Story vs. Plot

by Cate Cammarata | Aug 20, 2019 | Dramaturgy, Theater, Writing Tips

Where in the Story Does Your Plot Start?

A discussion about the difference between plot vs. story is anything but an academic question. Instead, like most talks about structure, how a plot is designed defines how the audience experiences the story.

An early point of attack gives you the musical Les Mis, where you see the epic story in its totality play out in front of the audience. There is little or no need for exposition, since the audience sees every important moment play out in front of their eyes.

A late point of attack gives you Oedipus Rex or just about any contemporary drama or musical that you can think of.

Plotting Your Story

The “wright” in playwright means “maker.” It is useful to remember that plays are constructed; they have a shape that is chosen for a reason by the author.

A story is a chronological sequence of events: this happens, then that happens, then that happens next.

A plot, by contrast, is carefully constructed by the writer to create meaning out of those sequence of events. A playwright sifts and sorts, edits and rearranges the sequence of events in a story to tell the story in a certain way to create a certain experience for a certain audience.

This is the craft of playwriting . There’s a reason that plot is #1 of Aristotle’s six elements. A writer uses his or her own unique perspective to create a meaning, a message, a takeaway for the audience. A writer is not a historian nor a journalist.

And a weak plot will get the dramatist nowhere fast.

So let’s ask the question again: Where in the story does your plot start?

Early or Late Point of Attack?

It’s a generally accepted saying that in writing a play today you have to “get in late and get out early.”

In other words, start the plot or scene as late in the action as you can, show the action, and then get out of the plot or scene as quickly as possible. This is how most contemporary dramas are built, with a late point of attack. (Classical plays also have a late point of attack,fyi.)

This climactic structure with a late point of attack allows the plot to focus on building the “suspense,” or on engaging the audience’s attention in an entertaining way while playing out the dramatic question that forms the spine of the story. A late point of attack begins in the midst of the conflict, and we find out important details about the past on the way to a much greater conflict in the rising action.

Contrast this structure to the opposite, the early point of attack. In Les Miserables, written by Victor Hugo in the 19^th century, the action covers many years, over a vast sequence of events that all play out in front of the audience’s eyes and ears. An episodic structure like this unfolds scene by scene onstage, with little backstory. It too has a dramatic spine, but this plot takes us from the very beginning of a story and allows us to experience each moment leading up to the main climax for ourselves, with little to no exposition needed. Shakespeare also uses an early point of attack, as his average play length was three hours. (You can show quite a bit of history in three hours.)

Plots with early points of attack tend to emphasize the past, and understanding the causes of events that took place. Those with late points of attack seek to make us understand the dynamics that lead up to a conflict and the repercussions that followed.

One is not better than the other. It is simply two ways a playwright can attack a story.

A Writer’s Checklist: Plot

A plot is a roadmap to get you where you want to go, and a blueprint for what you want your audience to experience at the end. A plot builds a definite structure from the story’s sequence of events.

Here’s a quick Writer’s Checklist for Plot:

Get in late, get out early
Stasis: start right before the inciting event. Identify the world of the play and start the action quickly.
Inciting event: generally happens within the first 10-15 minutes of a play or musical.
The inciting event immediately launches the rising action, the journey the hero undertakes to get what he wants.
Clarify wants of the main characters early in the play and their obstacles by the first 20 minutes.
Midpoint reversal
- Surprise twist – end of Act 1 in musical, and halfway through a play
- New goal or intensified goal accelerates the action
- This could be a subtle event, even an internal (psychological) reversal
“11:00 Number” traditionally occurs right before the climax (in musicals) for fun or theatricality
Climax, with an anagnorisis (where the hero and others fully understand where the journey has brought them or taught them), and a peripeteia (a reversal of some sort), which brings about an emotional catharsis in the audience.
Resolution – plot points are resolved logically (no deus ex machina)
The Finale (in a musical) delivers the theme in a rousing tune that stays with the audience as they leave the theater.

Helpful?

Are you writing a play or musical? Would you like someone to look over your script, or to help overcome writer’s block?

I’d love to speak with you. Email me at cate@createtheater.com or post a comment below.

Are you looking for more inspiration? Sign up for my weekly newsletters for opportunities and discounts that I only offer to my subscribers.

Best of all, they’re all free.

Writing Active Dialogue

by Cate Cammarata | Aug 6, 2019 | Directing Theater, Dramaturgy, NPD, Theater

Let’s Get Some Action Going

Have you ever been reading a script when the action suddenly felt clunky, heavy-handed or, even worse, stopped mid-scene?

Probably it was the result of poor dialogue.

Like everything else on stage, dialogue must push the story forward and reveal character, plot points and exposition on stage. When inexpertly done, the action drops dead on its feet. Poor dialogue makes the audience disconnect, makes the plot unbelievable and results in actors overreaching in their attempts to make their character come to life.

It’s the worst.

The Rehearsal Process in Development

Recently I was directing a new play by a young, inexperienced playwright who was clearly overwhelmed by the production process. In a particular scene the actors were presented with some very poetic, very flowery dialogue. It was beautiful prose, but it definitely wasn’t something that would come out of anyone’s mouth.

My actor was talented and experienced, and everyone in the scene tried really hard to make this dialogue work – but it was extremely difficult to justify these words on stage. Our many suggestions for a modification of these lines were all turned down, and so we were left struggling with a very clunky, heavy scene that stopped the action mid-play. Not great for a comedy.

What to do?

Active Dialogue is not Prose

Aristotle wrote in his Poetics that diction was the 4^th most important element of dramatic action. Although Aristotle seems to infer that diction was more part of the production process than the writing process (more pertinent to the art of the actor than the art of the poet), he also defined diction as the metrical composition of the play, the way that spoken language is used to represent the characters themselves.

Diction is the actual composition of the lines spoken; if Aristotle’s “thought” deals with what is said, then diction deals with how it is said.

In other words, Aristotle’s diction we now call dialogue – not only what a character says but how he says it. If the words don’t sound believable coming from a character in this moment, it is not good dialogue. If it sounds good on the page but completely wrong when spoken out loud, it is not good dialogue.

Prose is not good dialogue, no matter how eloquent it appears on the page.

How to Write Good Dialogue

Dialogue isn’t an issue with writers who know their characters. If you live with your characters for any period of time, you can write dialogue that accurately reflects who they are and what they’re thinking.

In writing dialogue, use this as a checklist:

Dialogue must accurately represent the character in terms of background (geographic, socio-economic, era, age, time of day and state of being)
The structure, or meter, of the spoken dialogue must stay true to the overall structure inherent in the play (that is, whether the play is written in verse, is a sung-through musical, is sparsely written with minimal lines, composed of long monologues, etc.) and true to the rhythm, pacing and tone of the script
Great dialogue reflects the internal action, or psychological action, of the character in that moment. What does the character want right now in this scene, in this beat, in this moment in time? It gives insight to the character through both psychological and physical choices, and changes to reflect a different intention.
Active dialogue moves the story, or the plot points, forward in every moment.

Is This Really How People Talk?

Always give yourself a reality check: is this really how people in the world of my play talk? Are these lines moving my plot forward, revealing something about the character or giving important exposition that the audience needs to know? Is it structured in a pleasing way? Typically, long monologues tend to stop the action, as will flowery, detailed passages trying to pass as dialogue.

So what happened in the rehearsal room after that? As a director it is my job to justify the words of the playwright, no matter how expertly (or inexpertly) written they are. My choice was to tweak the action of the character to read word for word the flowery prose from her journal, to reveal the “hidden poetry within her soul.” Since this character wouldn’t speak like this, I had her write like this to reveal something hidden within.

The audience bought it, enjoyed the scene and gave accolades to the young playwright. A job well done.

Ah, the hidden art of the director.

Top 5 Reasons to Put a Dramaturg on the Creative Team

by Cate Cammarata | Jul 3, 2019 | Dramaturgy, NPD

What if I told you there was a way to jumpstart your NPD process at a fraction of the cost of a staged reading?

There is a way – a standard protocol that’s used by almost every serious producer and significant regional theater out there, including NYMF, Disney Theatrical Group, Davenport Theatrical Productions and many others.

So what is that “secret sauce”?

They all put a dramaturg on their creative team.

And so should you.

What is a Dramaturg?

I am a dramaturg. I am typically that smart person on the creative team whom no one is sure exactly what I do because I seem to be everywhere and do everything. This is not unusual for a dramaturg. Maybe that’s why there’s so much confusion around the term.

A dramaturg is a senior member of the creative team who works with the writer on the script and then functions as a “resident expert” on the play. They sometimes remain on the production team to help maintain focus on the message of the text and to advocate for the intentions of the playwright during the production process.

How I Work as a Dramaturg

I work in NYC as a freelance dramaturg, director and producer with a focus on developing new plays and musicals. As the Literary Manager for a non-profit producers’ organization called Theater Resources Unlimited (TRU), as the Associate Artistic Director of the Rhymes Over Beats Hip Hop Theater Collective, as the Dramaturg for MusicalWriters.com and as an independent commercial producer for my own company, I work with writers to develop their work through writers’ groups, by leading workshops, and by working one on one with writers to create new work.

This is what I do all day, every day: engage with writers on their creative process, work with them over a period of time to help them structure their script, craft their message, make it relevant for today’s audiences and then guide them through the submission and production process.

Including a dramaturg on your creative team can save you time and money and allow you access to a dramaturg’s resources and networks. Best yet, it will give you an experienced and trusted theatre consultant as you head toward the production of your script.

So in my best David Letterman imitation, here are my top five reasons to put a dramaturg on your creative team!

Top 5 Reasons to Put a Dramaturg on Your Creative Team:

Reason #1: A Dramaturg is Objective

As every producer knows, a writer is often the last person to understand what his play is really saying to an audience. They’re simply too close to the work. Every script can benefit from a new set of experienced eyes.

So many writers I’ve worked with walk away from our first conversation with new “a-ha” moments: new insights, new understandings, new messages, and sometimes new plot structures to better communicate their ideas in their script.

A dramaturg should be considered as a “first audience” of a draft, and their feedback as an expert theatremaker is invaluable, especially in the beginning stages.

Just ask Disney – their dramaturg and literary manager Ken Cerniglia was the freelance dramaturg for Hadestown, and the first-ever dramaturg to receive a shout-out at the Tony Awards.

Reason #2: A Dramaturg Saves Money

Quick survey: would you rather hire a dramaturg for a script evaluation or produce a staged reading to make sure your play “works”?

Well, that was a trick question.

You’ll end up doing both, of course. After your first initial table read, or “pizza” read, many writers believe the next step is to spend between $5000 or more on a staged reading to see how an audience reacts to their work.

Hold on, there.

Hiring a dramaturg for a script evaluation costs much less than a staged reading, and by getting feedback from a trusted source you may get that all-important first audience reaction at a tremendous savings.

Talk with the dramaturg first before the staged reading.

Reason #3: A Dramaturg is a Resource

Most practicing dramaturgs have either a M.F.A. in dramaturgy, a vast amount of dramaturgical experience under their belt, or both. Utilizing them opens you to their knowledge of structure, theatre history and theatre-making experience, and may add fresh ideas to your own.

Even if you have a M.F.A. in playwriting, you can still profit from a set of objective eyes on your work (see reason #1). Theatre is the ultimate collaborative art, and being open to talking about your work privately with a dramaturg is a first step.

You never know what new exciting ideas may develop until you have these creative conversations about your work. Welcome them. Invite the dramaturg into your process.

Also, with the dramaturg as a senior member of your creative team, they will invite others in their network (usually other theater people) to your staged reading.

Win-win.

Reason #4: Using a Dramaturg Opens a New Network to Development

And that is another key reason to include a dramaturg: they’ll help you gain access to their network. You’ll meet a whole new set of experienced theatre people who will want to hear about your show.

You don’t have to sit around and wait for your local theater to “discover” you. Why not hire their dramaturg as a freelance consultant? You can get their ideas and maybe gain an “inside advocate” at your local theater at the same time.

I always advise playwrights to be proactive in their quest to get their work produced. Don’t be passive; get out there and find new ways to access the gate-keepers. It’ll do wonders for your self-esteem and your work.

Reason #5: A Dramaturg Can Become a Trusted Production Asset

In a regional theater, dramaturgs and literary managers forge a critical link between artists and institutions, and institutions and their communities. Dramaturgs often work with various aspects of the production, such as crafting educational materials, creating marketing copy, facilitating conversations amongst the artistic team, and running a post-show discussion. If it needs to be done for a production, chances are a dramaturg can do it.

And they can do it for your production as well.

Often I’ll initially be hired as the dramaturg, but as my relationship with the writer grows I might then become a director, an executive producer, or a consultant on the team. I may help to create the show’s logo and website, to identify and develop an audience engagement plan, or sit in on some marketing conversations. I may even end up producing the show Off-Broadway.

I am always the advocate of the playwright and of the playwright’s intentions for the play, and will protect the show from any overly enthusiastic director, investor, or producer that may want to “rewrite” the work. (As Bob Ost, Director and Founder of Theater Resources Unlimited often says, there are three innate human needs: food, sex, and re-writing other people’s work.)

That’s the role of the dramaturg, and the basis of my relationship with the writer.

If you are thinking about contacting a dramaturg I have some open availability in the Fall. Contact me at cate@createtheater.com and we’ll get together to talk about your script.

The Need for Creative Producers

by Cate Cammarata | May 26, 2019 | Broadway, Dramaturgy, NPD, Producing

Why I’m a Creative Producer

On May 13, 2013, in a speech at the Theater Communications Group (TCG) Gala, Emily Mann, longtime Artistic Director of the McCarter Theatre in Princeton, NJ, stated that the nonprofit movement was started because the commercial theater was “destroying theater as an art form.”

What??

This was an odd statement for Ms. Mann to make, having just received an honorary Tony award for the McCarter Theatre for its contribution to the vital function in the health of American theater, and having VANYA & SONYA & MASHA & SPIKE – developed at the McCarter – nominated for best play. Many in the commercial theater were offended by her comments, feeling that regional nonprofit theaters should be grateful to Broadway for allowing them to actually make a profit on occasion.

This in essence is the ongoing debate in the American theater.

Commercial Producers Help Drive NPD

In this era of almost nonexistent support from government and private foundations, sometimes regional nonprofit theaters are financially compelled to form partnerships with commercial producers to create new work – often works of significant value that, once having appeared on Broadway, provide enough necessary monetary success to allow the nonprofit theater a financial cushion it wouldn’t otherwise have.

Yet, while grateful for the funding, nonprofits are ever cautious about accepting money from “the dark side” for fear of loss of control of the artistic product, and for fear of betraying the mission under which the organization must adhere.

Commercial producers are usually driving these partnerships, lured by the opportunity to develop new work away from New York at a reasonable cost. However, as Ms. Mann’s comments show, everyone isn’t always perfectly happy with the arrangement.

That was in 2013. Has anything changed today?

Regional Theater and the History of New Play Development

During the 1930’s and 1940’s there was a feeling that there were important stories to be told that wouldn’t and couldn’t be produced by the commercial theater, because of the economics of Broadway.

The resulting Regional Theatre Movement during the 1930’s and 1940’s, led by its three founding matriarchs of Margo Jones, Nina Vance and Zelda Fichandler, proposed a new nonprofit model supported by and created for local communities, which would have the artistic mission to create new work and produce new interpretations of the classics, to bring about a “new renaissance” to the American theatre in the twentieth century.

These participants of the Regional Theatre Movement felt that it was their mission to create “art” as opposed to the mission of the commercial theatre, which they often perceived to be merely to generate income.

Somehow, developing “art” made their plays more “noble” than the work that was developed in the commercial sector.

Even today, in the eyes of the nonprofit theatre, Broadway sometimes still is an entity not wholly to be trusted; it is the “other”, a center of crass consumerism.

Founding leader Zelda Fichandler was burned once in an attempt to bring an Arena Stage production of The Great White Hope to Broadway; forever after her response to such partnerships was “Broadway: no.” Some nonprofit artistic directors feel the same to this day.

Commercial Producers Can Be Artists, Too

Commercial producers take offense at being perceived as merely “money men” (and women) – they consider themselves to be just as creative, smart and “hands-on” as the nonprofits, investing in the life of the play for the long haul.

Here’s the deal: a commercial producer must look beyond a single production to guide the entire life of the play from conception to (hopefully) an enduring life in the regional, educational and community theaters.

A producer’s enthusiasm and belief in a production is the fuel that drives the play forward. Many new plays are driven by a commercial producer who receives permission to produce the play from the playwright, or the playwright’s agent.

The producer then spends years (typically 7-9 years) on the development end for the play, hosting readings and developmental workshops to help each play find its own signature voice. Thousands of dollars are spent gathering a committed team of professionals in preparation for rehearsals to begin.

They do this all without being paid, without drawing a salary on the project for years – all because they believe in the work, just as much as the “art-driven” nonprofits do.

Commercial Producers Develop Work

Commercial producers with a dramaturgical sensibility can creatively bridge the gap between the nonprofit and commercial theater and encourage partnerships between the two that are beneficial to both.

Producers skilled in dramaturgy can bring to life the voices and images that accurately reflect our American experience at the beginning of the twenty-first century – and secure their future in the American theatrical canon for posterity.

Jill Rafson, then Literary Manager of the Roundabout Theatre in New York City, called for 2013 graduates from The Commercial Theater Institute – an organization that trains new producers – to become “Creative Producers.” She said that “Creative Producing” was the most underdeveloped skill in the industry, and that only through the insight and leadership of Creative Producers would emerging playwrights be challenged to develop more innovative and original work.”

Another successful guest lecturer in the program, commercial producer Kevin McCollum, pointed to a dramaturg in the class (me) and told the rest, “You all should know what she knows.”

Producers breathe life into a script. Playwrights need producers to mount their plays and to project their voice into the larger culture for them.

Creative Producers, using the skills and knowledge of dramaturgy, are necessary to help develop original new plays and to contribute significant new work into the American theatre canon.

Make Friends with a Non-Profit

If you’re a writer, make friends with a regional non-profit. Make connections with directors and producers who have contacts at theaters everywhere.

Submit everywhere. In reality, it’s a numbers game.

Learn dramaturgy – it’s an essential skill set.

Are you affiliated with a regional theater, I’d love to hear your side of the debate. Email me at cate@createtheater.com, and I’ll feature you on another blog post.

How do YOU feel about commercial producers working with regional theaters to develop new work? Let me know your thoughts..

Are you looking for more inspiration? Sign up for my weekly newsletters for opportunities and discounts that I only offer to my subscribers.

Best of all, they’re all free.

Create More Time

by Cate Cammarata | Jan 29, 2019 | Dramaturgy, Inspiration

How are you doing so far on your 2019 goals?

“Some people regard discipline as a chore. To me, it is a kind of order that sets me free to fly.” – Julie Andrews

January set me back. There’s nothing like life happening to you to keep you humble.

Between the excitement, confusion and work adapting to life with two new puppies (adorable as they are, it is work), teaching two intersession Winter classes at Stony Brook and becoming very ill with the virus du jour that’s going around – well, let’s just say that at the end of January I am very far behind on my January goals.

It’s a good thing I plan my goals out quarterly, or I would be completely discouraged.

Are you anything like me? Are you already so far behind on your 2019 goals that you want to just hit the reset button?

Handling Overwhelm

There are a couple of things that help me to refocus when I’m about to just throw in the towel and give up.

I plan my goals for the year quarterly, not monthly. This allows life to happen to me and keeps me from over-planning the year out in advance. Fewer goals keep the overwhelm in check, and still allows me to feel successful.
I’ve been meditating consistently since the end of 2016. I can’t tell you how much healing and self-discovery it has brought me. When life threatens to overwhelm me, I am able now to step back and recognize that this is a step on the journey and to relax.
My MasterMind group, my entrepreneur Master Class group and my accountability partners keep me on track. I’m able to be honest about my overwhelm with people who have been there and can offer real support and solutions.
Committing to build this community online keeps me honest. I can’t give up, because this is the gritty journey we’ve committed to as artists and entrepreneurs. It comes as part of the package, and I’m right there in the thick of it just like everyone else.

Time Discipline

If I look back at my goals over the last few years the most consistent goal has been “Time Management.” Since I list the same goal year after year, it’s pretty evident that I still haven’t mastered it yet.

As I begin 2019 as a full time entrepreneur-artist, I am solely responsible for how I spend my time. Yikes.

Last week I met the incredible super-productive guru Ari Meisel of Less Doing, who totally inspired me and revealed more productivity solutions than I could keep up with. Some of his suggestions I’m going to implement immediately, such as using Trello as my CRM and making more use of productivity apps such as IFTT and Zapier, but really, I learned that my time management and productivity problems come down to the need to manage my own mindset.

The Need for Routine

I read somewhere that every successful writer creates time to write. They don’t just sit down and write when inspiration hits, they create a routine every morning or evening to write for a specific amount of time whether they feel inspired or not.

It’s this creation of a routine that I’m finding priceless.

We’re all creature of habit. I’m now creating a habit that works for me instead of against me. Each morning I get my Starbucks coffee and sit to meditate (my Calm app tracks my sessions for me) because that’s just my habit. A painless and easy “check” to start my day off right. In her outstanding book The Creative Habit, Twyla Tharp also recounts the necessity of routine, saying, “By making the start of the sequence automatic, [artists] replace doubt and fear with comfort and routine.” For Tharp, her routine jumpstarts her creativity.

It’s not just humans who need this structure and routine. As I research how to raise and house train these puppies, the experts always stress the need to create a daily schedule. Their day should have a consistent flow of eating, going outside and playing to help their little systems adapt to our schedule. A structure frees them and us to coexist more peacefully, something I’m appreciating very much indeed!

“Wolves are disciplined not only when they hunt but also when they travel, when they play, and when they eat. Nature doesn’t view discipline as a negative thing. Discipline is DNA. Discipline is survival.”
― Cesar Millan, Cesar’s Way: The Natural, Everyday Guide to Understanding and Correcting Common Dog Problems

In creating that routine to housebreak them, I’m reminded of my own need to discipline my time and activities. It’s not just for the puppies!

Creating a Routine is a Process

So now for 2019, my new schedule flows like this:

6:30 Wake up, get everyone out the door (including walking puppies)
7:00 Feed puppies, household chores
8:00 Morning meditation with coffee
9:00 Writing
12:00 Exercise
1:00 Clients
Somewhere between 5-6 I’ll break for dinner
After dinner I allow myself some freedom 🙂

How do you feel about this? Do you find that having a disciplined time to write helps keep you on track?

I’d love to hear your thoughts! We’re all in this together.

Share it with us here in the comments as we support each other on this journey.

Are you interested in joining a community that has your back, holds you accountable to you goals and inspires you on the way?

Email me at cate@createtheater.com to know more.

The Fine Art of Collaboration

by Cate Cammarata | Nov 7, 2018 | Dramaturgy, Producing, Theater

What are the steps to finding and maintaining a great creative team?

Putting together a collaborative creative team is more of an art than most people realize, especially for a musical.

After having experienced both good and not so good collaborations, it all boils down to a commitment to the process and an inherent respect for the other’s contributions.

Ask for Referrals

First, look for someone who is not only experienced but also capable, knowledgeable and dependable. Many experienced people are so overbooked with projects that they don’t always have as much time and energy to contribute to yours as they would like.

I strongly suggest that you first seek word of mouth recommendations from people you know and trust. (Putting out a request for referrals on Facebook is fine). You can also check out resources from professional associations, do an internet search, or use other available sources like those found on MusicalWriters.com or Theater Resources Unlimited.

Do Your Research

Before you contact anyone, make sure you do your own research.

Ask yourself questions like:

Has this person worked on shows similar to mine in the past? Do your own due diligence and find out all you can about their experience. Ask others in the industry about them if possible, or check their contacts on LinkedIn.
Does this person have a network that may be interested in and may help my show’s progress? Do they work with key level producing organizations or directors that may be interested in my work? They may be willing to introduce you.
Do I believe they have the level of experience that I could trust to help me move my show forward?

Schedule an Interview

Narrow your possibilities down and start communicating by email, and set up an interview in person or over Skype or Zoom.

Always trust your instincts. Some things to discover:

Does this person have passion for your project?
Do they listen to your ideas eagerly, or politely?
Do they offer what they believe is a “better” idea, or jump on board with your ideas?
Are they prepared for the interview, and bring in their visions or ideas to you?

Twice when interviewing a potential director, candidates came in with a book of images and other printed material to show us that excited them. This preparation got them the job, and they were terrific.

Finally, remember to make this first step a short “coffee date,” not a LTR. Have the goal to collaborate with them for a specific reading, workshop, etc., not the goal to get to Broadway together. That’s too huge a commitment! Start first with the intention of, “I like you pretty well, let’s see how it goes.”

Take it step by step.

Be Part of a Community

Theater is all about community and relationships, and authentic friendships sometimes create wonderful collaborations. Keep networking online here at CreateTheater, go to theater conferences and galas, join your regional Dramatist Guild chapter or participate in local theater events near you. Meet people and talk about your work.

In the end, it’s all about the work. Remember the improvisation mantra, “Yes, and…..?” Always respect each other’s creative ideas, get excited about adding in your own and stay focused.

The art of the theatre is all about creative collaboration.

Next Entries »