First Last Noise
… SHADOW SHOWS IN DEVELOPMENT
Read about the creation and development of Nasty new original work by the Shadows.
Please feel free to comment or ask questions — discussion is welcome.
CURRENTLY IN DEVELOPMENT/REHEARSAL — DEC 2013-PRESENT
THE FIRST/LAST PLAY
Developing in rehearsal with the following cast:
Writer / Director – Scott Shannon
THE FIRST/LAST PLAY Notes – Dec 31/2014(PM)
THE FIRST/LAST PLAY Notes – Dec 10/2014(PM)
Still sorting out logistics for casting for the spring, which means I might need to change plans and try one of the other pieces I’ve got stashed on my hard drive, started and never finished (got a couple with good potential though, I think ) … we’ll see what happens in the coming week and then I’ll have to make a call on what the Shadows will be up to post-Xmas …
THE FIRST/LAST PLAY Notes – August 10/2014(PM)
NEW TITLE = THE FIRST/LAST PLAY
I had to decide on a title as it was time to start spreading word about our upcoming season, and while I loved the idiosyncratic nature of my original title, I feel the new title better suits the work now as it’s evolved at this point.
I continue to toy with the script, and will hopefully squeeze in a read with the actors in the coming month, but our NEW PLAN is to now stage my show in the spring of 2015 due to some actor availability, and instead we will be revisiting an old favourite of mine this fall … and this return to familiar territory has plenty of new ground to offer in the Shadow of a friend who once played along side me whilst we toiled with that Rougher Magic.
WELCOME TO THIS (or Make That Noise!) Notes – March 9/2014(PM)
I just keep focusing on what I feel is one of the best pieces of writing advice, which (of course, if you know me) comes from Mr. David Mamet. In 3 uses of the knife : on the nature and purpose of drama, the thrust of Mamet’s concerns, and in most interviews I’ve read, is that everything in the drama needs to drive towards the goal or aim. This doesn’t mean one draws a bull’s-eye and then writes the story to that mark, although I guess you could, but I’d find that rather dull. Instead, when all is said and done, the well-constructed drama will not have any loose ends — this is a notion rattling in my head which dates back to my first year of university. The well-made play: All My Sons by Arthur Miller was the example Bob used in that first class I took. I guess I’m sort of a traditionalist in that regard, that I think everything in the play should be working towards the truth of the play or the thrust of the story; like a Seinfeld episode. There is no waste as everything in Seinfeld, the lines, props, setting, are used to build towards the minor punchlines throughout the show, which in turn all build to the overall punchline of the episode. I like something that is well-crafted. Sometimes, depending on the art, that craft can be the result of more natural talent, but mostly honing of skills and developing one’s craft is needed to truly push the art to excel. I don’t go much for raw unfocused expression unless it truly grabs you, but often I find it’s an excuse for being lazy. Most artists or musicians I admire have said something along those lines, and then after you have mastered the craft you are in the position to start forgetting and breaking some of those “rules” you learned. You have to work to create, and for me a big part of that is that the entire work is cohesive within itself; no line or action can be extraneous. Everything needs to be vital, or why is it there …
WELCOME TO THIS (or Make That Noise!) Notes – Dec 31/2013(PM)
Very pleased with the opening 3-4 pages, but after that I’m not so happy … I’m aimlessly shooting around for what I think should be the drive of the story, but I’ve got too many ideas about what that could/should be at this point, so I need to focus down on where this story wants to go, not where I might necessarily want it to go … I mean, sure, I’m driving but the roads only go in certain directions so I need to follow those paths for this to really work.