And in This Corner, Wearing the Producer’s Hat

I and fellow Seattle playwright John C. Davenport founded Red Rover Theatre Company last year in order to put our own work up on stage. So far we have produced a play of John’s last October and a production of my new play Das Ende just closed. Our bold and, […] Continue reading »

Learning by Stages

When actors are learning a role, the most important question they must answer for themselves is “What does my character want in this scene?” Another way they’ll ask that is “What is motivating my character at this moment?” If a character’s want and motivation are lacking, the actor has the misfortune […] Continue reading »

Original Glimpses at Originality

Any book reporting on originality in human conduct is likely to attract the attention of artists, scientists, inventors and entrepreneurs of all stripes. Originals: How Non-Conformists Move the World, written by Adam Grant and published last year, dissects originality using the tools of social science. Grant is on the faculty […] Continue reading »

Perils of a Passive Protagonist

“Never have a passive protagonist” is taught on the first day of Scriptwriting 101. Nevertheless it’s a mistake beginning and even advanced writers commonly commit. The advice rests on the fact that audiences are bored by main characters who can’t make decisions, don’t want anything, remain in a state of […] Continue reading »

How Does a Play Open? It’s a Mystery.

John C. Davenport, co-founder with me of a new theatre company in Seattle, was reminding me of a bit in the 1998 movie Shakespeare in Love. For any veteran of the theatre biz this hilarious scene rings with hard-earned truth. Philip Henslow (played by Geoffrey Rush) is the financially imperiled […] Continue reading »