To see a synopsis of each play including play summary, casting and running time, please click the title of the play you are interested in.

The stars on each play indicate the number of times it has been previously produced.

When using any music during the dramatization of a song, the rights for that piece must be acquired from the music publisher before usage. Please follow the guidelines for music rights usage as outlined by The Dramatists' Guild of America.


Production of St Columba from January 2017

January 30, 2017 by admin in Uncategorized 0 comments

YOU KNOW ABOUT SAINT PATRICK.  DO YOU KNOW ABOUT SAINT COLUMBA?  Yes, Saint Patrick brought Christianity to Ireland.  Did you know that Saint Columba, 100 years after Patrick, brought Christianity to Scotland?  My play SAINT COLUMBA: MISSIONARY TO SCOTLAND was produced during the church services on January 29, 2017 at the First Presbyterian Church in Bonita Springs, Florida.  Starring expertly in the two roles were Greg Gerstler and Charley Nevaril.  My play dramatizes how Columba was summoned to speak before the king of Scotland because Columba’s preaching AND singing offended the pagan priests.  Your congregation will learn much of Church history if you produce my play.  SAINT COLUMBA: MISSIONARY TO SCOTLAND is available here: , and is ready for you to produce.  The play is only 6 minutes long and easy to fit into your church service.  The video of the production will be posted soon on youtube for your viewing.

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Characters, Motivations and Consequences

October 24, 2016 by admin in Play Writing 0 comments
In reviewing my assignment to list some favorite characters and the results of their motivation for their actions, I realized that their consequences were directly related to their CHARACTER.  And who had a lot to say about that in 500 B.C.?  Heraclitus of Ephesus, a famous Greek philosopher of that time who denied blind fate determined destiny. I've looked at my list of Favorite Characters, their Motivations, and Consequences.  Interesting results I thought!  Then I considered what Heraclitus would say about the outcomes of their actions:  CHARACTER CONTROLS DESTINY.  Not bad for 500 B.C.  that we can relate to carefully crafted characters over the last 400 years and what happens to them. Character                           Motivation                            Consequences Hamlet                               Revenge                                 Successful (but he dies) King Lear                           Retire well                              Failure Antonio                              Validate his Anti-Semitism   Failure Richard III                        Become king                          Temporary success C. Mayon ("The Play…")     A place in the community       Failure Willy Loman                     Success in business                   Failure A. Solieri                            Beat Mozart in music                 Failure Salome                                Seduce John the Baptist           Failure George Gibbs("Our…')     Find love                                         Success Albert ("Warhorse")          Find his horse                                Success "Our Town"  was the big role for me as a teenager and demonstrated to me the power of Theatre.  I returned to "Our Town" as an example of great writing as I began to write.


October 24, 2016 by admin in Play Writing 0 comments
My response to audience identification was part of my University of Oxford Drama course. WHO SHOULD WE IDENTIFY WITH AS THE AUDIENCE IN A PLAY?  Here is my take in the famous early 20th century play THE PLAYBOY OF THE WESTERN WORLD. In "The Playboy of the Western World" the audience is meant to identify with the country people who frequent the public house.  At first  I was APPALLED.  The country people are shallow, feckless, vacuous, and fickle!   Then I realized we are just like them!  At first the country people are friendly to the stranger Christopher.   By the time he boldly states he has killed his father, they are not shocked at their new friend but call him "a daring fellow."  They banter about what weapon he used and where his father was buried.  The public house becomes his home.  The owner offers him  a job, and Christopher is pleased he will be safe there.  The owner's daughter and a widow flirt with him. After the truth is known that Christopher has not killed his father,  the country people call Christopher "a liar" and  "a good-for-nothing."  The crowd wants to hang him! I see myself in the mirror as  these people from a far away land and a hundred years ago.  I also see these people as those that greeted Jesus Christ on Palm Sunday cheering him as he came into Jerusalem and then yelling "crucify him" by Friday.  Is it any wonder that the stranger's name is Christopher? Synge has done a masterful job in depicting people in a specific place and specific time,  but with universal characteristics that are sad but true.

From The Oxford University Writing Course Forums 2016

October 17, 2016 by admin in Play Writing 0 comments
image How I Write: My writing more likely fits the statement:  "Playwriting is an activity subject to the constraints of reason."  First I start with an idea (especially from my journal). If the idea appears dramatic and fit for the  stage,  I will "write" a draft in my head.  Then I will put down a rough draft on paper.  If the draft looks promising, I will develop the idea as I put the draft on the computer.  At that point I have something!  Then begins the process of shaping the idea into a play.  That process takes many revisions to make it interesting and sensible for an audience. The play may look quite different from the original idea, but the original idea is what drives the whole process and is the essence of it. My Favorite Thing: I LOVE Shakespeare.  I LOVE Shakespeare because he puts humanity on stage.  He knows people so well he lets the created characters  speak and act for themselves,  even those of different backgrounds and cultures.  The characters are not mouthpieces for the author.  What happens to the characters in Shakespeare's plays occur because what THEY say and do, not what the author believes.   This is very liberating for me in my writing.   With proper research (through travel, reading, and direct contact with people of other cultures), I can write plays about peoples of other backgrounds and cultures:   I can let them speak, I can let them believe, and I can let act with outcomes based upon who they are.

Giving the audience what they want but...

Characters in a play should be complex like life, not unidimensional or conform to a type.  Characters should have the capacity to change as well as act in unexpected or unpredictable ways.  However they should change and act in ways that are compatible with the character that has been presented.  There must be some logic in what is happening to the character so the audience can relate to the changes and be engaged with the character and the play. Changing the rules: Are plays about language? In (classwork), there are the following statements:  "…the theatre is about language…" and "…writing for the theatre and radio may be primarily about using language…"  Is this really true? I find plays that are about people only talking very BORING and TEDIOUS.  Take LONG DAY'S JOURNEY INTO NIGHT (very long) and THE ICEMAN COMETH (until he comes).  Plays are  about language AND action.   Shakespeare's plays give us action after action--it is nonstop.  Though the available texts have few stage directions, there is movement all the time that is brought out from the text by capable directors. In my own writing I do write heightened stage language with attention to rhythm with iambic beats (blank verse), but I write plays (even 5 or 10 minute church plays) with ACTION.  It is interesting that the least successful type of production of my plays is a Table Reading where all the stage directions are read.  In that setting the reading of the stage directions takes away from the thrust of the play.  With a Staged Reading, it is better because the actors are doing more of the action.  With a Full Production the audience SEES what theactors do and there is seamless connection of the action to the play. Doesn't Drama mean "to do" and Theater mean "to see"? The Iceberg Principle: In writing drama how do we build a world on the iceberg principle in which only 30% of all the research is actually used but with the confidence that is is grounded in the 70% that the audience never sees?  We build characters and actions who speak and act in ways that are consistent with the research without directly articulating these facts in exposition.    

Give the Girl a Break!

September 26, 2016 by admin in Uncategorized 0 comments GIVE A GIRL A BREAK!  Liesl is dead, at least the actress who played the oldest daughter of the von Trapp family in the movie version of "The Sound of Music."  Discovered by the famous director Robert Wise, Charmian Carr was casted in the movie in released in 1965 that is one of the most commercially successful movies of all time and winner of 13 Academy Awards.  But success and happiness did not follow for Charmian. What support did she get from her family and loved ones?  Her bitter mother complained, "Charmian hasn't any talent.  She's just lucky."  Her husband said he "didn't want an actress for a wife."  Charmiani was not able to follow her dreams and develop her talent.  IT CONTINUES!  What happens to Christiana, the main character in my one-act play SOMETIMES, HOPE, when she returns to her village in Nigeria with a child having been abducted and raped by Boko Haram terrorists?  How is she accepted by her family and what is her future?  IT'S STILL HARD FOR GIRLS!  My play SOMETIMES, HOPE is available on my website ( for your theater.


August 12, 2016 by admin in Uncategorized 0 comments
Playwrights always have to be LISTENING. Something you hear may be something for a play or something to put in a play. Not only do you have to listen, but you also need a great memory or better yet a NOTEBOOK. I heard on the radio about the middle-east that the interviewee noticed that a woman's hair was not covered. I thought how that would be very obvious to someone traveling to Europe from his home in the middle-east. I wrote it down and then included the line in my one-act play TWO COINS IN THE FOUNTAIN about Egyptian boys seeking refuge in italy and what they would see there. TWO COINS IN THE FOUNTAIN is available for production by your theatre. LISTEN well and have a NOTEBOOK.

Revisions and First Presbyterian Church

August 09, 2016 by admin in play revisions, Play Writing 0 comments
I did it! I sent an email to the Costumers and Set Designer at First Presbyterian Church, Bonita Springs, Florida to start planning the November and December 2016 productions of my plays at the church. As I was preparing the email, I reviewed the two plays: ALBAN: FIRST MARTYR OF BRITAIN and THE BEST CHRISTMAS PARTY EVER. Though there were a few typos to fix, more importantly there were some revisions that improved the plays! When is revising a play finished? For me, it's still possible and useful to consider before each production. I want to improve my plays I've written, and revising is the way to do it. ALBAN:FIRST MARTYR OF BRITAIN and THE BEST CHRISTMAS PARTY EVER (with the newest revisions!) are available for your church to produce on my website (

The Pope, Refugees, and Two Coins in the Fountain

August 08, 2016 by admin in Play Writing 0 comments
While visiting Poland during July 2016, Pope Francis said this concerning the refugee crisis and the shabby way most of Europe has treated the refugees: "A merciful heart opens up to welcome refugees and migrants." What about us? As writers how can we be part of the solution? BY WRITING THE STORIES OF REFUGEES--ONE STORY AT A TIME! My one-act play TWO COINS IN THE FOUNTAIN explores the risks of travel of two Egyptian young men seeking asylum in Italy and what they might expect there. TWO COINS IN THE FOUNTAIN is available on my website for production at your theater and for a reading at you community group or church.

Social Justice

August 08, 2016 by admin in Play Writing 0 comments
Where do I get my inspiration for my plays about social justice? Who/what is my muse? I LIVE FROM ONE HEADLINE TO THE NEXT. A headline gets me started if the story from the headline seems dramatic. Then I put together what I've read, where I traveled, and to whom I've talked as I consider putting the story down on paper. The the fun begins as I shape the story--the process of revisions. I can't believe how the original material for a play looks after re-writes--it can be so different! But that makes it a play!

Costume Development for Alban – First Martyr of Britain

August 02, 2016 by admin in Play Writing, Productions, staging 0 comments
In a couple of weeks, I'll be contacting the Costume Designers at First Presbyterian Church in Bonita Springs, Florida, to develop costumes for the two characters in my play ALBAN--FIRST MARTYR OF BRITAIN to be produced at the church for the Sunday service on November 13, 2016. Thinking about the upcoming production made me recall the inspiration for the play--reading a pamphlet about the namesake of the cathedral in an ancient Roman town while we were traveling in England. I realized the STORY was DRAMATIC, and started thinking how it could be presented on stage. Before we left for home, I had the first draft written. As playwrights, we need to LISTEN, LOOK, and READ about what's going on around us. There are PLAYS out there! ALBAN-FIRST MARTYR OF BRITAIN is available for your church on my website. It'll make a great 5-minute presentation of early church history for your service. Need help with Drama at your church? CONTACT ME!

University of Oxford Upcoming Visit

August 02, 2016 by admin in play revisions, Play Writing 0 comments
imageIn August I'll be at the University of Oxford studying and meeting with my Drama tutor. I've sent her 5 of my recently written short plays to review. Last year she was very helpful in her critique of my plays. As a teaching tool, she picked up a London newspaper and showed me a photo on the front page. "Is there conflict here?" she asked. "Could you make a play out of it?" "Tell me about the other people in the picture. How do they fit into the action?" What a great exercise! Try it yourself with the Portland Press Herald.

SOMETHING BLUE at the Maine Playwrights Festival

May 09, 2016 by admin in Productions 0 comments
SOMETHING BLUE opened Wednesday May 4, 2016 at the Maine Playwrights Festival and ran for 5 performances closing on Saturday May 7 with two performances.  Maha Jaber (as DALIA) and Neilabe Habibzai (as ASMAA), two young talented actresses in the Portland area, were terrific in their roles transporting the audience to Gaza to watch an engaged woman struggling with pressing obstacles preventing her from marrying her finance who lives in the West
Bank.  Al D'Andrea did a masterful job in directing the cast in this love story.  Here are scenes from my intense one-act play:[gallery columns="4" link="file" ids="1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876"]

Writing Too Small

April 26, 2016 by admin in Play Writing 0 comments
Too many plays deal with small issues. As a result they have little drama and move audiences little. A current play in New York “Skeleton Crew” is more in the tradition of great plays. One reviewer in The New York Times (1/20/16) stated, “Ms. Morisseau works her big themes on a small, closely patterned canvas.” That is, the playwright may be writing about specific characters but the themes are universal. Therefore the play reaches all kinds of audiences with deep drama. That is why Dominique Morisseau is said to be writing in the tradition of Clifford Odets, August Wilson, and Arthur Miller. There is much to write about—let it be about something big.

DRESS FOR SUCCESS at the Northport One-Act Play Festival

April 21, 2016 by admin in Productions 0 comments
DRESS FOR SUCCESS was performed on 04/15/16 and 04/16/16 in New York at the Northport One-Act Play Festival.  The play that dramatized the story of an Egyptian woman who dressed as a man so she could work outside the home to support her family starred O. Cohen, A. Wharton, and M. Mentzel, three very talented New York-based actors.  The play was very well received.  A testimony of the effectiveness of the acting was that the audience did not realize that one of characters was actually a woman until it was revealed at the end of the play! [gallery link="file" ids="1851,1852,1853"]

Using Stories

April 05, 2016 by admin in Play Writing 0 comments
Playwrights are storytellers and we look everywhere for stories to present on stage. We can get these stories from people we or know, from newspapers or other media, or books. We can even get these stories from other plays. But we have to be sure the story becomes a play, not a newspaper article or a novel on the stage. In a recent adaption of the novel “2666” by Roberto Bolano at the Goodman Theater in Chicago in February 2016, the reviewer in The New York Times (2/17/16) suggests that the play by Robert Falls and Seth Bockley remains a novel put on stage: “We find ourselves watching an animated diagram of the the novel rather than a fully realized dramatization.” The play appears to violate the adage “show, not tell.” The reviewer further states, “The characters spend most of the time telling us who they are, what they have done—even what they are doing—rather than actually interacting with one another.” This is a good lesson for all of us who write for the stage. As playwrights we have to remember that we are writing plays.

“Smart People” Don’t Write Such Plays

February 28, 2016 by admin in Play Writing, Uncategorized 0 comments
Would you be happy to have the phrase “contrivance alert” dotting a review of your play? If that doesn't bother you, how about “the script is stuffed with academic and psychiatric jargon”? Or “the characters often seem to be mere receptacles for the ideas they espouse rather than fully fleshed-out people”? These and other comments grace a review in The New York Times (2/12/16) of the play “Smart People.” Aren't we suppose to write plays that SHOW people struggling not TELL their struggles? I need to consider this review each time I sit at the computer to write a play, or what I write could become “a marathon series of seminars, not a persuasively drawn drama.”

Performances of SETTING A PRISONER FREE at First Presbyterian Church

February 01, 2016 by admin in Uncategorized 0 comments
My play SETTING A PRISONER FREE had 3 performances at First Presbyterian Church, Bonita Springs, Florida from 1/30/16 to 1/31/16.  Starring in the roles were three veteran actors:  Charley Nevaril as Henry Balfour, a prisoner on a French galleon; Christian Faux as John Knox, the Scottish reformer and fellow prisoner on the ship; and Jerry Terry as Louis Roux, a French officer in charge of the galley slaves.  The play, well received by the audience of over 2500, provided an introduction to the pastor’s sermon on the importance of John Knox in the Protestant Reformation and the history of Scotland and democracy.  SETTING A PRISONER FREE with revisions based upon this production is available on my website ( for your church for an exciting presentation of an important figure and event in Christian history.
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January 18, 2016 by admin in Play Writing 0 comments
I am intrigued about where playwrights obtain inspiration for topics and themes of their plays, hoping that I will know where to go when I sit down to write!  A playwright who has been popular during this lifetime would be a good source of information about inspiration.  Better yet a playwright who remains popular years after his death.  How about 400 years later?  How about Shakespeare?  Such information would also inform us on what topics make exciting and lasting theatre.  The 2015 book The Year Of Lear, Shakespeare in 1606 by James Shapiro offers great insights into how and where Shakespeare found inspiration.  Basically Shakespeare found inspiration in two ways.  Firstly Shakespeare READ voraciously.  Not only did Shakespeare read history such as Holinshed's Chronicles, he read many books about topics and issues of his day.  Secondly Shakespeare LISTENED to what was going on, such as at the Royal Court as well as in the streets.  Without newspapers Shakespeare needed to be engaged in his community to know what people were thinking about.  Shakespeare used truth in his writing obtained through his READING and LISTENING. Shakespeare found and his audiences have found for 400 years that humans acting in real situations are more interesting (and dramatic) than in fantasy. TRUTH'S' STRANGER THAN FICTION...and makes GREAT THEATRE!

New play: Saint Columba: Missionary to Scotland

January 18, 2016 by admin in Productions 0 comments
My new 5-minute play SAINT COLUMBA: MISSIONARY TO SCOTLAND will easily fit into your busy church service, enriching your congregation with an important event in early church history.  Set in 565 A.D., Columba has left Ireland to bring the gospel to Scotland.  He is summoned to appear before the King because his preaching of the Gospel has offended the Druid priests, by denying the role of chance, charms, and astrology.  The King eventually converts to Christianity with an amazing impact upon the treatment of war victims and women in  Scotland--at a very early date in history.  SAINT COLMUMBA: MISSIONARY TO SCOTLAND is available on my website (  It requires a cast of 2 men, minimal set, and a couple of 6th century-type robes.  A sword would be good for the KIng.


January 11, 2016 by admin in Uncategorized 0 comments
My new 8-minute play JOHN KNOX WITHERSPOON: CLERIC AND PATRIOT is new available for your production of a minister who had a profound impact upon the American Revolution through his preaching and engagement in public life.  Witherspoon was the only minister and president of a college (Princeton University) who signed the Declaration of Independence!  Engage your congregation with this important historical play about putting one's faith into action in dealing with freedom and tyranny.  JOHN KNOW WITHERSPOON: CLERIC AND PATRIOT is now offered on my website (  Among other plays I've written about Christian history, please consider for production:

The Rhythm Method

January 04, 2016 by admin in Play Writing 0 comments
The rhythm method works!  See the current Broadway production of  “King Charles III.”  The play written by Mike Bartlett in 2014 is in blank verse.  The speeches flow from one actor to another in a natural fashion.  When a speech is in prose, it is obvious and for a good reason.  Blank verse is the naural rhythm for the English language, likely one reason why Shakespeare is still engaging after 400 years, and why many are awestruck reading the King James Version of the Bible with its beautiful language after using other translations. I find writing in blank verse very natural.  Its cadence also is conducive to memorizing lines.  Interestingly when I add a segment of prose writing in one of my plays, the actors often have more trouble with the prose lines than the lines written with blank verse.  Actors have said to me, “These lines feel stiff” and “They're hard to get my head around.” Playwrights, look at your lines in your last play.  Are your best lines in blank verse?  Do you use the rhythm method in your writing?

The “Production” Year in Review

December 28, 2015 by admin in Productions 0 comments
Here is a listing of all the plays produced this year. 2015 was productive! 02/07/15  “The King Of All Kings” (Great Banquet) First Presbyterian Church, Bonita Springs,Florida Wendi Owens  Delvyn C. Case, Jr. 02/15/15 “Valentine's Day, 269 A.D." First Presbyterian Church, Bonita Springs, Florida Jerry Weisenauer, Christie Shore 03/15/15 “Saint Patrick, 440 A.D. " First Presbyterian Church, Bonita Springs, Florida Charley Nevaril, Jerry Terry 03/05/15 - 03/08/15 “Nyaring” Restaurant Week (Portland, Maine) (AUDIENCE CHOICE AWARD) 04/02/15 “One Man, One Table” First Presbyterian Church, Bonita Springs, Florida Charley Nevaril 04/18/15  “What'd You Do On...” Northport One-Act Play Festival, N.Y. 05/17/15 “Three Pees” Maine Playwrights Festival—24 Hour Portland Theater Festival (BEST PLAY) 05/18/15 “Market Day” Snowlion Rep Co—Staged Reading Portland, Maine 05/18/15 “Something Blue” Snowlion Rep Co—Staged Reading Portland, Maine 06/04/15 “Scattered Ashes” Crowbait Club—Staged Reading Portland, Maine 09/03/15 -09/05/15  “The King Of All Kings” King of Crows III/Long Live the King, St. Lawrence Theater, Portland, Maine 09/10/15 “Dress For Success” Snowlion Rep Co—Staged Reading Portland, Maine 09/10/15 “Dressed To Kill” Snowlion Rep Co—Staged Reading Portland, Maine 09/10/15 “Make Up” Snowlion Rep Co—Staged Reading Portland, Maine 09/21/15 “Dress For Success” Northport Readers Theater—Reading Northport, N.Y. 09/21/15 “Dressed To Kill” Northport Readers Theater—Reading Northport, N.Y. 10/07/15 “Dressed To Kill” Crowbait Club, Portland, Maine—Staged Reading 11/08/15 “Scattered Ashes” First Prebyterian Church, Bonita Springs, Florida Charley Nevaril, Jerry Terry 12/13/15 “The Writing of 'I Heard...'” First Presbyterian Church, Bonita Springs, Florida Jerry Weisnauer, Wendi Owens, Christie Shore 12/24/15 “The Tale Of The Inn...” First Presbyterian Church, Bonita Springs,Florida Judy Devine 12/24/15 “The Tale Of The Inn...” First Lutheran Church, Portland, Maine Judith Wagner 12/24/15 “The Nativity” Colonial Oaks Baptist Church, Sarasota, Florida


December 28, 2015 by admin in Productions 0 comments
Julie Wagner starred in our production of my play THE TALE OF THE INNKEEPER'S WIFE at the First Lutheran Church, Portland, Maine Christmas Eve 2015. The short 5 minute play thoroughly engaged the children who were encouraged to come sit around the manger, and listen and watch the Innkeeper's wife describe what just happened in the stable and why. Besides a manger, one actress is required with a Biblical costume. And some candy canes in a basket to give to the children. That's it! It's time to plan for next Christmas Eve! To order the play, click here. The children in your congregation will learn much about Christmas in a thoughtful yet entertaining way. [gallery columns="2" size="medium" ids="1802,1803"]


December 21, 2015 by admin in Play Writing, Productions 0 comments
As I was preparing to direct my one-act play THE WRITING OF “I HEARD THE BELLS ON CHRISTMAS DAY” for a performance at the First Presbyterian Church in Bonita Springs, Florida on December 13, 2105, I re-read the lyrics of the carol and was awestruck how the words were as appropriate today as when they were written in 1863 during the Civil War:  “And in despair I bowed my head. 'There is no peace on earth,' I said.  'For hate is strong and mocks the song of peace on earth, good will to men.'”  Isn't that the situation today, especially with the refugee crisis and wars going on?  Great art, no matter what medium, transcends the day it was written.  “I Heard The Bells On Christmas Day” as one example of great art has lasted because it speaks today's issues—issues that are each generations' issues.

THE WRITING OF “I HEARD THE BELLS ON CHRISTMAS DAY”, performed at the First Presbyterian Church in Bonita Springs

December 21, 2015 by admin in Uncategorized 0 comments

My play THE WRITING OF "I HEARD THE BELLS ON CHRISTMAS DAY"  was performed at the First Presbyterian Church in Bonita Springs, Florida on December 13, 2015.  Jerry Weisenauer,  Wendi Owens, and Christie Shore were marvelous in their roles before a congregation audience of 1500 in a play about Longfellow struggling to write a Christmas carol during the Civil War.  Congratulations also go to Donna Ament and Jeannette Vogt for their excellent Civil War-era costumes and Nancy Gum for the authentic set.

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Inspiration Happens

December 14, 2015 by admin in Play Writing 0 comments
It can be a sentence, a part of a sentence, or a word.  When it happens, you see a whole play on stage.  All that's left is writing it down on paper...and rewriting it...and rewriting it.  How can a play develop from something so simple?  I don't know. In emailing Charley Nevaril, an accomplished actor in Florida, about a play for which he had been casted for, he ended the email with “When am I going to be John the Baptist playing opposite Salome?”  And then it started for me.  I hadn't any ideas about writing for weeks, but then it happened with Charley's comment.  I started to visualize how I would present John and Salome in conflict in a 10 minute play.  I reviewed Bible passages about John and how and why he found himself in King Herod's prison.  Having seen the Broadway production of SALOME by Oscar Wilde with Al Pacino in 1992, I read again Wilde's play to see how he tackled the conflict and the outcome that became dependent upon Salome.  The whole play unfolded before me on stage.  Rushing to the computer, I put it on paper: THE PROPHET AND THE KING.   And sent to Charley! It's a mystery, a beautiful mystery.  It doesn't take much, but inspiration works!  How?  I'm thankful for it, however it works.


December 07, 2015 by admin in directing, lighting, Production Advice, staging, Uncategorized 0 comments
In a New York Times review (11/12/15) of a New York production, the reviewer makes this very illuminating comment, “Ms Lloyd's “Henry IV” is, among other things, a celebration of the metamophic wonder of live stage acting, and of the distinctive insights it affords as we watch people transform themselves into others.” From the play "Scattered Ashes", performed in Bonita Springs, FLIsn't that the truth? A play starts with a text, but that is only the beginning. It's then the actors with their interpretation of the text, along with their movements and emotions that propel the work into THEATRE. But it's not only that. As director, I also see others involved in a production make the play a wonder. Watch the set designers. Witness the excitement in their faces they put together the staging, as in the recent production of my play SCATTERED ASHES in Florida. The set designers built right in the church an open grave and a graveyard, that made a wonderful contribution to the production! 2015-11-07 09.19.03An open grave with a skull on top right on stage! THE EXCITEMENT OF THEATRE! What about costumes? In our production the costume designers transformed two actors arriving for rehearal in tee shirts and jeans into 14th century grave diggers. What MAGIC! And makeup. The actors had to look like they had already dug a few graves before they reached John Knox's grave to finish their jobs. Lighting? An important key to any production. Over the years ofdirecting my plays in Portland, Maine, the lighting technician in charge of the spot had some of the best comments and criticisms that really fueled the finished production. Don't forget sound. Most of large spaces like a sanctuary in a big church need amplification. Sound is key. If you don't hear the lines... WONDER in theatre is live stage acting but also the COLLABORATION of all involved in a production. So when the audience looks and listens, they experience THEATRE.

Writing Great Plays Part III

November 30, 2015 by admin in Play Writing 0 comments
From the play "Scattered Ashes", performed in Bonita Springs, FL David Ho in a comment to a review of a recent episode of “Homeland” remarked, “In a story the author is free to make up a lot of things, but no matter the time and place, human character and emotion need to ring true.” What wisdom in one sentence! Ho's comment extends our recent blogs on writing great plays and should revolutionize our playwriting. Whether we dramatize something around the corner or around the world, we need REAL characters in our plays. Let's look at what we've written recently. Are the characters flat with only one dimension? Are they authentic with layers of emotions? Even bad individuals can have some goodness in them and be happy some of the time—not like the characters in the current production on Broadway of “Therese Raquin” as adapted by Helen Edmonson. Writing REAL will be writing GREAT.

Writing Great Plays Part II

November 30, 2015 by admin in Production Advice 0 comments
800px-Brooklyn_Bridge_-_New_York_CityAs Theatre continues to celebrate Arthur Miller this year, a revision of “A View From The Bridge” opened on Broadway this past week. The reviewer for The New York Times brings into focus why a playwright like Arthur Miller is great while most playwrights are not: “Beneath the play's period trappings and kitchen-sink naturalism is pure primal force. In this centennial year of Miller's birth, his exalted notion that classic tragedy and common man can indeed coexist has never seemed so organic.” In too many produced plays today (or yesterday) the issues are small, the characters weak, and their actions trivial. Not in Miller's plays. The reviewer of “A View From The Bridge” continues: “None of the its characters are articulate, and much of the play's power comes from the aching gap between simple words and vast and complex feelings.” In another play that opened this past week, “The Humans,” described as “quite possibly the finest play we'll see all season,” the issues are not big, the characters are weak, and the actions manifesting the feelings of the characters are trivial. Are there in any of Miller's plays, actions by a character dominated by going in and out of the bathroom because of diarrhea? Miller's plays are worth producing over and over again (three major productions of “A View From The Bridge” in 5 years) because the issues are BIG, the characters are STRONG (even if inarticulate), and their actions (even if simple) MOTIVATED BY INTENSITY OF EMOTION. Let's write plays like Arthur Miller. Let the bathroom be used by the actors during intermission.

SCATTERED ASHES production in Florida

November 30, 2015 by admin in Productions 0 comments
Can you imagine two gravediggers dramatizing an important event in the history of the early Reformation and Bible translation?  in my play SCATTERED ASHES, Charley Nevaril and Jerry Terry, two terrific actors, played the roles of these unsavory characters in 1425 digging up the bones of John Wycliffe who had translated the Bible into English.  They riff about how this will stop the dissemination of Bibles in England in the production that took place at the First Presbyterian Church in Bonita Springs, Florida on November 8, 2015.  With laughter from the audience/congregation at Charley scratching his back with a bone or forgetting the skull, the audience/congregation learned a number of important truths about this time in Church history.  Several of the scenes from the production are depicted here.  A video of the production will be available soon.  SCATTERED ASHES is available on my website and is available for a production at YOUR church.  Make the congregation laugh—make them learn.  Incidentally, 200 years later Wycliffe’s banned English language translation of the Bible became the basis of the King James Version of the Bible. [gallery link="file" ids="1758,1759,1760,1761,1762,1763"]