In this time of stage silence, I’ve pivoted my skills for the screen. Because of many theatre companies transition to offer our art to computer screens, I’ve followed suit. A friend of mine, Jeffrey Lo, along with his friends to started an online space for theatre artists to create and share digital stories–stories that are specifically written, produced, and shot to take place in the times and media we are in as of 2020. OurDigitalStories.org provided me with the opportunity to adapt River’s Message into a new medium that I felt worked better performed over Zoom than on stage! For example, while “being in the room” for a rehearsal of the play to be performed by Theatre Nova in Ann Arbor, MI, there was a scene where Kennedy tells River, “Don’t do this to me.” As the actor, Katherine Kujala, delivers these lines, she’s looking directly into the screen. It was the first time I felt those lines hit in a way it never has before. I’m proud that one of the critiques of my work is, “it made me feel like I was a fly on the wall.” By adapting play for a Zoom conversation between best friends, I felt, and I hope the digital audience feels the same, the connection that one person feels for another. For me, especially on stage, the live connection an actor conveys solely with their eyes, is what made me want to work in theatre in the first place. When an actor loses herself in a role where you can sense her authenticity as a character/person when she’s a couple of feet in front of you is a feeling that can’t be replaced. It’s the definition of visceral. Then there’s the very real world application of trying to get that same feeling when you’re seated in the balcony–it doesn’t apply. That same powerful connection isn’t there. Until I felt it… over a IEEE 802.11x Wi-Fi Connection.
It’s awesome how the Universe works for you if you let it. A friend posted that she’s teaching a screenwriting class. We don’t have theatre. I signed up. In the 6 weeks since that point, I’ve learned SO MUCH about writing for that medium. From the developmental aspects (logline, pitch, and treatment) to the business side. It’s not surprising how different that world is from theatre, but I like the similarities of them too. We’re writing stories that will hopefully connect with another person and possibly change them for the better.
I’m so excited about the projects I’m working on and I can’t wait to share! And because of this anticipation, I have to work hella hard and get these spec scripts out (and copyrighted) so I can indeed share!
It’s funny to take this side journey into film and tv land because my other foot is on the path to write for stages when they’re safely able to open up! May be crazy, but while I’m working on my TV Pilot, I’m also working on the book of the musical I’ve been wanting to write for over 10 years! It’s been a journey on that front as well. I started with so much promise to only find myself petering out at the 30 page mark. womp! I tried to go against what mostly works for me–an outline. I’ve been successful and going “write by the seat of your pant” style for 10 minute plays and scenes. But for anything longer, oh boy, I’m lost! I think I wrote some gems in my pants version, so I’ll def keep that, but need to start fresh bread and butta by working on the logline, beat sheet, outline and THEN script writing process. Just being able to WRITE this process down helps tremendously!
I’m excited! I have something to write for: stage, screen, and an audience. Oh, for me too!