a concept on a larger canvas. Playwrights such as ‘Tennessee Williams and William Inge explored these short versions of plays before they expanded them into full-length scripts. So, what is wonderful about the format, is that it is an invitation for EVERYONE to write. For EVERYONE to have a voice because it’s a format wherein even the novice playwright can find success.”
Heather Dick, Director Written in Stone“For me, one of the themes the play explores is the traditional corporate structure and goals such as getting the corner office and the expense account at the cost of perhaps personal integrity and values. Changing the genders allows us to question how women have perhaps succumbed to following these traditions in order to take their place in the business world both as employee and owner. I’m hoping that an all-female cast will start people talking about and questioning female roles and power within a corporate structure, especially as God is presented as a woman.”
I’m very excited to announce that for the second year in a row I have a play being produced in the Newmarket National 10 Minute Play Festival. Last year my drama Valentine’s Day which is a story about a recently widowed old man named Tom remembering the day fifty years ago when he met the love of his life, Heather, was part of the festival. This year my short comedy, Written in Stone, which is about the creation of the Ten Commandments is one of twenty-four new plays being premiered from Monday, July 22nd to Sunday, July 28th. The NNPF is a festival dedicated to Canadian plays and the diverse voices of this country and takes place forty minutes north of Toronto in Newmarket Ontario.
Download Play Script
It took Charlton Heston, Cecile B Demille, and Hollywood $122,000,000 million dollars, adjusted for inflation, and 220 minutes to tell a story I can tell in 10 minutes with a much smaller cast and budget. Of course, I didn’t really cover the part of the story where Moses is set adrift as a baby into the reeds and grows up as a son of Pharaoh, and I didn’t deal that much with the 10 plagues, although I mention it, and the Exodus doesn’t really appear in my version of the story although it obviously happened because Moses is heading up Mt Sinai to get the commandments and he had to cross the Red Sea in order to get there.
The plays are grouped into four themed Pods with six plays being presented in each Pod. Tickets are just twenty bucks per Pod and each Pod is presented four times during the festival. Written in Stone which is part of the “you|TURN” Pod tells the story, as mentioned before, about the creation of the Ten Commandments but it’s also about the reason man was given a soul, and how Lucifer ended up in hell. The production is being directed by Heather Dick and stars Bridget Bezanson as Michael, Meredith Busteed as Lucifer, Stephanie Christiaens as Gabriel, and Alexia Vassos as God. Other plays in the “you TURN” Pod include Running Low by Jessica Ayana-May where a misty morning jog along a mountain trail leads to a disturbing discovery and Penance by Peter Genoway where the un-cloistered truth leads two nuns into conflict. This pod is suitable for most ages and is described as: “When travelling the winding road, it’s hard to see the curve that lies ahead.”
If your tastes run a little more mature you might want to see the “end|RUN” Pod which has plays dealing with mature themes, and contains adult language, and violence. This Pod includes Plus ça change by Genevieve Adam where a royal romping rumpus disrupts the king’s court and Not Going Nowhere by Natalie Frijia where more than a house is reduced to ashes as the fire rages on. This Pod is described as: “If the end is inevitable, why didn’t we know that from the beginning?”
The third Pod called “stand|OUT” includes a story about a lonely woman who hopes a furnace repairman can restart her pilot light in a play by Jerri Jerreat called Seducing Harry and Nothing but the Tooth by Jody McColman which is an incisive story about a cash transaction that goes hilariously awry. This Pod is suitable for most ages and its description reads: “Sometimes, a door isn’t locked; It’s just stuck in place.
“Life belongs to the living, and he who lives must be prepared for changes.” That’s the description of Pod number four: “after|LIFE”. Plays include Dispatch by Andrew G. Cooper about a 911 operator coping with the unceasing trauma of the job and Like a Kite by Ron Fromstein where the traditional family dinner goes up in smoke in this half-baked comedy. This pod is intended for a mature audience as it contains disturbing scenes and deals with mature themes and language.
A few weeks ago, I did an interview with Michael Halfin the Artistic and Executive Director of the Newmarket National Play Festival to talk with him about this year’s festival and his thoughts about the importance of Art as well as an interview with the director of my play Heather Dick.
Michael Halfin – Founder, Artistic and Executive Director Newmarket National Play Festival
JAMES HUTCHISON
This is year three of the festival and it continues to grow. What have you retained from the past two years and what have you added or improved on the festival for this year?
MICHAEL HALFIN
I am very excited about our partnership with the Newmarket Group of Artists. We explored the idea of combining a visual arts interpretation of our pod themes in year one with some success but went another direction last year. This year, we’ve returned with more lead time to the idea of the art exhibition, and I’m thrilled that we have close to 50 pieces linked to our four themes. We are offering guided tours of “NGA-EXPLORE” that focus on the theme of one pod at a time. Patrons explore a theme—like after|LIFE—as a visual art experience, then they go up and see the performance art exploration of that same theme.
JAMES
So, every year the festival selects twenty-four plays and you put those plays into four individual pods that are focused on particular themes. And last year you told me you don’t “theme” the festival and people can write about whatever they want, but what you’ve discovered is that playwrights are attuned to the Zeitgeist and seem to write around particular themes on any given year anyway so the plays seem to naturally group around particular themes and that seems to indicate that playwrights are responding to issues and events of the time, and so I’m wondering what do you think the themes at this year’s festival tell us about what’s on people’s and playwrights minds?
MICHAEL
That, sir, is a great question. I don’t want to be too pinned down on that one because we collocate words as pod themes. That is, a pod like After|Life can be read and interpreted in many different ways such as: Someone is after your life which is threatening; the afterlife we know from our faith systems; the pursuit of happiness and people’s dissatisfaction with their life as it is because it seems like people are chasing after the life they think they deserve rather than the life they are living; a new reality such as climate change means we are now living life after a change from the way we’ve always lived it. And that’s as much as I’m going to give you because if I deconstruct the various interpretations of each pod theme, I’m ruining the fun for the playgoer. And, in any case, there’s the after-show talks where people can explore how the pod theme applied to each of the six plays in it.
JAMES
Over the last few years, I’ve entered a lot of ten-minute festivals and they’re not all equal in terms of their treatment of writers and artists. One of the things I really appreciate and like about the NNPF is the amount of exposure and support and professionalism you offer the winning playwrights and participating artists. You put a biography online for all the playwrights, directors, actors, and production staff with links back to their websites if they have one. You promote the festival as well as individual playwrights and artists through your social media including Facebook, Instagram, and Twitter. You are a Canadian Actors’ Equity Association production under the Festival Policy. You offer playwrights that can come to the festival an opportunity to do a public reading from another work. Plus, and this is a big plus, all playwrights receive a royalty for the production of their plays. To me, you really set the standard for what a 10-minute play festival should be especially when asking to premiere new work. I’m curious, how did you arrive at this vision and decide this was the way you wanted to produce the festival?
MICHAEL
Wow. You’re forcing me to put as much thought into my answers as you are putting into your questions. I guess this idea had been growing in my mind for many years. As the Coordinator of the Regional Arts Program at Huron Heights Secondary School, I wanted kids to know what Canadian Culture is. To that end, I conceived what we called the Canadian Play Festival, which I ran for 25 years and the school is still producing to this day. In any given year, we produced 6-7 Canadian Plays. I would order 60 or so scripts a year from Playwrights Canada for student directors to comb through and select what we should produce. I am proud to say that Playwrights Canada told me that Huron Heights had the largest library of Canadian plays in the country.
I have always been fascinated by the 10-minute format. I find it exciting and I had my senior students write 10-minute scripts for production every year. I came to see that this was a format akin to the studies visual artists do before they explore a concept on a larger canvas. Playwrights such as Tennessee Williams and William Inge explored these short versions of plays before they expanded them into full-length scripts. So, what is wonderful about the format, is that it is an invitation for EVERYONE to write. For EVERYONE to have a voice because it’s a format wherein even the novice playwright can find success.
Table work and Rehearsals for this year’s National Newmarket 10 Minute Play Festival. Photo Jason Wighton.
JAMES
The arts would not exist without partnerships and support from the community, local business, and governments. I think the success of your festival indicates you’ve spent the time and energy to develop and nurture those partnerships. How did you go about creating those partnerships and what do your partners get out of participating and supporting the festival?
MICHAEL
I couldn’t ask for more from our principal partner, The Town of Newmarket. We had our table read on Tuesday, July 2nd and the Mayor and half of the town councillors came out to welcome the 24 companies. How do I get that kind of buy-in? I honestly don’t know. I just believe that we can do things in better and different ways than people have done before, and others seem to want to ride along on this dream. But, honestly, it’s very hard work. It’s 365 days a year, it’s—literally—walking up and down the same street dozens of times to talk to people, thousands and thousands of emails and phone calls, and pitching, pitching, pitching. My dad was a salesman and when he retired, my mother wanted me to take over his business. I said, “No, mom, sorry, I’m not a salesman.” I realize, now, that I am very much my father’s son. He said to me once, “Michael, you can’t sell anyone something they really don’t want to buy.”
JAMES
You often hear people question the value of arts and yet music surrounds us. We hang paintings on our wall. We watch television. We go to movies and music festivals. And many of us paint and play instruments and write fanfiction or poetry. So, we are surrounded by art and consume art on a daily basis. To remove art would be to remove much of what gives life value and meaning. Because it’s a national play festival how do you think the NNPF contributes to the artistic and cultural life of our country?
MICHAEL
Another great question and I’m not going to give you a cliché answer. I spent 35 years as a drama educator and the last 20 of those as a very vocal arts advocate. You’d think that the point you’ve made here is obvious—why wouldn’t the “Everyman” realize what a huge consumer of arts and culture he really is? Well, do we actually have to concentrate on breathing, or do we just autonomically do it? Well, that’s the arts. We breathe it in and out and don’t realize how it sustains us and is the life’s breath that permeates our collective consciousness. That’s why the NNPF, through the art exhibition, the director/actor talk back sessions, the pints with the playwrights, the staged readings of plays we are helping to develop from 10 minutes to full-length scripts, the playwriting workshops, and of course, the playwright readings are all about connecting the artists with their audience and the audience with their artists. We have 16 of 24 playwrights coming to the festival this year and many of them, as you can see from their biographies, come from all over Canada. Whether it be Newfoundland or B.C, our regions shape our views. Those regional voices come together here, and I feel, help us articulate what it means to find our unity in our diversity.
JAMES
Last year you told me a little bit about your vision for the future of the festival so I’m curious about where you’re at with your vision of expanding the festival to go beyond the ten-minute play?
MICHAEL
Well, as I just referenced, we are taking two scripts that were introduced at last year’s festival and are performing them as staged readings with two performances each on July 22 and 23. One show, in particular, has had a lot of dramaturgical support from us and the playwright has told me that the script has grown enormously through the process. My guess is our next step will be to do full productions on plays like this as either an adjunct to the summer festival or as part of a winter season.
JAMES
Okay, so my play in this year’s festival is more or less a discussion about the Law of God and what those laws should be. If you had the power to add a commandment to God’s Law what would it be? What do you think is a good guiding principle for mankind? And just so you know it can be serious or otherwise. My own favourite unserious but highly beneficial commandment would be, don’t forget to floss.
MICHAEL
Yes, I do have an 11th commandment, and I’m quite serious about it. It is, “Thou shalt not be mediocre.” I find wayyy too many people are satisfied with doing the minimum; that, well, that’s good enough. Nothing is ever good enough. Luisa, a character in The Fantasticks, exclaims, “Oh, God. Oh please. Don’t let me be normal!” That’s the point. Don’t be normal—be excellent!
JAMES
Final thoughts? Anything you want to add?
MICHAEL
I really appreciate your kind words about how we respect the work of the artists who participate in NNPF. This is a place where you will find respect and the freedom to create.
***
***
Actors, directors, and designers all make significant contributions to bringing a play to life and no two productions are ever going to be the same so it’s always fun to get a chance to talk with the people putting your work before an audience. I asked Heather Dick, the director of my play a bit about her own theatre company as well as some questions about working on Written In Stone.
JAMES HUTCHISON
Heather, you’re the founding Artistic Director of the Sirius Theatrical Company. Tell me a little bit about the company and how it started and what type of theatre you generally produce?
HEATHER DICK
I founded the company in 1989 because I was interested in creating theatrical performances and working on roles that inspired and challenged me in ways that I wasn’t being cast at the time. As is often the case, I was frustrated with the roles I was being offered and wanted to work on darker material and themes and to experiment with a variety of styles of theatre including traditional, site-specific, and others that would leave audiences questioning traditional perspectives. Founding the Sirius Theatrical Company gave me the opportunity to experiment and work in non-traditional ways. Now, the shows that I produce are very connected to the community in which I live and work and incorporate themes and issues that are relevant to the people who live here.
JAMES
Have you found that the themes or types of the plays you produce now compared to when you started the company are different and if so why and if not – why do you think that would be?
HEATHER
When I first began producing, I wanted to focus primarily on Canadian work and as much as possible new work. Since early 2006 I have produced large scale multi-disciplinary performance pieces that incorporate photography, dance, music and poetry as well as traditional scene work. I’ve also written several of the pieces, which I’ve very much enjoyed doing and which has sparked my work as a playwright. This work is very connected to issues that are specific to the community in which the company is located.
Gwyn Beaver, Dan Karpenchuk, Stephen Ingram in Valse Sentimentale (stand|OUT) by Wyatt Lamoureux, Directed by Trevor Curran. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton
JAMES
You’re directing two plays in this year’s Newmarket National Play Festival. Buried by Sarah Anne Murphy and my play Written In Stone. Tell me a little bit about what attracted you to these particular plays and why you wanted to tell their stories?
HEATHER
I loved both Buried and Written In Stone the minute I read them. They are as different as can be from each other in style, characters, setting and story, yet both grabbed my heart in different ways.
Buried is a mother/son relationship story and, as you might imagine, touches on so many aspects of the love and ties between a mother and her son. It is bitter, sweet, loving, sometimes pain-filled and sometimes full of joy and happiness. As a mother, I understand how hard and scary it is to let a child fly on their own when all you want to do is, perhaps selfishly, keep them close. As a daughter, I understand the need to be my own person unbound by parental issues and needs. I wanted to share all of this with an audience.
Your play, Written In Stone, had me laughing but also asking myself, “Could this be the way the ten commandments were written? What if……?” I love that it makes me reflect on traditional beliefs while taking place in such a contemporary corporate setting that everyone will be able to relate to the characters, their relationships and the questions it poses. I also love all the humour. I hope that people leave the theatre chatting about it and laughing too.
JAMES
When I originally wrote the play it was about God and three angels working on the ten commandments and it was intended for an all-male cast but for the NNPF we’ve recast the play so that all the parts are being played by women. I’m curious to know if changing genders offered any additional insights or new takes on the themes of the play?
HEATHER
I’d say ‘yes’ and ‘no’.
For me, one of the themes the play explores is the traditional corporate structure and goals such as getting the corner office and the expense account at the cost of perhaps personal integrity and values. Changing the genders allows us to question how women have perhaps succumbed to following these traditions in order to take their place in the business world both as employee and owner. I’m hoping that an all-female cast will start people talking about and questioning female roles and power within a corporate structure, especially as God is presented as a woman.
Written In Stone also looks at traditional stories/beliefs surrounding the creation of the ten commandments and asks us to reflect on whether or not they all still have value and relevance in the world as it is today, as represented by the modern corporate boardroom setting. I think this reflection stands whether the gender of the characters is male or female, so changing the gender doesn’t affect this questioning.
Stephanie Christiaens in the NNPF 2019 production of Written in Stone by James Hutchison. Directed by Heather Dick. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton.
Bridget Bezanson in the NNPF 2019 production of Written in Stone by James Hutchison. Directed by Heather Dick. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton.
Bridget Bezanson, Meredith Busteed, Stephanie Christiaens in the NNPF 2019 production of Written in Stone by James Hutchison. Directed by Heather Dick. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton.
Meredith Busteed in the NNPF 2019 production of Written in Stone by James Hutchison. Directed by Heather Dick. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton.
JAMES
Okay, so my play in this year’s festival is more or less a discussion about the Law of God and what those laws should be. If you had the power to add a commandment to God’s Law what would it be? What do you think is a good guiding principle for mankind? And just so you know it can be serious or otherwise. My own favourite unserious but highly beneficial commandment would be, don’t forget to floss.
HEATHER
Find a moment of laughter in everything you do.
The Last House (after|LIFE) by Andrew Paulsen. Photo: Jason Wighton
JAMES
What have been some of your discussions with the cast about the play and its story and themes?
HEATHER
I’m delighted with the cast. Everyone is bringing a sense of humour and play to both the rehearsals and the production. Bridget Bezanson is playing Michael, Meredith Busteed is Lucifer, Stephanie Christiaens is Gabriel and Alexia Vassos is God. Our wonderful stage manager is Ashley Frederick who keeps all organized and on time with a light and caring touch. To date, our discussions have focussed on character relationships – employee to employee, employee to boss, and jealousy – which are all relevant to many of the commandments and how we treat our fellow human beings.
JAMES
So, I asked Michael the same question, you often hear people question the value of arts and yet music surrounds us. We hang paintings on our wall. We watch television. We go to movies and music festivals. And many of us paint and play instruments and write fanfiction or poetry. So, we are surrounded by art and consume art on a daily basis. To remove art would be to remove much of what gives life value and meaning. I was wondering what you felt arts in general and the Newmarket National play festival specifically contributes to the artistic and cultural life of our country?
HEATHER
The Festival is a gift to the actors, directors, and production crew who have an opportunity to create and learn in a generous and supportive environment. For our country, it is building a stronger Canadian cultural voice.
DIRECTOR, CAST, and STAGE MANAGER
WRITTEN IN STONE
Heather Dick – Director
Heather is excited to be directing at the Newmarket National 10 Minute Play Festival for the first time. As a director, actor and voice artist she has worked across the country. Favourite directing credits include: Earth Tourist (Chandlier Factory Prods.), Forgotten Voices (World Premiere), Mail-Order Annie and Streethearts ( Sirius Theatrical Co.), The Art of Listening (Canadian Premier, Southern Mirrors Prods.), La Sante C’est Pas Sorcier (Waterwood Prods. – Ontario Tour), and The Peacemaker (Golden Horseshoe Players). For over 30 years, Heather has coached and taught workshops in acting, comedy and voice for many independent Toronto acting studios. She is also the Founding Artistic Director of the Sirius Theatrical Company (Toronto) where she currently teaches acting and voice and has produced multi-disciplinary performance pieces. Heather Dick is a member of Canadian Actors Equity Association. www.siriustheatrical.com
Bridget Bezanson – Buried, Seducing Harry, Written in Stone
Bridget is excited for her third summer with the Newmarket National 10 Minute Play Festival. She is an actor and classically trained singer with credits in regional theatre throughout Ontario and Atlantic Canada. Favourite performances include Funeral Sandwiches (NNPF), Rockbound (Two Planks and a Passion), Love You Forever (Stirling Festival), No Way to Treat a Lady (Festival Antigonish), and Annie (Neptune Theatre). Other credits include voice work in radio drama and animation (CBC), radio commercials, and narration. A versatile vocalist, Bridget has recently performed at corporate events for Manulife and Shoppers Drug Mart, and performs regularly as a soloist and band singer. Bridget Bezanson is a member of Canadian Actors Equity Association. www.bridgetbezanson.com
Meredith Busteed – Secret Santa, Written in Stone
Meredith is thrilled to be joining The Newmarket National Ten Minute Play Festival this summer. She is a music theatre performer with credits in regional theatre throughout Southern Ontario and the United Kingdom. Favourite performances include The Wizard of Oz (Diversified Theatre), 9 to 5 The Musical (Edinburgh Fringe Festival), Assassins (RCS), Up the River (Thousand Islands Playhouse), Anne in Anne of Green Gables (MMT), and Mary in Mary’s Wedding (Theatre Kingston). Other credits include commercials with Rogers (Next Issue), Anti-mean tweets campaign (Sportsnet). A versatile performer, Meredith has also dedicated her career to teaching private voice, musical theatre and dance to the next generation of artists. @mabusteed
Stephanie Christiaens – Like a Kite, Written in Stone
Steph is excited to be making her debut at the Newmarket National 10 Minute Play Festival! She has been performing around Southwestern Ontario for over 20 Years and recently made her professional debut last summer at the Lighthouse Festival Theatre in Port Dover in Stage Fright. Favourite performances include The Day They Shot John Lennon (Players’ Guild of Hamilton), Noises Off! (Dundas Little Theatre), The Whores (Stage 88), Key For Two (The Aldershot Players), and Don’t Misunderstand Me (Act 4 Productions). Other credits include TV commercials (CTV London), independent film productions (Post-Life Productions), and reporting for Rogers Local access network.
Alexia Vassos – Nothing but the Tooth, Secret Santa, Written in Stone
Alexia is delighted to be involved with the Newmarket National 10 Minute Play Festival for the very first time. She is a recent graduate from the Theatre and Drama Studies program at the University of Toronto Mississauga and Sheridan College. Alexia’s credits include: Olga in Three Sisters (Theatre Erindale), Silenus/Therapist/Baucis in Metamorphoses (Theatre Erindale) and Maria in Twelfth Night (Theatre Erindale).
Ashley Frederick – Stage Manager
Ashley is thrilled to be participating in the Newmarket National 10 Minute Play Festival for her first time! Recent stage management credits include The Teeny Tiny Music Show (Hamilton Fringe, 2016), This Is War (York University, 2016) R.E.M. (York University, 2017), and InspiraTO Festival- Blue Show (2017). Ashley is also a performer, director, deviser, and founding member of Atomic Oddity Productions, whose first show After George premiered this year at the Devised Theatre Festival, and the Theatre Centre. Ashley will be graduating from York University’s Theatre program with a specialization in Devised Theatre in January 2020.
I’m very excited to announce that my play, Valentine’s Day, is one of twenty-four plays being produced at the 2018 Newmarket National 10 Minute Play Festival. The NNPF is a festival dedicated to Canadian plays and the diverse voices of this country and takes place forty minutes north of Toronto in Newmarket Ontario.
The plays are grouped into four themed Pods with six plays being presented in each Pod. Tickets are just twenty bucks per Pod and each Pod is presented four times during the festival. Valentine’s Day which is part of the “off BALANCE” Pod is about Tom who remembers the day fifty years ago when he met the love of his life, Heather. The production is being directed by Dale Sheldrake and stars Dan Karpenchuk as Old Tom, Tiffany Deobald as Heather, Kyra Van Den Enden as Karen, and Ilya Iyashyk as Young Tom.
Other plays in the “off BALANCE” Pod include Hero by Peter Cavell a sweet romantic comedy where even heroes need a hero and Funeral Sandwiches by Greg White where a grieving Barbara learns the truth about her husband and another woman. This pod is suitable for most audiences and is described as: “In life’s ledger, what we lose and what we gain always affects the balance.”
If your tastes run a little more mature you might want to see the “side KICKS” Pod which deals with mature themes, coarse language and sexuality and includes If the Shoe Fits by Genevieve Adam where a loyal knight, a glass slipper, and a pig farmer provide a new twist on an old tale and The Kiss by Janet Kish where Panda learns about the give and take of love in an innocent clown-like world. This Pod is definitely meant for a mature audience and is described as: “Best Buddies. Sidekicks? Boon companion or boot the companion? Relationships are so complex!”
The third Pod called “social ORDERS” includes a story about two unlikely refugees who encounter unanticipated obstacles when they try to cross the border in a play by Guy Newsham called The Other Side. This Pod is suitable for most ages and its description reads: “Independence. Interdependence. When there’s no comfort in conformity, something’s out of order.”
“Sometimes we get what we’ve longed for. Sometimes, what we get, is long overdue.” That’s the description of Pod number four: “past DUE.” Plays include Daphne of Evora by Samantha Machado which is about Daphne who faces a forced marriage to an English duke after being stolen from her homeland and Cataloguing the Stars by Andrew Lee where Agnes and Alex’s relationship is catalogued in notes that reach across the chasm of space and time. This Pod contains mature themes and is therefore intended for a mature audience.
Interview with Michael Halfin Artistic Director of the Newmarket National 10 Minute Play Festival
“We’ve received submissions from every province in Canada and from Canadians from around the world. We’ve received scripts from China, Tasmania, Australia, Ireland, many states throughout the U.S., and so on, and I think that Canadians are catching on to the idea that this is their festival.”
Michael Halfin, Artistic & Executive Director NNPF
Michael Halfin, Artistic & Executive Director NewMarket National Play Festival
I talked with founder and Artistic Director of the NNPF Michael Halfin and to Dale Sheldrake the director of my play about this year’s festival.
JAMES HUTCHISON
Michael, I understand you had retired and when we think of retirement most of us think of golf courses and trips to Europe and working in the garden, but after eight months of retirement, you decided to create a national festival of ten-minute plays. Where did the idea for the festival come from, and why did you take on the challenge of putting the festival together?
MICHAEL HALFIN
I’ve always been fascinated by the ten-minute play format, and as a drama teacher, I’d found it to be a great format to teach students dramatic structure, acting process, characterization…really the whole package that full length plays offer, without having to deal with pages and pages of text that kids are resistant to reading. Moreover, I’d read these plays and sometimes find myself weeping at the end – and they were only 10 pages long! It wasn’t long before I was getting kids to write their own ten-minute scripts and inviting professional playwrights into my classroom to dramaturge with them. The results were outstanding. I knew this was a format for writers, actors, and audience, and so the opportunity to create a national play festival exclusively for Canadian writers would be so inviting to playwrights because of the format’s tight structure and huge dramatic pay off just seemed logical to me.
As for retirement, I felt after 35 years it was time to leave teaching and apply all I’d learned in a different way. I’ve always been a creator, and I guess, it’s just impossible for me to stop.
JAMES
One of the things I really like about the festival is the fact that people have a chance to see twenty-four original Canadian plays. What has been the response from the playwriting community across the country, and why do you feel it’s important to showcase so many plays?
MICHAEL
I think what’s been most delightful to see in these first two years is where people are submitting scripts from. We’ve received submissions from every province in Canada and from Canadians from around the world. We’ve received scripts from China, Tasmania, Australia, Ireland, many states throughout the U.S., and so on, and I think that Canadians are catching on to the idea that this is their festival. We don’t “theme” the festival. People can write whatever they want, and what we consistently find, is that Canadians are attuned to the Zeitgeist and have a kind of “collective unconsciousness” and tend to write scripts on the same themes in a given year. So, we select twenty-four and they just naturally fall into the six-pack pods we build around themes that are common in those six scripts.
Breanne Dietrich, Jake Wilkinson, in A Little Reservation. Book & Lyrics by Trevor Curran; Music by JaeMoon Lee. Directed by Mandy Roveda. Photo: Jason Wighton – Newmarket National 10 Minute Play Festival
JAMES
The first year was very successful and in its second year, the festival is getting bigger and better having expanded from two days to five. What is your ultimate vision of what the festival can become?
MICHAEL
Ultimately, I’d like to see us expand into divisions of the festival that would be ten-minute, one act, full-length, and even full-length musicals, but for now, the most important thing is establishing that we are a credible, committed organization that respects creative artists and wants to open the door to the diverse voices of our country. And just as importantly, honour that ten-minute format that appeals to every generation–especially the i-generation people who want information fast and to the point. If we want theatre to be viable, we have to get the youngest generations into our houses.
JAMES
How is the community of Newmarket involved in the production and running of the festival?
MICHAEL
At the board level, all of us are volunteers. We don’t take a single cent from gate receipts for ourselves. Last year, we were overwhelmed by volunteers and we couldn’t find enough work for them to do. This year, we’ve identified our areas of need more clearly to make the best use of people’s time during festival week. We’ve also had tremendous buy-in by the restaurateurs and merchants in the downtown core who are giving ticket holders discounts on their meals and purchases. Just incredible validation from small business owners! And I can’t say enough about the Town of Newmarket itself. Without their support, this festival simply couldn’t happen. Lastly, we have a number of people in town who are billeting a number of our artists for the month of July. You can’t ask for better community support than that.
JAMES
Why should someone come to the festival?
MICHAEL
First, I think they should come for the plays! This is theatre for people who’ve never liked theatre. My 22-year-old son hates theatre, but even he likes this format. He said, “Dad, I know if five minutes in I don’t like the play, at least I know a new one is coming five minutes later. I don’t have to sit there being bored for two hours!” For experienced theatre-goers, the themed pods of six plays give them a full diet of what they’ve come for. We also build the festival around the plays. Last year, local visual artists curated an entire exhibition around our four pod themes, and we’ll be doing that again. We have 14 playwrights coming to do readings of some of their other work before the audience engages the performance of their ten-minute play. We have director and actor talkback sessions, historical tours, and have built Buskerfest into our program so people have lots of live performances to see on the streets. It’s fun. It’s great theatre and it tells us who we are as Canadians. All of these activities are free. The only thing you pay for is your theatre ticket. Somebody tell me where you can get more bang for twenty bucks?
***
Artistic Director Michael Halfin watches a rehearsal of actors Ilya Ilysshyk and Meghan de Chastelain in For the Love of Austen by Stefanie Curran, directed by Dale Sheldrake. Newmarket National 10 Minute Play Festival
Interview with Dale Sheldrake Newmarket National 10 Minute Play Festival
“Telling and hearing stories keeps us in the emotional and intellectual company of one another. I think deep down, people desire to know they can rely on other people, and stories and theatre can offer that by creating a like-minded culture.”
Dale Sheldrake, Director Valentines’ Day
***
One of the exciting things about having your plays produced at festivals is the chance to connect with the artists who are producing your play. I’ve made connections in England, and Australia and now in Newmarket Ontario. A few weeks ago I connected with the director of my play Dale Sheldrake.
JAMES HUTCHISON
Dale, you’re directing four plays in this year’s festival. Which plays are you directing and what attracted you to each particular play?
DALE SHELDRAKE
I’m directing Hero by Peter Cavell, For the Love of Austen by Stefanie Curran, Pausing At The Fringe by David Healey, and Valentine’s Day. Each play has aspects of love involved in its story: the need for love, lost and found love, new love, old love, restricting love, freeing love. These aspects of love shift and evolve in each play and reveal how present and important love is to every person’s day, existence and lifetime.
I was drawn to these plays because they’re well told but also because three of them have messages of hope in them regarding love. That’s a theme I like to share with audiences when possible. Valentine’s Day is different because of its context, but still, the main character, Tom, reflects on how his life was more meaningful than he could have ever hoped for because of his love for his wife Heather. So his hope is in reflecting on the love he had which comforts him in his current lonely life. That’s a nice twist.
JAMES
You’ve had a rich and successful career working in film and television on lots of different shows including The Handmaids Tale and Penny Dreadful. You’re a playwright and published poet, screenwriter, documentary filmmaker, a singer and a musician, and apparently make a mean Tex-Mex chili. You’ve worked in a lot of different mediums and have experience in a lot of different areas of production. With all these various skills what in particular do you use as a theatre director to help bring a story to life on the stage?
DALE
Everything, really. I love storytelling and can’t get it out of my system. Having experience in different entertainment mediums and settings has been valuable for staging a performance and helpful with directing. As a starting point, I read the play and visualize it, considering what is connecting with me emotionally, in regards to the characters and what’s happening between them. This opens up aspects of presentation that can be applied to the story. The purpose, of course, is to figure out what will make the audience best able to relate personally to these characters, feel the emotions the story conveys and understand the underlying lesson? I think most stories try to teach a lesson of some kind or offer a perspective on one.
JAMES
As a person deeply involved with the creation and telling of stories why do you think people have this deep desire to hear and tell stories?
DALE
People need and want social interaction, whether it’s in person or not. Stories tell us about each other and give us a lens to look at ourselves and our behaviour. Live storytelling, like theatre, brings groups of people together, entertains us, and lets us share in emotional experiences without being personally involved. It’s safe and it feels good to laugh with others, and shed a tear with these sudden communities and friendships. Telling and hearing stories keeps us in the emotional and intellectual company of one another. I think deep down, people desire to know they can rely on other people, and stories and theatre can offer that by creating a like-minded culture.
JAMES
You had a table read with all the actors a few weeks ago where all twenty-four plays were read. What was that experience like for the people involved in the festival?
DALE
The full company table read was super! There are actors who would never have met each other during the festival because of different schedules so it worked as an introduction. It gave a depth and shape to what a huge commitment and undertaking it is to put this festival together. It gave an overview of all of the terrific writing and talent involved. Everyone loved it!
JAMES
What do you find most inspirational about the NNPF and want people to know about the festival?
DALE
The Newmarket play festival preparations are incredibly professional, and having everything creative in one place: rehearsals, set design, wardrobe, staging, props, it all just buzzes like a beehive on certain days. Most inspiring is the growing presence of the magic of theatre, of numerous people working together to build something visual, thought-provoking, heart-grabbing and grand from the words on the page. Excitement grows a little day by day as we near opening night.
***
The Newmarket National 10 Minute Play Festival runs from July 25 to July 29th. Tickets are just twenty bucks per show and there are four shows of six plays based on a common theme available to see. You can get tickets and check out the complete festival schedule at the Newmarket National Play Festival Website.
***
Man, I wish I could be there. I’d love to see all the plays and meet the other playwrights and actors and directors and I’d definitely be heading to the Chip+Malt for some fish and chips. The Chip+Malt is just one of the many restaurants and retailers offering discounts during the festival. But that’s what festivals are – they’re about going out with friends, making new friends, seeing some shows, talking about those shows, having something to eat, and exploring the community. And the great thing is the world wide web expands that community and it lets me offer my support to the festival and help spread the word. In fact, anyone with a Twitter, Facebook or Instagram account can help support the arts by just letting people know about the festivals they attend and the theatre they see. I have no doubt this year’s festival will be a huge success and Michael’s plans to grow the festival beyond the ten-minute format to a celebration of all theatre formats is an exciting prospect for Candian playwrights. In the meantime, I want to acknowledge the creative talent working on my show and all the actors, directors, designers, stage managers, and volunteers that make this festival possible. Bravo!
***
Cast and Director for Valentine’s Day
Dan Karpenchuk – Old Age and Treachery; The Other Side; Valentine’s Day: After spending a lifetime as a broadcast journalist in Canada and Europe, about fifteen years ago, Dan turned to his other great love, acting. His film credits include: MurdochMysteries, Taken, Forensic Factor, Mayday and Masterminds. His most recent theatre credits include; Oakes in The Prince of Naples at the Kingston Fringe Festival, Kris Kringle in Miracle on 34th Street at Upper Canada Playhouse in Morrisburg, Falstaff in the Merry Wives of Windsor the Humber River Shakespeare, Ivan in Drinking Alone at the Rose Theatre, Brampton, and Andrew Wyke in Sleuth also at the Rose. Dan’s Shakespeare credits include Othello, As You Like It, The Taming of the Shrew, A Midsummer Night’s Dream, Macbeth, Much Ado About Nothing, and All’s Well That Ends Well. Dan heads back to Morrisburg this winter for the Upper Canada Playhouse production of The Christmas Express which opens on November 30. Dan is thrilled and grateful to be a part of this year’s Newmarket National 10 Minute Play Festival.
Kyra Van Den Enden: Daphne of Evora; Late Romances; Valentine’s Day: Kyra Van Den Enden is a Ryerson University Theatre Performance graduate. She is thrilled that she will be continuing her theatre education at the Ecole Internationale De Theatre Jacques Lecoq this fall. Her Acting credits include: The Rover (Dir. Banuta Rubess, 2018); Jack and the Beanstalk (dir. Andrew Lewis Smith, 2017); Eurydice (dir. Robynne Harder, 2017); The Artful Widow (dir. Adam Paolozza, 2017). She also performed in several original works as a part of the 2018 New Voices Festival including two of her own works, DINGBAT DODO DOWN DISCO! which she co-created and directed with Veronica Hortiguela, and Now Presenting the Really Cool, and Totally Awesome Girl On Fire: ANALEISE. She couldn’t be happier to be performing in the Newmarket National 10 Minute Play Festival for a second year.
Ilyalyashyk – For the Love of Austen; Valentine’s Day: Born in Poltava, Ukraine, Ilya Marvin Ilyashyk, is an actor living in Toronto. He has recently graduated with a BFA-Acting degree from the University of Windsor. Previous credits: Pete- On the Rocks (Small But Mighty Productions), Earnest- The Anger in Earnest and Earnestine (OPIA), Nick- The Plausibility of Teleportation in an Oxygen Deprived Environment (Get-Go), Man- Best Before (Hamilton Frostbites Festival). At the University of Windsor: Bill- The Driver (self-written), Gerry- Dancing at Lughnasa, Fire chief – The Bald Soprano
Tiffany Deobald – Daphne of Evora; The Pipe Test; Valentine’s Day: Tiffany Deobald is an actor from North Battleford, Saskatchewan. She holds an advanced diploma from George Brown College’s Theatre Arts Program (2014). Theatre credits include: Sex&This (Aim for the Tangent), Much Ado About Nothing (Single Thread), The Tempest (Theatre Calgary) and The Mourning After the Night Before (Alumnae Theatre). Film credits include: A Walk in the Park (Aries 6), Outfield (York University), #R.I.P. (Eden Films), INCONTROL (Umbrella Collective Films), Cody Fitz (Umbrella Collective Films). Tiffany is very excited to be working with these new pieces in the Newmarket National 10 Minute Play Festival and she hopes you enjoy the shows!
Dale Sheldrake: Director – For the Love of Austen; Hero; Pausing at the Fringe; Valentine’s Day: An ADR Supervisor in film and television for over 30 years, Dale works closely with incredible writers and actors on productions such as Vikings, The Tudors, The Borgias, Crash, Barney’s Version, Penny Dreadful, and The Handmaid’s Tale. He’s won several awards for his work and loves that theatre direction and ADR are such compatible aspects in entertainment, both building on the importance of performance, dialogue, storytelling and emotion. He is also a playwright, published poet, author, screenwriter, documentary filmmaker (Helldrivers, OLN 2007), singer and musician, and makes a mean Tex-Mex chili. Theatre directing credits: Of Mice and Men; Standing at The Edge of the Universe of Disunity; The Author; Crazy; Day Care; Brother, Brother (InspiraTO Theatre Festival); Tuesdays With Morrie (Theatre Aurora). Dale is thrilled and inspired to be part of the 2018 Newmarket National Play Festival. He thanks Michael Halfin for the wonderful opportunity, the marvellous crew and actors for their amazing energy, professionalism and talent, but most of all, his wife, Petra, for her love, patience and keeping the fire going at the Newmarket National 10 Minute Play Festival
I get a very special gift this year because A Christmas Carol by James Hutchison Premieres at the Carriage House Theatre in Cardston Alberta this December. Santa certainly outdid himself this year and so here’s an interview with some of the wonderful people bringing my adaptation of the famous story to life.
Peter Hague as Scrooge in the Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted by James Hutchison. Photograph by Kelsey Pankhurst
Darren Cahoom as the Ghost of Jacob Marley and Peter Hague as Scrooge in the Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph Kelsey Pankhurst.
Peter Hague as Scrooge, Candace Perry as the Ghost of Christmas Past, Max Bevans as Scrooge as a young boy, Blake Evans as the Headmaster. Photography by Kelsey Pankhurst.
Levi Mason as Fezziwig, Cassidy Duce as Belle, Brad Peterson as Young Scrooge, and Jennica Williams as Mrs. Fezziwig in the Cardston Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
Peter Hague as Scrooge and Candace Perry as the Ghost of Christmas Past in the Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
Production Still from The Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
Peter Hague as Scrooge and Dominic Caravaggio as the Ghost of Christmas Future in the Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
Production Still from The Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
The cast from the Carriage House Theatre production of A Christmas Carol by Charles Dickens sing a final song to the audience. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
The cast of The Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
“But Uncle I have always thought of Christmas time as a kind, forgiving, charitable time. It is the one time of the year when men and women open their hearts and think of all people as fellow passengers to the grave, and not as another race of creatures bound on different journeys. And therefore, though it has never put a scrap of gold or silver in my pocket, I believe that it has done me good, and will do me good; and I say, God bless it!”
***
And so do I! That’s Fred talking to his Uncle Scrooge about why he values Christmas so much. Christmas continues to be a time of celebration, reconciliation and compassion. There are so many wonderful and inspiring stories to enjoy this time of year. It’s a Wonderful Life starring Jimmy Stewart and Lionel Barrymore is one of my all-time favourites. And I never miss a chance to catch The Bishop’s Wife starring Cary Grant, David Niven and Loretta Young. And of course, no Christmas would be complete without a telling of Charles Dicken’s classic tale A Christmas Carol.
When I sat down seven years ago, this very Christmas, to write my own adaption of A Christmas Carol, I discovered that I didn’t really have anything new to bring to the story, so I decided to write another play instead called What the Dickens!
What the Dickens! is a play in the tradition of Noises Off by Michael Frayn or Moon Over Buffalo by Ken Ludwig. It’s basically a play within a play and in this case it’s about the Pine Tree Player’s disastrous production of A Christmas Carol.
But as a result of working on that play I had spent a lot of time with the text of A Christmas Carol and I gained a lot of fresh insights into the story and so once I had finished What the Dickens! I was finally ready to begin writing my own adaption of the original story.
Peter Hague as Scrooge in A Christmas Carol Photograph by Kelsey Pankhurst
One of the things I wanted to do in my version of A Christmas Carol was show how Scrooge was shaped into the man he became. We all live in societies and all societies influence and shape the values and opinions of its members. So, I’ve expanded the role of Jacob Marley, which was Scrooge’s business partner and mentor, and I’ve added another business associate of Scrooge’s named Mr. Bentley in order to illustrate how Scrooge was shaped into the man he became and not alone in his disdain for Christmas.
As Fred, Scrooge’s nephew says, “There are those who see Christmas as a waste of time and energy and my Uncle Scrooge was not only a member of that tribe but in all likelihood their loudest cheerleader and most ardent supporter. He hated Christmas. He hated anything that did not make him richer and so he hated Christmas most of all.”
The production is being directed by Juliann Sommerfeltd who says that A Christmas Carol is a story about hope. “We all have Scrooge-like moments and so that makes him a relatable character whom we pity. His overnight transformation gives us hope that we can alter our own bad habits.”
“The reason I love the story so much and keep coming back to it is because I love the opportunity it shows that people have a second chance. There’s so much depression in the world that being able to realize that there is another day and that you can write on a brand-new page tomorrow and that no matter where you’ve been you can turn things around and start over is an important message.”
“Also, watching Fred’s kindness to his mean Uncle inspires hope that our own kindness can ignite change in the ones we love the most. All that, and a Christmas story as well.”
Over the year’s Scrooge has been played by an assortment of actors including Alistair Sim, George C. Scott and now here in Cardston by Peter Hague. Juliann says she chose Peter because “He has the ability to give Scrooge the edge he needs at the beginning of the play and then end the play with the audience smiling at Scrooge’s bouncing enthusiasm over his changed ways. He goes from bear to teddy bear and you just want to hug this teddy bear of a man.”
Peter says that “There’s some Scrooge in all of us and that’s why this time-honoured character is so compelling. Wealth is very important to Scrooge because he feels it brings him respect and power in his community.”
As Scrooge says to Mr. Harrington who has come to Scrooge’s office on Christmas eve asking for an extension on his loan, “You may find me cold and unfeeling sir, but I would venture to say I am a man of my word; a man whose word carries weight; a man whose word allows him the ability to strike a deal and back it up with his signature. My signature is worth something. Yours it would appear – if you continue to treat your financial obligations and business dealings in this manner – will soon be worthless.”
“Many people in this world, like Scrooge, are too self-absorbed to feel sympathy for others because they evaluate life as the world affects them instead of how they might affect the world.” says Peter. “It’s not until Scrooge sees life from the perspective of others that he has an epiphany that makes him feel that he has missed the mark. The “mark” being people, love and the relationships built in life. As audiences watch the show I hope they will consider what might be amiss in their lives and make changes that will make their lives and the lives of their fellow men more fulfilling.”
“The Carriage House Theatre,” according to Alonna Leavitt, Managing Director of the Carriage House Theatre Foundation, “is an integral part of the Cardston Community.”
Michael Holthe as Dick Wilkens and Cassidy Duce as Belle in A Christmas Carol – Photograph by Kelsey Pankhurst
“For some people, it’s the place they go to see their children and grandchildren perform in the school choir concert. For some, the Carriage House Theatre is the place they take their family to attend a movie. And then many people look forward to seeing the next live theater production – whether it’s a Summer Theatre show, a Junior High production or a Community Theatre production. And for many people, the theatre becomes an extension of their home where they feel safe. They involve themselves on the stage or behind the scenes in a production role and feel satisfaction and joy from that experience.”
“When a production such as A Christmas Carol is presented – where the cast and crew are all members of the community, the community spirit and enthusiasm is exciting. The Carriage House Theatre is a happening place for a small community like Cardston. We are so fortunate and feel so blessed to have this facility in our town.”
Dr. Robert Russell says the The Carriage House Theatre is the result of a dream that started thirty years ago when he along with two other business partners bought the local Cardston movie theatre, The Mayfair, in 1990. The Mayfair was completely gutted and renovated and reopened in 1992 as a 333 seat live theatre and movie venue. Dr. Russell’s two partners dropped out early and he’s had the whole thing for the last twenty-eight years. “The theatre is here to serve people and to educate, enrich and enjoy. And when we talk about educate we’re not just talking about the mechanics of theatre production but to educate people to think and think seriously about what they’re seeing.”
“In A Christmas Carol you have Scrooge who has wealth and materialism but no spirit. And if I can – with my limited means – present a story about change and the transition to a more Christ like type of attitude maybe people will leave the theatre with some idea of incorporating away from materialism and money, in their own lives, which are the two main things that drive a secular society. That’s what A Christmas Carol is – Scrooge becomes a Christian. He transitions from a miserly old unhappy man and finds joy by extending himself and his resources to other people – which is the very premise of Christianity. To me that’s the biggest thing. My whole premise in my life has been service to other people. I was a physician and my whole attitude of being a physician was to serve my fellow man with skill and expertise to make their lives longer and better.”
Scrooge echos Dr. Russell’s premise when he says, to his nephew Fred, at the end of the play, “You’re right. Christmas is a kind, forgiving, and charitable time. A time when men and women open their hearts and think of their fellow man. A time for mercy, charity, and benevolence. And so, in the memory of your dear mother, I will honour Christmas and keep it all the year – and I say along with you, God bless it!”
And so, this Christmas, might I suggest, you gather up the family and friends and head on over to the Carriage House Theatre and catch this fresh, fun and lively adaptation of A Christmas Carol where you’ll meet Mr. Bentley, learn all about the letters Scrooge wrote to his sister Fan, and find out who Mr. Newbury is. You’ll still find all the ghosts of Christmas Past, Present, and Future along with Tiny Tim, Bob Cratchit, the Ghost of Jacob Marley, Old Fezziwig, Scrooge’s nephew Fred, and the love of Scrooge’s life, Belle. There are some new scary bits, a few good laughs, a tender moment or two and some surprises! It’s a fresh take on an old tale sure to thrill young and old alike.
Cast & Crew of The Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison – Photograph by Kelsey Pankhurst
***
A CHRISTMAS CAROL BY JAMES HUTCHISON PREMIERES
CAST OF CHARACTERS
Peter Hague as Ebenezer Scrooge Rob Crawford as Mr. Bentley Mike Morphis as Bob Cratchit Grant Comin as Fred Blake Bevans as Mr. Granger and the Headmaster Ben DeVuyst as Mr. Harrington and a Business Man Levi Mason as Mr. Murdock and Old Fezziwig Luke Credd as a Poor Boy and Cousin Herb Sawyer Pawlenchuk as Mr. Newbury, Topper and Thomas Esther Leighton as Mrs. Dilber Darren Cahoom as Ghost of Jacob Marley Candace Perry as the Ghost of Christmas Past, Rose and Caroline Max Bevans as Scrooge as a young boy and Belle & Dick’s Child Brad Peterson as Scrooge as a young man Ellandra Leighton as Fan and Fezziwig’s Child Jennica Williams as Mrs Fezziwig Madisyn Bevans as Fezziwig Child and Caroler Emma Schneider as Fezziwig Children and Belle and Dick’s Child Mike Devuyst as Jacob Marley and Old Joe Cassidy Duce as Belle Michael Holthe as Dick Wilkens and a Business Man Jack Crawford as Belle and Dick’s Child, Ignorance and a Boy on the Street Emma Quinton as Belle and Dick’s Child and Want Emma Bevans as Belle and Dick’s Child Asa Verdon as the Ghost of Christmas Present and Spirit Marie Morphis as Mrs Cratchit Isaac Morphis as Cratchit child and Fezziwig Orchestra Alexi Morphis as Cratchit child and Fezziwig Orchestra Josh Morphis as Cratchit child and Fezziwig Orchestra Julie Anne Morphis as Cratchit child and Fezziwig Orchestra Adam Morphis as Cratchit child and Fezziwig Orchestra Nathan Morphis as Tiny Tim Ashtyn Lybbert as Emma Dominic Caravaggio as the Ghost of Christmas Future Anica Baff as a Business Woman Daniel Atwood as a Spirit Synevie Wilde as a Spirit Shelby Robson as a Spirit Capri Powlesland as a Spirit Vicky Powlesland as a Caroler Mika McCarty as a Caroler Brianne Watson as a Caroler Savannah Hunter as a Caroler
PRODUCTION STAFF
Producer – Alonna Leavitt Director – Juliann Sommerfeldt Musical Director – Alonna Leavitt Stage Managers – Samantha Atwood & Eden Atwood Lighting Design – Jim Fletcher Costumes – Val Jensen & Alonna Leavitt Costume Construction – Doreen Card, Marina Leavitt, Sheila Hague, Janet Crapo, Darren Cahoon Set Construction – Don Pierson Set Painting – Janet Mein, Esther Leighton, Josh Creason, Paige DeVuyst, Levi Mason, Anica Baff Box Office – Norma Reeves Lighting Technician – Evy Schnoor Make-up & Hair Design – Dalys Fletcher Make-up & Hair Assistants – Kim Schneider, Tonnia Watson, Lacey Quinton, Teagan Perry, Ivy Schnoor, Katia Van Dysse, Beth Holthe, Krystin Bevans, Emma DeVuyst House Manager – Debbie Fletcher
The Carriage House Theatre: The Carriage House Theatre has been providing the town of Cardston and Southern Alberta with live family-oriented entertainment for more than twenty-five years. The Theatre produces a regular season of plays as well as its popular summer musical festival while providing opportunities for talented local youth to participate in live theatre productions.
The Alberta Playwrights Network: The Alberta Playwrights’ Network exists to nurture Alberta playwrights and provide support for the development of their plays. APN promotes Alberta playwrights and plays to the theatre community, while building and fostering a network of playwrights through education, advocacy and outreach. A Christmas Carol was partly developed and workshopped through the Alberta Playwrights Network Wordshed Program in 2015 with the participation of Trevor Rueger, Laura Parken, Roberta Mauer-Phillips and Julie Orton.
Interviews have been edited and condensed for clarity.
Background information for this post included the article, Yesterday Once More, by James Frey in the summer 2005 edition of Lethbridge Living magazine.
