We've done a fall play evening of one-acts once before - THE SEEING PLACE in 2006. It was quite a successful event and we were able to feature a larger-than average casts in a collection of 3 one-acts related by a theme. The funhouse mirror idea is just a working title for a one-act set that's related to the art of the playwright. Two of the plays have actually been done here, but not as "mainstage" pieces. The three plays are: 1. "Audience" by Michael Frayn (a play performance is seen through the eyes of the audience only - a silly farce along the lines of the same author's "Noises Off") - a playwright drops in on a performance of his play and offers a running commentary about the audience members, whose thoughts are audible.. 2. "S.P.A.R." by Stephen Gregg, the author of our recent one-act "This Is A Test" - in which the author himself interrupts an earnest conversation of two teens to inform them that they are just characters in a play - the line between reality and fiction are blurred beyond belief. 3. "Home At Six" by Lee Falk - this seems at first like a simple domestic sitcom except for the fact that the author wrote the whole thing using only one-syllable words - to amazing comic effect! In the story, Dad comes home one day at 4pm when he usually comes home at 6 - he finds his entire world in an uproar (the kids are behaving strangely, mom is carrying on with his best friend, Grandma and the maid are showing various bizarre unexpected traits. All three pieces offer a nice evening of entertainment revolving around the playwright's art.
WHAT'S GOOD ABOUT IT - ample opportunities for plenty of performers without anyone having to be burdened with carrying a whole show on their shoulders. With some kind of turntable set, we could get three complete settings as needed. All three pieces are extremely funny, very entertaining and also very smart. Mostly modern costuming, which is a nice change of place from recent shows. A one act night is a good way to employ three assistant directors who get more hands-on experience.
WHAT'S NOT SO GOOD - some would prefer having one story told through instead of three shorter ones. Some think fall one acts could adversely affect the winter set (although that did not happen last time). Scheduling of three play rehearsals at once can be challenging. Being in only one of the three plays would have everyone with larger amounts of backstage downtime.
What do you think? Post comments!
I personally am not in favor of such an idea, as I am one of those that is in favor of a fluid plot. I also tend to find the winter-one acts to be rather less fun than the fall play or spring musical (in my vast experience of 2 years) and so would rather stick to the conventional full play full musical season (or musical musical season :)) I can however see the draw to a night of one acts and I like the idea of lots and lots of parts!
ReplyDeletehmmm, i have to say, a large part of me agrees with maya, the feeling just isn't the same with the winter one acts and the fall play, and it's nice to have both in the school year.
ReplyDeletebut the advantages are rather inticing as well, lots of roles, a nice handful of leads, what with 3 storylines, tempting, but the part of me that lives for a fluid plot is against it
I don't like fluid plots. They make life too easy. Sorry for all the comments. This is max. And this one is my favorite of all the options you've presented us with.
ReplyDeleteAt least the first two of these one-acts seem too much like the stale show you see over and over again at theatrefest. Too simple a gag. I also think that an evening of one-acts combined with the winter-one acts is too much to put on the audiences plate.
ReplyDelete-Aaron