The Dead Stage by Dan Weatherer
Reviewed by Willo Hausman
The Dead Stage by Dan Weatherer provides a basic description of what it is to write for the stage, followed by 16 of the author’s plays. At the start, Dan provides us a glimpse into his own personal journey from penning movies to plays, as well as support and advice on how to make progress as a playwright. The book includes many easy-to-digest theater tips, mainly gleaned by interviews from individuals working in the industry. These insightful contributors are involved in low-to-moderate budget theatre companies and they provide pertinent and passionate insight on how to follow your inspiration and get your creation up and running.
First up is Dan, an accomplished writer of poems, stories, films and yes, plays. His many accolades and awards are mentioned at the end of the book. Based in England, all the wisdom offered in The Dead Stage fits just as easily in any location. Dan provides basic details on how to best get your work selected amongst many submissions. He offers good points for a novice, encouraging the short and simple route, especially at the start. Not too many characters and an easy set.
This clear wisdom is followed by valuable tidbits from various theater folk. To quote a favorite few:
Matthew Spencer (ACTOR): Be brave!
Kate Danbury (Director of the London Horror Festival): A director must be artistically creative, but a producer must be creatively strategic. And Kate has a taste for the macabre. We like that!
Ellie Pitkin (THE ARTISTIC DIRECTOR OF THE BLACKSHAW THEATRE, LONDON). An aspect of comedy is important to her. Best to use simple staging, as they’ve had to use unconventional spaces to put up performances. Casting a celebrity helps get a new work into production. With fringe theater (not mainstream) it’s easier if you have fewer actors in the cast.
Andrew Crane (BLACKSHAW THEATRE TECHNICIAN): He likes to be challenged by complicated light and sound cues, but don’t have too high of an expectation on how they are executed. Depends on the space. Small theaters can be limited in how much technical savvy they can provide. The bigger spaces have more to play with and usually a higher ceiling, which means better lighting.
Jill Young (ACTOR/DRAMA TUTOR/DIRECTOR): She had an interesting take on teaching and the two important qualities of scripts to use as tools. Either ‘complete imaginative fiction’ or ‘100% graspable fact’. With the first, students can learn to let their creative play side fly without restrictions. The second enables them to become a specific character.
Tom Slatter (ACTOR): In terms of changing dialogue a director once told him (and this makes absolute sense): “If one actor struggles with the line, it’s the actor. If a hundred actors struggle with the line, it’s the line”.
Almost all of the interviewees started out as actors and state that it’s challenging to get new plays read in the theater world, but it is doable. Dan says the easiest route is adaptations of famous (already proven) stories or ideas, but don’t give up on originals. It is possible! Keep your first plays simple and direct and not too high budget with crazy stunts that can’t be done in a smaller theater. Once you are in the door and have a few pieces under your belt, you can explore more epic production styles and start using a few settings, with complicated expensive props and people flying through the air!
Dan’s sixteen stage plays complete The Dead Stage. Most had a slant of the shadow side, and a touch of dark comedy, which I’m sure is amicable with this group. I will comment on a few of the pieces that initially stood out to me.
Dan’s favorite. I liked it too. A dark comedy. A husband stabs his wife and then as he prepares to ‘off himself’ Samurai-Style to avoid prison, she begins talking from ‘beyond the grave’ and they continue the same sort of bickering they shared when she was alive. Comes off as more amusing prattle than serious. I could see this garnering laughs.
A QUESTION OF AUTHORSHIP
Four writers who have all been involved in various theories of who ‘really’ wrote the infamous Shakespeare plays meet up with Arthur Miller in Heaven, where he confronts them to get to the bottom of who really penned the plays. One by one the writers are omitted from being a possibility till the real William Shakespeare is left. I have always found all the controversy over these glorious plays a bit of a shamble; why not just give credit to the actual talented man who created them. Huzzah!
A re-telling of a true-crime story. I find the language stilted though the subject matter and characters are intriguing. Belle, the actress, is so one-dimensionally mean. A vain woman and a fun role for an actress to play since she’s so darn nasty. Anyone would want her murdered. There’s a great creepy scene at the bathtub in this play. I liked the silent scary visuals. Marcie and Florie are two silly gabs; I like their gossipy in-tandem speaking style. A touch of comedy. The play picks up a bit in the court scene finale as we learn interesting unknown aspects; otherwise it’s not my favorite, too solely literal, without much of a definite mood attached.
An old man bemoans the loss of his wife and while reminiscing decides to join her in the afterlife. A nicely direct and poignant piece.
A serial killer is interviewed a detective and reveals her strange motives. Cute.
ONE FOR THE ROAD
A man at the end of this life converses with Death as he finishes this last drink, finding clarity with the inevitable.
FRIENDS LIKE US
A Halloween session with an Ouija Board between 4 friends stirs up a whole lot of drama without needing to contact spirits from the other realms. Interesting tool to use for truth-telling and exposing secrets, which is the innate purpose of this long-standing ghostly tool.
All in all The Dead Stage is a great device to enlighten playwrights who are fresh to the business, containing good simple easy-to-absorb insight. I’d only put 4 to 5 of the best plays in this volume though and print all 16 in their own separate book.