10/9/2024 0 Comments How I Became a Theatre Middle-AgerThe big news I've been sitting on awhile is now out. My second full-length play is making its premiere in November, following on the heels of last year's Straight On To Stardust: I began writing The Garish Sun almost immediately after the final performance of Straight On. Partly, I'd had so much fun writing my first play that I wanted to see if I could do it again. Partly, I wanted to write a play. Yes, yes, we staged Straight On as a play, but in terms of canvas and characters, I'd really written a movie script. The thing sprawls, taking place in four states and involving upward of a dozen characters. I wanted to strip a story down: five characters, max, having to deal with each other on one set. (Side note: Any filmmakers out there interested in taking a look at Straight On To Stardust? I have a script! Call me.) The Garish Sun is a race-the-clock-and-the-rampant-corruption thriller about the last three people standing at a newspaper that's being put out to pasture. They decide to go after one last important story. The Yellowstone Repertory Theatre cast—led by Chas Llewellyn (editor Sonny Sturgis), Haley Sielinski (reporter Randi Hutch), and Adam Roebling (recent graduate Dexter Collins)—is breathing life into it in surprising and beautiful ways. How I know they're nailing it: In rehearsals, I feel like I'm back in a newsroom, a place where I spent the first 25 years of my working life, a place where I was most at home, and a place that used to be filled with the people in the world I most admired and loved. The aggregate effect of these two plays is that I now feel as though the "playwright" descriptor I've taken on legitimately sits alongside two other professional appellations I carry: "novelist" and "editor." I can't imagine sustaining the kind of creative life I want without writing more plays. They're fun. They're affirming, when they work. And I have so much to learn. So how did I get here, at the relatively advanced age of 54? I've had no formal training in the dramatic arts, unless you're willing to count a few weeks when I was 9 and 10 years old and attended acting classes at Casa Mañana in Fort Worth, Texas. (I'm not willing to count those; I was a ham as a child but had little talent for acting.) What I have, still, is an abiding love of live performance. Of seeing actors, without a net, spin a world into which I can disappear. Of beholding the magic drawn out by a director and an ensemble who take words on the page—something I can create—and apply their own interpretation to them, thus creating something else entirely. It's so different from the solitary art of creating a novel. Certainly, readers subsequently absorb it and interpret it as they will, but that happens out of the view of the writer. The performance of a play is available to all who attend. And in the case of The Garish Sun, there will be nine such performances, each different from the others in ways subtle and obvious. I can't wait. It was a YRT performance of The Glass Menagerie that made me think I'd like to try to write one. Beautiful words, beautiful performances, the breaking of the fourth wall. Magic. That's what it was. So now I've written two. If there's any regret at all, it's that I didn't find my place in theatre as a much younger man, with more energy, more ideas, and presumably more time to get to them. I envy the theatre kids and what they get to experience, and though I think there's little point in wishing for a return to one's youth—it wasn't as great as it seems in the backward look, and it'd be even harder now—I wish sometimes I'd been one of them. But I wasn't. I'm a theatre middle-ager. I got here at the time that was right for me. The Garish Sun will be staged at NOVA Center for the Performing Arts, 2317 Montana Ave., Billings. Performance dates: Nov. 8, 9, 10, 15, 16, 17, 21, 22, 23. Please join us!
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8/11/2024 0 Comments Sunday Morning Craft Talk**--Yeah, yeah, these are supposed to post on Saturday mornings. In my defense: (1) The prompt came on Saturday night, as I lay me down to sleep. (2) I don't want to wait till next Saturday to post it. (3) Time is just a construct. (Photo by Amirrasim Ashna, via Pexels.com) The prompt came over the transom, flung by a writer for whom I have great affection and respect: "I do want to try writing a play but I'm curious about your approach other than the obvious writing." I was chuffed to be asked. I have all of two full-length plays (one produced, one not yet) and a handful of one-acts to my name. Obviously, there are far better exemplars for the form. But I do have gumption and want-to, and those count for a lot when it comes to setting down words with the self-indulgent hope that they'll someday be read or heard. More than that, I have thoughts. I told my friend I'd get back to him after I bagged some Z's. Here, then, is my response from this morning (edited for taste): For me, the fun and the challenge lie in the stripping away of setup, exposition, and backstory: It's an act of propulsion using dialogue and a confined setting. I think Straight On To Stardust, proud as I am of it, was more a screenplay than a play. My new one is much more minimal: one setting, five people, three of them doing the heavy lifting. It's a lot of damn dialogue, plus the moving around each other in a small space. When I write a novel, I'm often thinking of the big canvas, the limitless aspects of time, and the freedom I have to get where I'm going. It's often a much smaller viewfinder on stage. So there, I think more about how what people say to each other moves things along, the triggers in the speech, how things can turn on a word. What might come gradually in the pages of a novel is often like flash paper on stage. It's really cool when you can catch that ride. Now...
If I wished to pull apart every sentence above, I could launch into endless digressions. About how writing a play isn't limiting at all, that the bounds exist only in the imagination of the dramatist. About the endless ways of pulling the marionette strings. About the fixation of place and the ceaselessness of time. The timing of the prompt was interesting because I'd just had an evening of drinks with one of the finest actors in my town, and we'd spent time talking about these things. I was primed to provide an answer when my friend came calling. In the end, all I really know about any kind of writing is the composition of the intrinsic gifts found only in the doing. I have fun writing plays; it is pure joy. When you have that, in anything, you want only one thing: to experience it again and again and to get better through those experiences. Onward. 11/4/2023 0 Comments Saturday Morning Craft Talk......if you'll indulge me. Tonight, Yellowstone Repertory Theatre wraps up its nine-performance run of Straight On To Stardust, my first full-length play. To say it's been a privilege would be a damnable understatement. To say it's been fun would be to undersell the word. To say I'm going to miss it... Well. Yeah, I will. I hope this isn't the end, but if it is, I couldn't have enjoyed nine days and nights any more than I have, and I certainly couldn't have seen my play taken on a maiden voyage by any group more loving and talented than the YRT ensemble and its intrepid leader, Craig Huisenga. I'm a writer, so I'm not terribly unusual in that I want nothing more than to undertake the next writing project. Another play, perhaps. Maybe a novel. A short story. I don't know. The idea will tap me on the shoulder soon enough, and I'll be in my seat, doing what I do. In the meantime, I'd like to see where else Stardust might alight. Have some ideas? Talk to me. Want to download the media kit and read an excerpt, see some photos, read some reviews? Have at it. But about that craft talk... Occasionally, I'll read a book review, or even the book itself, and the reviewer and/or I will be awed by the incredible sweep of a story, how it captures an era or a movement or a moment in our lives, and I'll have that inevitable feeling of being unworthy: How, I'll wonder, can I call myself a writer of fiction when I lack the imagination to conjure a story that so richly conveys detail and so expertly takes in such abundant themes? This is doubt, by the way, standing on the shoulder and whispering poison into the ear. The problem: Those in the throes of such doubt often lack the ability to stand back and gain perspective in the moments when they most need it. So we ask ourselves why we should bother when someone else, or many someones else, do it so well. In my calmer, less doubt-ridden moments, I'm able to center myself in this truth: I am not, as yet, a writer of sweep. I am a writer of the interior, in ceaseless exploration of fear and sloth and errant motivation and mistrust and love and betrayal and every possible in-between that makes us maddeningly human. I write from the inside out to better understand not just others but myself. Maybe, ultimately, especially myself. On that subject, I am taking a lifelong postgraduate course from which there is no bestowing of a diploma. There is only the next lesson. I've been thinking of these things a lot in these past few weeks of repeatedly watching Straight On To Stardust play out in front of me. This is a story of family fractures and of interior lives that are explosive in combination: a son who misses his mother and stretches out, flailing, for his father; a daughter who searches for a way in with her inscrutable dad; an ex-wife who still loves the man who denies her intimacy; a friendship held, frozen, in time and the cosmos.
When you reside in the interior and work from there, you discover, eventually, that most of the scary things behind the door you keep trying to bust down have their roots in childhood. Anybody who's been in therapy knows this; it's why counselors start there as they help their patients tunnel into the now. Generational trauma flows from child to child, often through the clearinghouse of adulthood. When we don't handle our shit, we roll it downhill to the next person. Someone, eventually, tries to pay the overdue bill. It's a hell of an inefficient way of living, with incalculable damage inflicted in the main and on the margins, but here we are. Again and again and again. It doesn't take much imagination to consider how these interior damages have great reach beyond our own lives. How might the life of one particularly public narcissist have gone differently had he been hugged more often by his father or been told that he was loved? Or let me take this to an intensely personal place: Why did I equate love with eventual abandonment throughout my 20s and 30s and 40s? (It's rhetorical, this question. I know the answer. I know it now. I learned it the hard, necessary way in my mid-40s.) It's a hell of a thing, this trauma. It's given to us, in most cases. No instructions, no way of opting out, here it is, and it's ours to carry. It often happens when we're young, but there comes a time when that's no longer an acceptable excuse for our clinging to it. Yeah, we were just kids, and yeah, it should have gone another way, but it didn't, and now the onus is on us to not inflict it on someone else. You up for that, the responsibility of that? Some of the most wrenching, yet illuminating, stretches of my life have come while I strained to get to yes when faced with that question. It's why I write. To hold these things up to the light. To understand them. Sweep? I'm not thinking about sweep. I'm thinking about getting through this life. How do I do that? How do the characters I'm living with do that? Can I listen closely enough, feel acutely enough, be compassionate enough on their journey? Can they find their way through? Can I help as I walk with them? I want to. I need to. 8/18/2023 0 Comments We Love the Stage*As I write this, I'm nearly a week out from one of the most extraordinary creative experiences of my life. On Friday, Aug. 11, after watching a talent/improv show and getting writing prompts from that, I and five other writers hunkered down at NOVA Center for the Performing Arts in Billings, Montana, and wrote six original one-act plays. We had less than 12 hours to finish our work. After that, six directors and cast members handled rehearsals, costuming, and the construction of sets. On the second night of the Wet Ink Festival 2023, those six one-act plays were presented. It was pure exhilaration, from start to finish. I marveled at the talent all around me—the writers, the directors, the performers, the indefatigable nature of our organizer, Gustavo Bellotta. The audience that showed up to celebrate with us. I entered the weekend having serious doubts as to whether I had the stamina for such an endeavor. I left wanting to do it again. And again. Some time back, I added a Plays section to this website. I'm hesitant to claim the mantle of playwright, but I'm also determined. Two of my one-acts have now been staged. I expect news soon about bigger things. Mostly, I'm just so thrilled to learn more about how to do this and give my storytelling another outlet, one that's very much complementary to the solitary nature of writing novels. As I wrote on Facebook, part of the joy—and the melancholy—of Wet Ink is that creation bloomed in one evening, was presented in another, then was gone with the wind. These plays will probably never be presented again, at least not in the form they took last weekend. Maybe someone has a bigger idea that will grow out of that one act. I think my play, titled Your Mouth Is Moving a Lot, is probably one-and-done. But the shows must go on. Our host for the weekend, NOVA, has a long-term mission of bringing high-quality performances to Billings. To help with that in a modest way, I'm selling digital copies of my script for $3. All net proceeds get turned over to NOVA. If you're inclined to help, you have my gratitude. *—from the song of the same name by the Pernice Brothers.
2/23/2022 0 Comments Straight On To StardustHere's a hard life lesson that writing has taught me: patience. It's a quality I don't naturally have in reserve, and that struggle to find it has benefitted and afflicted me in equal measure in what I do, how I relate to people, how opportunities have come to me, and how I've blown things by being too over-eager. Writing, it turns out, doesn't much care whether you're patient or you're not. The actual act of it comes at its own pace, and sometimes you have to be patient in the extraction. You have something out on submission? Wait. You want an agent's attention? Wait. An idea isn't quite working the way you hoped it would? Set it down and wait. You think you don't have time? Sorry. You do. Wait. So let me tell you about Straight On To Stardust and how it came to be whatever it is now ... Back in 2017, I had this idea for a novel I wanted to write: The basic premise—and that's all I ever have at the outset, which often results in a half-baked unfinished thing that validates Stephen King's idea that writing a novel is like trying to sail a bathtub across the ocean—was a guy with his father's lifeless husk in the bed of his pickup, his father's dog in the passenger seat, and a trip from Montana to New Mexico for the burial. What happened from there is ... well, a lot of stuff that I'd rather not say here, because I hope you someday see the play. That's the real story, anyway. I started with an idea for a novel and ended up with a play. That's the arc. But the color and light of the story lie in the turns in between. The novel idea died. As dead as the father in the back of the truck. I didn't get enough of it down to harvest the wreckage for a short story, which sometimes happens. Dead, dead, dead. Doornail. D-E-A-D. So then a lot of stuff happened. I set it down. I worked on something else with my wife, Elisa. I went to a lot of plays, which is just about my favorite thing to do. I saw The Glass Menagerie, and then I read it, and tried to stare deep into the craft of the thing. And after a while I saw a different narrative approach to my dead story about a dead father. I was living in Maine now, and I started to recast the thing, straight dialogue and stage direction. I didn't have the slightest idea what I was doing, and I loved it. That died, too. Or at least went into convalescence. We came back to Montana. I finished a manuscript that had been languishing in Maine, something I felt good about but couldn't summon the energy to attack back there. Those were tough days on the East Coast, where we'd moved with great hope but hadn't found a way to make home. Coming back to Montana unlocked a lot of things. And It Will Be a Beautiful Life, certainly, but also my willingness to pull a half-finished play born of a quarter-finished novel out of the drawer and have another go. This time, I finished it. And my good friends at Yellowstone Repertory Theatre, god bless them, having seen a pandemic wipe out a season, did a table read on Zoom. That was a fun night, and there were many fine things said about my play, and also many on-target comments about how it could be improved. Notable among these was that it felt more like cinema than stagecraft, an assessment echoed by my Tony-winning high school friend, so I, of course, accepted that, even if I wasn't exactly sure how to address it. So ... patience. I put it away and let it be for a while. I pushed down the road on two manuscripts that I hope to finish one day, then started and finished a third. We moved into our second year of being back in Montana. Life opened up. Delta and omicron came crashing in. And then, finally, in January of this year, my wife and I, for her birthday, attended a play for the first time in nearly four years. Christian O'Reilly's Chapatti is a wonder. Two actors. One stage. Nineteen unseen cats. One unseen dog. The vast preponderance of the dialogue directed at the audience. Exposition out the ying-yang. The fourth wall taken down before the first curtain comes up. I loved every blessed word of it. And nestled among all those words were some ideas about what was ailing my play. Earlier this month, I took a mighty swing at it and did a major revision. What happens now? I'm not sure. There's talk of a public table reading. I'm hoping for a production. That would be beyond any dream I had when I began writing it. I sure enough know I'm going to want to write some more plays, if I can find some properly propulsive ideas.
What have I learned? Quite a lot, actually. The most important thing: This doesn't happen without patience. I'm not naturally imbued with it, but man, I do appreciate what comes from being forced to find it. |
About CraigCraig Lancaster is an author, an editor, a publication designer, a layabout, a largely frustrated Dallas Mavericks fan, an eater of breakfast, a dreamer of dreams, a husband, a brother, a son, an uncle. And most of all, a man who values a T-shirt. Archives
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