Tag: Playwriting Advice

Interview Trevor Rueger: Actor, Director, Dramaturge

Posted on by James Hutchison

Trevor Rueger – Photograph by Hannah Kerbes

“When you sit down as a playwright and you start to think about a character that’s going to inhabit your world, that’s a piece of coal. Until you put that piece of coal under pressure, you’re not going to reveal all of its facets. So, characters have to be put under pressure. And that’s where you as a writer, and your audience is going to discover all of the facets of that character. And you’re going to turn that piece of coal into a diamond. With facets that shine and shape and inform. It’s pressure. But the pressure can be lost if the writer gives it too much time.”

Trevor Rueger has been an actor, director, writer and dramaturge for over 30 years. In 2011 he received the Betty Mitchell Award for Outstanding Performance by an Actor in a Supporting Role for his performance as Billy Bibbit in Theatre Calgary/Manitoba Theatre Centre’s production of One Flew Over the Cuckoo’s Nest. As an actor, he’s been seen at Theatre Calgary, Lunchbox Theatre, Sage Theatre, Vertigo Theatre, Stage West, and the Garry Theatre.

His directing credits include When Girls Collide, Columbo: Prescription Murder and Columbo Takes the Rap for Vertigo Theatre, Ai Yah! Sweet and Sour Secrets, Life After Hockey and The Complete Works of William Shakespeare (Abridged) for Lunchbox Theatre, Heroes for Sage Theatre, SHE and Matadora for Trepan Theatre, Medea and 33 Swoons for Rocky Mountain College and Courage for Lost Boy Productions

For 20 years he was an ensemble member and writer for Shadow Productions. Trevor was also an original ensemble member of Dirty Laundry which is a weekly improvised soap opera and for 10 years he was chair, writer, and producer of the Betty Mitchell Awards which recognizes excellence in Calgary Theatre.

I’ve worked with Trevor several times over the last decade as a dramaturge and I’ve always found his feedback on my plays to be insightful and constructive. He asks the right questions. Questions that make me think about my story and characters in a manner that results in a better draft.

I sat down with Trevor at Alberta Playwrights Network where he’s been the executive director for the past eleven years to talk with him about his career and his approach to acting, directing, and working with playwrights. Our interview took place in late January, a few months before the current pandemic and lockdown, and so the impacts of COVID-19 on the Canadian Theatre Community were not a part of our conversation.

JAMES HUTCHISON

I’m curious, how did you get interested in theatre and what were some of those early experiences and influences?

TREVOR RUEGER

I didn’t get involved in theatre until high school. I come from a family that was certainly not against the arts. We as kids were just allowed to find our own way. So, when I was a kid, for me, it was sports for the most part.

I was a middle child with six years difference between me and my younger sibling out on an acreage where the nearest neighbour, who was five years older than me, was two miles away. So, I spent a lot of time by myself inventing games and inventing sports and I was quite imaginative and creative, and I was a bit of a gregarious kid as my mother would state.

So, in high school, my mom said, “Well, you should probably take a drama class because you’re such a ham.” And I said, “Okay.” So, I did.

And on the first day of the drama class, it was announced that auditions for the school play were happening that afternoon, and so I signed up for an audition. The play was called Present Tense and it’s a fun little play about a kid in the 50s who’s having trouble with his girlfriend and he imagines that his girlfriend is having all of these wild and crazy love affairs with everyone but him. So, I auditioned for the play and the next day I was cast as the lead in the show.

JAMES

Had you not been cast, who knows?

TREVOR

Oh, exactly. Absolutely. And so, I took drama and played sports all the way through high school. And there was a bit of a pull between my basketball coach and my drama teacher as to which I should focus on. And when I was in grade 12, there were some conflicts between my basketball schedule and my drama schedule and suddenly my schedule all worked out, because unbeknownst to me until I found out many years later, my basketball coach and my drama teacher had gone behind my back and negotiated my schedule.

High School Years

JAMES

Oh, that’s cool. So, then you went off to the University of Calgary to pursue a degree?

TREVOR

I didn’t start out pursuing a degree in theatre. I did one year of General Studies and then I was going to go off into the Education Department where I was going to become a math teacher. But I took drama 200, which was the introductory acting class with Grant Reddick. Halfway through the course you get your grade, and you have a little meeting with the instructor.

So, I go into Grant’s office and sit down and Grant says, “The work is really coming along and you’re really doing well and here’s your grade. How are you doing in your other drama courses?” And I said, “I’m not taking any other drama courses, I’m actually, in General Studies and going into the Education Department.” He went, “Oh, no.” And I said, “What do you mean?” He went, “You should probably take the other drama classes.” And I went, “Okay.”

So, I went home and had a challenging conversation with the parents about switching my major and going into the drama department.

JAMES

How did you approach that? I mean, you said they were pretty open but a number of years ago there was more of a thought that you picked a career and stuck with it. You didn’t have options. Now days people will have four or five careers.

TREVOR

That was certainly their major concern. This does not seem like a career choice. This does not seem like something you can make a living at. This sounds like something, that while it may satisfy you in one way, is going to be incredibly challenging. And so, they’re really looking out for me, right?

JAMES

As parents do.

TREVOR

Yeah, absolutely. It was a difficult conversation. It was three or four years later that I finally realized they were acting out of love and protection and wanted the best for me. But I kind of had them over a barrel because they had made a promise to all of their kids that if you went to university or college they would pay for it. So, I threw the gauntlet down and said, “That’s fine. I am out of here and you’re really reneging on your promise.” So, there was some negotiation and my dad kept pushing me to do a fallback degree afterward. But oddly enough, all the way through my university I was working professionally as an actor. I was studying during the day and doing shows at night.

JAMES

What kind of shows?

TREVOR

I got my first paycheck from Stephen Hair for doing a straight play called Cards on the Table by Agatha Christie at Pleiades Theatre back in that time. I think I played a police officer who had six lines.

Pleiades Mystery Theatre – Cards on the Table by Agatha Christie

JAMES

So, you’re in university and right away you get taken in by the Calgary theatre community. How do you think that helped you build your career here in the city?

TREVOR

I have to take a step back slightly because I already knew a lot about the Calgary theatre community before university because my high school drama teacher Kathryn Kerbes was a professional actor and did some shows while she was a teacher. And her husband Hal Kerbes was quite well connected and a fantastic artist and actor, singer, and costumer. He did it all. In fact, our high school drama class was thrown a party by Hal and Kathryn Kerbes at their home after we graduated where they invited all of their theatre friends over. And so, at that point, I was already quite well immersed and I already knew a few of the people who were part of the cast of my first Pleiades show.

JAMES

So, how do you approach a character? How do you get into the mind of the person you’re going to be? The character you’ll be portraying.

TREVOR

I start big. I start with a big wide canvas. And then I bring the lens into smaller and smaller and smaller details. The first thing I look at is the narrative journey and arc of the character. And then figuring out within that arc what the character wants. That to me is the fundamental question approaching any material. What does the character want? Then once I discovered that I ask how does the character fit into the story? Then I start to look at the text. What does my character say? What does my character say about myself? What do other characters say about my character?

And then I start to develop a physical vocabulary that comes from the world around me and the world that we’re creating in the rehearsal hall and then ultimately on stage. If I’m in a family drama one of my tricks is to look at my relatives and steal their moves. I’ll decide within the family structure who is the most influential on my character, and then I’ll pick up their mannerisms.

So, for instance, I was playing Happy in a production of Death of a Salesman at the Garry Theatre directed by Sharon Pollock. And I just watched the physical mannerisms of the actor who was playing Willie, and the actor playing my older brother Biff and it wasn’t mimicry, but I just went, with a similar physical vocabulary.

JAMES

Any particularly fond memories of a role that you really enjoyed working through and capturing,

TREVOR

I’ve enjoyed a lot of the work I’ve done but the work I did as a young actor with Sharon Pollock at the Garry Theatre was really great stuff to be able to cut my teeth on. The Garry Theatre was a pretty amazing experience because I was directed by her in roles that I would never have had an opportunity to even audition for at other theatres in Calgary or across the country. I played Alan Strang in Equus, I played Happy in Death of a Salesman and I played two or three characters in a production of St. Joan. But I was so green. I was absorbing the work without actually being able to articulate what I was doing.

Cast from the 2016 Stage West Calgary Production of Suite Surrender by Michael McKeever

JAMES

What was it like for your family to come and see you on stage?

TREVOR

They were always supportive, and they came to see as much of the stuff that I was in as they could. And my dad was quite gregarious as well and spent a fair amount of time telling stories in various pubs in and around Forest Lawn, and I would go and meet him every once in a while in the afternoon for a beer after class. And going through university my dad was always, “ You know you could get your education degree.” And in year two it was, “You could get a real estate license.” Year three it was, “You know, you could probably turn these drama skills into sales. I know a guy who owns a car dealership. You could sell cars on weekends. Or you could always learn to be a backhoe operator.” So, he was always just going, “Get something else to fall back on. It doesn’t have to be another four-year degree.” And my dad would introduce me when friends would come over to the table as this is my son he’s going to university. Well, finally there was that day my dad introduced me to one of his pals who’d never met me before as, “My son. He’s an actor.” I went alright.

Realizing the divas are about to discover they’ve been roomed together, assistant Mr. Pippet jumps into the arms of hotel GM Mr. Dunlap

JAMES

So, tell me about what attracts you to directing and what type of shows are you attracted to?

TREVOR

Here’s the thing that I discovered which leads me very well into the world of being a dramaturge. It’s not that I dislike the performance aspect of being an actor. I quite enjoy it. I love putting on the costume. I love walking out in front of an audience. I love hearing them react and knowing that you’ve had an effect on them in some way. But when you get into the run of a show, it’s the law of diminishing returns. So, what I discovered when I started directing, which has led me into dramaturgy, is I love making big discoveries. And that’s the rehearsal hall. It’s the same way as I was just discussing how I approach a character right. Starting with this big broad canvas. So those big discoveries. What is this world that we’re going to create? Who are the people who inhabit this world? How do they connect to each other? What are we telling an audience? What are we showing? What are they seeing? All tied back to, we’re supporting the work of the playwright.

The 2010 Theatre Calgary Production of One Flew Over the Cuckoo’s Nest by Dale Wasserman. Based on the novel by Ken Kesey. Directed by Miles Potter.

JAMES

How did you end up getting involved in dramaturgy?

TREVOR

It was working with Sharon Pollock. It really was. It changed the notion of how I look at work and how I look at plays. And at that point, I had no idea what dramaturgy was, but she looks at work as a director, as a writer, as an actor, and with such a writer’s eye, and with such dramaturgical care for the work that it made me read differently.

Again, we were doing Death of a Salesman and in our first read through the actor, playing Willy Loman made a choice with a line delivery on about page eight or nine. And it was our first read-through and Sharon stopped there and went, “That’s a very interesting choice that you’re making. I just want to warn you, let’s not get trapped into that yet because while you do say that and that could be the emotional content of what you’re saying here – forty pages from now you say this.” And I thought – how is she on page eight, and on page forty at the same time, and it was because she had a concept or saw the whole. And it made me start to look at work differently. As an actor to look at work differently. As a director. And then realizing a few years later, oh, that’s dramaturgy. That’s dramaturgy – defending the work of the playwright and seeing the big idea within that world.

Directed by Trevor Rueger

JAMES

I find it takes a couple of reads to understand the connection between page eight and page forty because on a first read you don’t always see the connection between the two.

TREVOR

Absolutely. Though, as a dramaturg it’s not that I don’t give work multiple readings before actually crafting a response to a playwright but I generally make my notes on the first reading because for me – what the playwright has asked me to do as the dramaturge is to be their very first audience. And an audience is only going to see a work once. So, I approach it with that mindset. So, I will read it and make my big notes and observations. Then usually upon a second or third reading, I start to be able to see, “Oh, hang on, my bad. I misread that. Oh, I see, that connects to that.” Or, “Mmmm, it seems to be that the idea is shifting or has shifted or wants to shift.”

JAMES

This is why I think it’s very important not to share the work too soon. Because if you share it too soon you can never get that first reader back. Although to help make it fresh again one of the things I find useful is to put the work back into the drawer for six months.

TREVOR

Absolutely. So much of my practice, as a director has touched on that kind of notion. I feel that within the Canadian theatre system, we do not have enough time to rehearse nor do we have enough time to let the work germinate for the artists because of the commercial aspect of things, right, that you have to create a new product virtually monthly or bimonthly. Rehearsal periods are truncated and the work just gets rushed to the stage. So, for me as a director wherever possible I do five-hour days with my cast instead of an eight-hour rehearsal day. We’ll do eight hours for the first couple of days and then we’ll shift as soon as possible to a five-hour day.

JAMES

What do you find the shorter hours do for them?

TREVOR

They come back the next day fresh. They’re still working eight hours. They’re not doing eleven and twelve-hour days. So, they’re actually doing eight hours of work but you only have access to them for five. And that creates within the rehearsal hall a demand to be focused. People come in fresh and you can usually start those final days of rehearsal at noon. So it’s like 12 to 5. So, you come in fresh because you’ve had a morning. You’ve had an evening. You’ve had an opportunity to do some work. You’ve had an opportunity to think about the work. You’ve had an opportunity to reflect on notes. As opposed to coming home at the end of an eight hour day throwing some food in your face, trying to learn your lines, getting up the next morning and taking a look at the work you’re going to be doing the next day. It’s all so exhausting. It’s also exhausting for a director and a stage manager.

Jamie Matchullis as Jennifer, Chantelle Han as Lilly, Ben Wong as Charlie, and Kelsey Verzotti as Jade in the Lunchbox Theatre production of Ai Yah! Sweet and Sour Secrets by Dale Lee Kwong. Directed by Trevor Rueger – Photograph by Benjamin Laird

JAMES

So, tell me about APN.

TREVOR

The Alberta Playwrights Network is a membership-driven organization devoted to supporting, developing, and nurturing the work and the playwright through education, advocacy, outreach, and any other resource or technology that we can provide our membership.

JAMES

You’ve been running APN for eleven years. Where do you think you were as an organization when you started and where do you think you are now?

TREVOR

APN, as I’ve always known it, was a healthy, vibrant, energized organization. And the organization that I inherited, certainly was that. Strong membership base. Pretty interesting programming that people were taking advantage of. But over the last eleven years, the biggest thing that I’ve seen shift and change and alter is the theatrical landscape.

When I came into the organization Canada Council had just paid for a research paper to be written by Ben Henderson who was with Saskatchewan Playwrights Centre and Martin Kinch who was with Playwrights Theatre Center in Vancouver. Both organizations very much like APN. They wrote a paper called From Creation to Production that talked about the new play development model, as it existed in Canada, and as it existed in the UK and in some parts of the United States. And at that time, it was a pretty standard that a play gets selected for a workshop. A play gets developed. A play gets produced. Or a playwright gets developed and produced.

There were a lot of ideas in there that I looked at and I read. “Okay, is APN doing this? Yeah, we seem to be doing that. All right. That seems to be successful. We seem to be doing this. That seems okay. We don’t seem to be doing this. I don’t know if our organization could ever do this.”

So, I enacted a five-year plan at that point which focused on playwright advocacy and doing more work and providing greater agency for our members by getting their plays into the hands of people that might produce them. So, through that came a number of things including the catalogue which featured plays ready for production by our members. Fast forward ten years later, that paper, From Creation to Production, is completely out of date.

JAMES

It’s now a historic document.

TREVOR

Yeah, absolutely. And so that’s why APN with funding from the Canada Council is currently engaging in this national research project, to discover – who we are and where we are as a nation – and as producers and creators and playwrights and theatre companies – and trying to figure out what the landscape is as it pertains to new play development, new play creation, new play curation and to find out what we can do.

Mike Czuba, Kira Bradley, Melanie Murray Hunt, and Trevor Rueger workshopping new work with APN

JAMES

Well considering where we are right now can you talk a little bit about diversity and inclusion as an organization.

TREVOR

Three years ago, at a board retreat, one of our board members brought up as a point of discussion that we don’t seem to be doing a lot of work in the realm of diversity which lead to a really great conversation that we had never had as an organization. Because our organization has always been open, and available, to anyone and everyone.

JAMES

If you’re a playwright, call us.

TREVOR

If you’re a playwright, call us. We don’t discriminate based on age, race, country of origin, religious background, sexuality, or sexual identity. None of that has ever been a part of our membership process. And we’ve never asked those questions, nor did we ever care to. So that led us to the discovery that while that may be our internal belief that may not be our external perception.

And as we’ve done some surveys and spoken to diverse theatre creators about this what we discovered is not that the outside perception was necessarily wrong, but that the outside perception was different from our internal belief. We believed that we were an open door for everyone, but what we discovered is we have to take that door out to people and let them know that we exist and that we have this belief?

JAMES

It’s not enough to just have the door open.

TREVOR

Exactly. So, we’ve held a couple of meetings with diverse artists from across a number of disciplines both in Calgary and Edmonton. We’re also undergoing a process with the Professional Association of Canadian Theatres and there’s a number of Calgary theatre companies that have gotten together for two or three meetings to have frank and open discussions about equity, diversity, and inclusion that are chaired and convened by diverse artists which has been really eye-opening to us.

We just got some money from Calgary Arts Development, to dig into this work a little deeper. So, we’ve just hired what we’re calling a Community Outreach Ambassador, who for a period of time is going to go out and engage with diverse and underrepresented communities and just have frank and honest conversations with them about what our organization does. Here’s who we are. Do you have creators? Do you have writers? What can we offer you? Is there anything that we could provide that would assist you on your artistic journey?

By the end of this year we’ll probably be creating some value statements that we will publish on our website and those value statements around equity, diversity, and inclusion will trickle down and be at the forefront of thoughts regarding programming.

For ten years Trevor Rueger was the chair, writer, and producer of the Betty Mitchell Awards. The Betty Mitchell Awards recognize excellence in Calgary’s Professional Theatre Community. Photograph by Jasmine Han

JAMES

So, let’s talk about dramaturgy. How do you engage with the playwright? What works best?

TREVOR

For me, dramaturgy is a philosophy. And the philosophy is simply about helping the playwright find the ideas, both big and small in the world that they’re trying to create. I tend to start every dramaturgical session by asking the playwright, “Tell me about you and tell me about your work. And tell me about the creative process that you’ve been engaged in thus far and tell me what you want to say.” A lot of the questions and feedback that I tend to formulate, as I’m reading a work generally always come back to, “What are you trying to say? What do you want the play to say? What do you want the audience to think, feel, and be saying when they’re walking out of the theatre? What’s the experience you want to take them through?” So that’s always where I start a conversation. And that becomes a touchstone from which we can negotiate.

JAMES

Do you have any particular way of breaking down scripts?

TREVOR

There are three things that I really focus on. One is character. If I was to pick up this script as an actor or a director, based on what I’m seeing right now, would I be able to either give a performance, akin to what the playwright has written, or as a director get to a performance that’s akin to what the playwright has written. That’s usually where I have a lot of questions about the character and the character journey. To me, it starts with character, then it moves into structure. How is the world structured? How is your narrative structure? And then my third one is time. I think the notion of time is overlooked by emerging playwrights.

JAMES

What do you mean by time?

TREVOR

What I mean by time is how much time expires in the world of your play. Because time has a powerful effect within a narrative in terms of an emotional state. When I teach my introduction to playwriting, I use the epilogue at the end of Death of a Salesman as an example of time. Linda is standing at Willy’s grave and in the reality of the play he passed two or three days ago. She’s got this beautiful speech about, “I can’t cry Willy. I can’t cry. Every time I hear the screen door open, I expect it’s you. I can’t cry.” And I always ask playwrights in the course, “Okay, so that’s three days ago, but let’s imagine she’s standing at the grave a year later and says those exact same words.”

JAMES

It totally changes everything.

TREVOR

It totally changes everything, right? The audience now is getting a completely different story. And all you’ve done is change the element of time. The actor is going to play it differently. The director is going to approach it differently. So, that’s what I mean by the notion of time, and how time is important and sometimes we give a story too much time. It becomes too epic and the hero’s journey loses all of its stakes.

When you sit down as a playwright and you start to think about a character that’s going to inhabit your world, that’s a piece of coal. Until you put that piece of coal under pressure, you’re not going to reveal all of its facets. So, characters have to be put under pressure. And that’s where you as a writer, and your audience is going to discover all of the facets of that character. And you’re going to turn that piece of coal into a diamond. With facets that shine and shape and inform. It’s pressure. But the pressure can be lost if the writer gives it too much time.

L to R: Col Cseke, Kathryn Kerbes & Trevor Rueger in an APN workshop for Saviour by Maryanne Pope – January 2019

JAMES

I really like the fact that you’re talking character, structure, and time, because then it doesn’t matter whether it’s comedy – doesn’t matter whether it’s a tragedy – because those function in every story. And those things are the elements the story is built out of.

Okay, I have one final question. Speaking as a dramaturge you’re working with a new playwright. He’s written a new play called Hamlet. What are your dramaturgical notes on Hamlet because it’s a pretty good play?

TREVOR

Yeah, it’s pretty good. One question would be, “Do you feel that the Fortinbras plot is overwritten for what thematically you think it’s giving you?” Because that’s the plot that always gets cut. And I ask people when I’m teaching my introductory playwriting course, “In Hamlet, how long from the first scene on the parapets of Elsinore castle to the end of the play? How much time has expired in the real world?”

JAMES

You know, I’ve never thought about it, but it feels like it’s a lot of time. Well because he travels to England and comes back. I don’t know. A month. Two months?

TREVOR

Six months.

JAMES

Six months.

TREVOR

Six months in order to travel by boat to and from England. And there is a reference to six or seven months actually later in the text. But if Hamlet was to be that slow and wishy-washy for seven months…

JAMES

…he wouldn’t have our sympathy. We’d be frustrated with him.

TREVOR

Yeah, we’d want to punch him in the face. So, our mind shortens it to an acceptable amount of time. Yeah, I could see how he would have difficulty making a choice in two months. But you know, if I’m really thinking about the fact that it’s taking him six to seven months to make a decision, I’m starting to turn off the character. Yeah, so maybe you want to take a look at time.

I did a speech for a seniors group at Theatre Calgary many years ago about dramaturgy and I created a fictional case study on if I was to dramaturg Hamlet, but it was like, draft one, right? So, Shakespeare comes to me and he goes, “Okay, I got this great idea for a play. Here’s what’s going to happen. Kid comes back from college because his dad’s died. And then his mom is sleeping with his uncle and his uncle killed his dad.”

“Oh, that sounds really great.”

“Yeah. And then he enacts revenge.”

“Okay, great. Question. Did he witness the murder?”

“No, he did not witness the murder.”

“Did somebody witness the murder?”

“No, no, no. This is how the uncle is getting away with it. Nobody witnessed the murder.”

“So how does Hamlet know that his uncle did it?”

“What do you mean?”

“Well, you said he exacts revenge on his uncle for the murder of his father?”

“Yeah?”

“So how does he know his uncle killed his father?”

“Ah, yeah, I see what you’re saying. (Pause) Ghost of his dad?”

“Ghost of his dad! Good idea. Let’s have him show up.”

Alberta Playwrights’ Network is a not-for-profit provincial organization of emerging and established playwrights, dramaturgs, and supporters of playwriting. Our members come from across the province in both rural and urban communities, with the largest portion of our membership residing in Calgary and Edmonton. We strive to be a truly province-wide organization, with representation from all corners of the province. Alberta Playwrights’ Network exists to nurture Albertan playwrights and provide support for the development of their plays. APN promotes the province’s playwrights and plays to the theatre community while building and fostering a network of playwrights through education, advocacy, and outreach.

DOWNLOAD – James Hutchison Interviews Trevor Rueger: Actor, Director, Dramaturge

This image links to an interview with Matt Dy the Director of Script Competitions at the Austin Film Festival

Three Types of Story: Survival, Love, & Quest

Posted on by James Hutchison

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 Guidebook by Stuart Spenser, and The Hidden Tools of Comedy by 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 STORIESTYPEGENREENDING
Ready or NotSatireHorrorHappy
Marathon ManDramaSuspenseHappy
A Quiet PlaceDramaScience FictionHappy
MiseryDramaSuspenseHappy
SleuthTragedyMysteryUnhappy
Shawshank RedemptionDramaEpicHappy
ParasiteTragedySuspenseUnhappy
Star WarsDramaScience FictionHappy
ZombielandSatireHorrorHappy
Harry PotterDramaFantasyHappy
Death WishDramaRevengeHappy
The IncrediblesComedySuperheroHappy
The Poseidon AdventureDramaDisasterUnhappy

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 STORIESTYPEGENREENDING
The English Patient TragedyWarUnhappy
While You Were SleepingComedyRomantic ComedyHappy
The Princess BrideComedyFantasyHappy
AirplaneSatireRomantic ComedyHappy
Up In the AirTragedyDramedyUnhappy
Moulin Rouge!DramaMusicalUnhappy
Sleepless in SeattleComedyRomantic ComedyHappy
Die HardDramaActionHappy
Doctor ZhivagoTragedyEpicUnhappy
Christmas in ConnecticutComedyRomantic ComedyHappy
Some Like It HotComedyCrimeHappy
HerComedyScience FictionUnhappy
Marriage StoryDramaFamily DramaUnhappy

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 STORIESTYPEGENREENDING
ChinatownTragedyDetectiveUnhappy
Lord of the RingsDramaFantasyHappy
Stand by MeComedyComing of AgeHappy
2001: A Space OdysseyDramaScience FictionHappy
Wizard of OZDramaMusical FantasyHappy
Monty Python and the Holy GrailSatireMythUnhappy
MoanaComedyMythHappy
Pirates of the CaribbeanComedyAction AdventureHappy
The HangoverSatireBuddy MovieHappy
Raiders of the Lost Ark DramaAction AdventureUnhappy
Planes, Trains, and AutomobilesComedyBuddy MovieHappy
JumanjiComedyFantasy AdventureHappy
The Good, the Bad, and the UglyDramaWesternHappy

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 Musical by 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.)

Link to – Stephen King – On Writing

Writing Down the Bones: Freeing the Writer Within

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)

Link to – Writing Down the Bones: Freeing the Writer Within by Natalie Goldberg

The Art of Dramatic Writing by Lajos Egri

“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.)

Link to – The Art of Dramatic Writing by Lajos Egri

Save The Cat! by Blake Snyder

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.)

Link to – Save the Cat! by Blake Snyder

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.”

Link to – 20 Master Plots and How to Build Them by Ronald B. Tobias

Writing Screenplays That Sell by Michael Hauge

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.)

Link to – Writing Screenplays That Sell by Michael Hauge

The WAR of ART by Steven Pressfield

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.)

Link to – The WAR of ART by Steven Pressfield

Do The Work by Steven Pressfield

Overcome Resistance and Get Out of Your Own Way

“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.)

Link to – Do The Work by Steven Pressfield

Turning Pro by Steven Pressfield

Tap Your Inner Power and Create Your Life’s Work

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.

Link to – Turning Pro by Steven Pressfield

STORY by Robert McKee

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.)

Link to – STORY by Robert McKee

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.)

Link to – Thanks, But This Isn’t For Us by Jessica Page Morrell

The Hidden Tools of Comedy by Steve Kaplan

The Serious Business of Being Funny

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)

Link to – The Hidden Tools of Comedy by Steve Kaplan

The Playwright’s Guidebook by Stuart Spencer

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.)

Link to – The Playwright’s Guidebook by Stuart Spencer

Making Movies by Sidney Lumet

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.)

Link to – Making Movies by Sidney Lumet

James Hutchison talks with Director Heather Dick

Posted on by James Hutchison

James Hutchison Playwright

This week my play Written in Stone is premiering at the Newmarket National 10 Minute Play Festival along with twenty-four other Canadian plays. In last week’s blog, I interviewed Michael Halfin the Artistic and Executive Director of the festival and Heather Dick a director, actor and playwright who is directing my play. 

The plays are grouped into four themed Pods with six plays being presented in each Pod. Written in Stone is part of the “you|TURN” Pod and tells the story about the creation of the Ten Commandments and explains 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. 

Usually, I’m the one doing the interviewing on my blog but this week I’m answering some questions Heather asked me about my writing and specifically about what inspired me to write Written in Stone.

HEATHER DICK

What sparked your writing of Written In Stone? Was it in response to an event or interaction between people that you observed?  Or something else entirely?

JAMES HUTCHISON

I was inspired by God. In a manner of speaking. I was doing a lot of reading about Greek mythology and the Bible and early Christians and I’d just written a play called The Blood of a Thousand Chickens which is my interpretation of the story of Oedipus and an examination of belief using Zeus and the ancient Greek Gods to look at customs and traditions and practices. So, I was thinking of ancient times and Gods and exploring religion and that got me to thinking about what might be the best ten commandments for creating a healthy and vibrant society where equality and environmental stewardship were the cornerstones of the law. And so while musing about all of that the idea of placing the creation of the ten commandments in a corporate setting where God is the boss and he’s escaped for the weekend to go play golf while leaving his employees to do the work he’s going to take credit for popped into my mind.

HEATHER

How do you approach writing a play?  Do you begin with characters, an issue you’d like to explore, a theme?

JAMES

It varies. I’m a gardener when it comes to writing. I like to plant the seeds and see what grows. I’m not big into structure initially. I need the spark of an idea to get me going, and then I just sit down and start writing. Sometimes the whole play will simply emerge in a matter of a week or two or in a day if it’s a short play, and sometimes it can take years where I keep coming back to a script and a story I’ve been working on for some time until I get it finished. The big thing for me is I need the spark or the beginning moments usually in order to start writing, and that often gives me enough to get a third of the play written. So, at that point, I’m learning about the characters and the story and what they want and who the protagonist is and who the antagonist is, but once I hit a certain point then I really need to figure out my ending. I need to know how the story ends in order to continue writing the play, because knowing the ending informs the structure of the story and all of the obligatory scenes you need to have in order to reach the end, because everything is leading towards a specific outcome.

Sometimes the story and structure of the play come earlier and sometimes it comes later, but once I know the ending then I put on my architect hat and sketch out the rest of the plot. And if I can’t figure out the ending that’s where the play stalls, and it goes back into the drawer maybe to re-emerge at another date or to join the millions of other unfinished stories in drawers and on hard drives around the world to forever be forgotten.

One of the other things I’ve discovered about my writing is that what I need to know about the character is also influenced by the story. I have a bunch of questions I will ask about my characters especially for longer plays and doing that helps me understand the history of my character and the choices they’ve made in life and what’s important to them. Just as a side note, I never begin with the physical description of a character. It bugs the hell out of me that so many character profiles begin with hair colour and weight and all these other least interesting characteristics. What you need to do is determine the kind of a person your character is, and that means who they are and what they do for work. How they treat people. The physical person is determined by the career and ambitions of your character otherwise you are letting your physical description, which is only the surface aspects of your character, determine the very nature and soul of who your character is and what they want, desire, and need in life. Now that might mean in the end certain physical aspects might be extremely important in terms of self-identity such as a person who values their physical strength but is now growing older and feeling the effects of age. So that character in order to maintain the physical beauty and strength of their youth might be willing to do something such as sell their soul or take an experimental drug to keep what they value most.

And I don’t sit down and necessarily fill out the entire character description at the beginning. I tend to go back and forth making discoveries in the writing of the play which means going back and answering more questions about my character in the character profile. So, for example, you could be writing a scene and suddenly your character mentions having worked at an all-night diner in her twenties and that isn’t something you knew before so now you go back and you ask about that time in her life and who she met and what her day was like and how that has informed her life and the choices she’s made and her view of people. Then having that knowledge you go back and continue the story and now the character has specific memories rather than vague ideas. It makes for a more vibrant and interesting story.

A really big thing for me – is finding the right name for a character. In fact, if I don’t have the right name I can’t write. I spend lots of time looking at baby names and the meaning of names and testing names out until I land on the right one. So, once I get an idea for a play then I have to discover who the characters are and what their names are and once I have the right name – boom I just start writing. So, for example in my play Death and the Psychiatrist – Death’s name isn’t death it’s actually Mortimer Graves. Mortimer means “Dead Sea” and Graves means well – graves. And it wasn’t until I had the name that I was able to write the play although the idea for that play – Death having a psychiatrist – came to me late one winter night while I was out walking my dog Zeke and a little voice in my head just whispered, “What if death had a psychiatrist.” It was several years later before I actually sat down and wrote that play and that was the first play I wrote on my current journey as a playwright.

For Written in Stone the choice as far as character names go was made for me because I chose to dramatize the story by using existing characters from Christian mythology including Gabriel, Michael, and Lucifer and of course the big guy himself – God. The thing is I’ve played around a bit with who these characters are in order to make it more entertaining and surprising for the audience.

HEATHER

How is writing a 10-minute play different than writing a full-length play?  What are the unique challenges you face?

JAMES

Written in Stone wasn’t a ten-minute play. It’s actually a half-hour play cut down to ten minutes. Here’s one of the cut lines from the longer version of the play, “What were you doing standing in line squeezing the pumpernickel?” I love that line. Out of context, it sounds ridiculous. So, I don’t always write with the intention of writing a ten-minute play. Sometimes I do. Sometimes I don’t. The reason I cut Written in Stone down to ten minutes is simply because there are so many ten-minute play contests out there and I want my work to be produced and seen.

JAMES

For a lot of years, I worked as a commercial writer/producer so I’m used to telling stories in thirty seconds. Advertising is all about storytelling. It’s about connecting a particular product or service to your target audience emotionally and the best way to do that is through a story that illustrates the qualities the product possesses. That’s the first truth of marketing and advertising. The product actually has to deliver on the promise. Take Tim Horton’s for example. They’ve had a terrible fall from grace as a Canadian icon because they are no longer what they were. They’ve finally degraded the product to a point where they’ve lost the loyalty of their clients. In fact, I want to write a short play about it called Glory Days where we have these two Canucks talking about the glory days of Tim Hortons where they’re reminiscing about when Tim Hortons used to make the donuts in store and how amazing they were. On a personal note, my favourite Tim Hortons pastry was the walnut crunch. It was this heavy cake dough with icing and nuts, and it was awesome. And then the company that owned Wendy’s bought Tim’s and that was the first round of cutting quality and they brought out this revamped version of the walnut crunch that didn’t have the same texture, flavour, or feel of the original and was kind of spongy and light and of course, it failed. Last year Tim Hortons went from the fourth-best brand in Canada to fiftieth, but it’s been a decline that’s been in the works for a couple of decades. And now I’m thinking maybe this is a time travel story and we have these two Canuck scientists who are determined to travel back in time to get a walnut crunch and a double-double and relive the glory days of Tim’s.

That whole rant was simply to say that I worked for a long time in an industry where you had twenty-five seconds and sometimes less to tell a story so ten minutes is a huge amount of time. You can cover a lot and what I really like about the ten-minute format is that you don’t always have to tell a conventional story – you can explore a mood or a question. It’s like music. An individual song might not tell a story but it might paint a particular image and speak about the human experience on some level. I think short play formats have the power to do that as well and something that might be boring in a two-act structure might really be fascinating and compelling in ten minutes. The thing is you have to create some sort of satisfactory experience for your audience so they feel satisfied and engaged.  When you work on a longer work then you need layers, so whereas a short play might be akin in some ways to a pop song a long play could very much be compared to a classical concert. So, in a full-length play, you dramatically explore a particular question and in a classical concert, you explore a particular melody with all kinds of variations.

HEATHER

What do you hope that audiences will take away from seeing Written In Stone?

JAMES

I hope they laugh. My favourite quote of all time is from George Bernard Shaw. “Life does not cease to be funny when people die any more than it ceases to be serious when people laugh.” To me, satire and comedy are wonderful tools for holding up a mirror to our hypocrisy and lies. I’ve always liked comedy and satire and one of my favourite films is Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb by Stanley Kubrick starring Peter Sellers and George C Scott, and it’s all about the insanity of living in a world where we live minutes away from Global nuclear annihilation. The first time I saw the film was at an Arthouse here in Calgary called the Plaza theatre, and it was when Ronald Reagan was sabre rattling, and the USSR was burning its way through elderly communist party leaders, and so tensions were high between the two superpowers, and we were living with jets in the air ready to respond to a nuclear threat within minutes. And this is just an insane way to live, but the fact that we live in this insanity is what makes the film so tremendously funny. And now with Putin, a couple of years ago threatening to rearm his nuclear arsenal and the potential of another arms race being bantered about I have to say the film is as relevant if not more relevant today. And so, with my little play, I’m asking people to think about the ten commandments and what they say and examine them based on what we’ve learned about our world and our place in it. So, yes I want people to laugh, but I think if they want to go out after the play and have a pint and play God and discuss what laws their ten commandments would contain I think they’d have a terrific discussion about what is truly important in life and what if any are the guiding principles we should live by.

HEATHER

Are you working on a new piece now and if so, would you like to talk about it?

JAMES

I don’t talk about new work until after the first draft is finished and it’s sat in a drawer for some time and then come out for a polish. I find if I talk about an unfinished piece of work the feedback I get takes me down the wrong path. Now for other people – they thrive from feedback. They love to take ten pages and share them. Me, I don’t work that way. In fact, nothing kills my idea quicker than getting the wrong feedback. It sabotages my creative process because I can’t unhear what I’ve heard. So, my advice is, if you’re like me, don’t share your work before it’s finished. That’s the same advice Stephen King gives in his book On Writing which I read back in 2010 when I began this playwriting journey and have reread several times since.

Having said that I’m in the process of finishing a new two-act comedy called Under the Mistletoe. These were originally two one-act plays that I’ve combined into one full-length play. And this is a good example of a play that’s had a long journey to completion. Early drafts of some of this work go back to 2011. It’s come in and out of the drawer several times and even had a couple of workshops. The second act worked fine, but I’d had some feedback on the first act and it took me in a direction where the story died. And it’s been dead ever since. I kept trying to rewrite the first act, over the years, but I could never get it to work. I’d lost the spark – the thing that gave it life, and no matter what I did I couldn’t get it back. Well a few months ago I thought I’d try again, and I pulled the play out of the drawer, and I decided to rename the characters, and once I gave the characters new names it made the play feel fresh and I was able to give it a complete rewrite and recapture the magic that had been there when I originally wrote the play.

JAMES

Basically, it’s similar to Neil Simon’s Plaza Suite. The play takes place in one hotel, but each act is a different story with different characters. I also wanted to write a play about characters in their fifties because I’m in my fifties and life is very different now that time is short.

The play takes place at Christmas thus the name – Under the Mistletoe. In act one there’s a character named Mike Riley who’s unemployed, divorced, and living in his brother’s basement. So, he’s a little depressed especially because he’s spending the holidays in the Gingerbread Suite at the Prairie Dog Inn Regina.  But then he meets Claire McKenzie and they spent a romantic night together and Mike thinks his luck is finally starting to change so On Christmas Eve he purchases the Two Turtle Doves Holiday Romance Gift Basket and hopes to make his relationship with Claire more than a one-night stand.

Then in act two, I have Harvey Swanson and Nancy Potter who have been friends for years but after they kiss in a movie theatre during the ending credit of Casablanca they decide to try and make their friendship a romantic one. So, they book the Candy Cane Suite at the Prairie Dog Inn Regina for a romantic rendezvous. The only problem is Harvey is having a tough time getting over the death of his wife and he feels guilty about being with another woman. So, the big question is will Harvey and Nancy become lovers or will these new romantic feelings and Harvey’s reluctance to let go of the past end their friendship?

That’s going to be up on my website come January.

Otherwise, I’ve got a huge amount of rewriting to do and I’ve been spending a lot of time working on my blog and interviewing other playwrights, actors, and directors. I love doing the blog because I’ve always liked to learn about people and what drives them. I have a degree in sociology and had considered becoming an archaeologist when I was younger, but my life took a different path. Still, I’m interested in people and society and why we do what we do and live as we do. Sociology, archaeology, and playwriting are all just different aspects of exploring humanity.

If you’d like to read more about the Newmarket National 10 Minute Play Festival then check out last weeks blog where I interview Michael Halfin the Artistic and Executive Director of the Festival as well as the director of my play Heather Dick: Written in Stone: The Story of the Ten Commandments – Premieres at the Newmarket 10 Minute National Play Festival.

And if you’re interested in reading up on Brand Rankings from 2018 see the link below to the Maclean’s article on Tim Hortons. Just on a side note this year Tim Horton’s was ranked 33rd. Still a long way from the position they once held and not the place you’d expect such an iconic Canadian brand. Although, is it really Canadian any longer and has it really been Canadian for some time? 

The Tim Hortons brand is badly broken. Here’s how to fix it.
by David Thomas May 17, 2018 MACLEAN’S 

“Last year, Tim Hortons reputational brand ranking plummeted from 4th place among Canadians in 2016 to 50th, according to Leger. Another survey in 2018, from the Peter B. Gustavson School of Business in Victoria, B.C., found Tims had free fallen to 203rd spot on a brand trust basis, from 27th place a year earlier and number one overall as recently as 2015. It’s a short drive from iconic to notorious, when you’ve driven off a cliff.

The company’s owners since 2014, Restaurant Brands International (RBI), were based in the U.S. before moving the head office to Oakville, Ont., with a further move slated to downtown Toronto. And RBI is backed by Brazilian investors 3G Capital, who are legendary, if not downright notorious, themselves for their love of cost-cutting at the companies they buy.”

Heather Dick – Director Written in Stone 

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

Newmarket National 10 Minute Play Festival Celebrates Canadian Theatre

Posted on by James Hutchison

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.

Ilya lyashyk – 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