The production phase of Somewhere, Nowhere continues with the second production at the Missouri Thespian Festival. Part one focuses on what Lindsay learned in rehearsal with the two schools performing the plays before seeing them performed.
Welcome to the next instalment of The Journey of a Play. We are still in the production part of the cycle, “Somewhere, Nowhere” the full length made up of four one acts, and I am in Springfield Missouri where I get to see two different schools take on the last two one acts: “Underneath” and “The Egg Carton and Shaving Cream Solution.”
So this is such an awesome opportunity for the script because whereas before it was one school doing all four plays, here we have different schools taking on two different plays. I’m really going to see if the plays stand on their own. Very important.
So I’ve been in rehearsal the two schools and some interesting things have come to light. The school that was working on “Egg Carton and Shaving Cream,” they didn’t read the other plays so they were only working on the one script which was interesting to watch. I was able to see how the characters stood up on that one single play and I’m pretty happy how that has come about.
Also, in just working on the single play – when I write I’m pretty proud of my small characters and making sure they have one single hook. When I was working on this play, I started thinking you know what there’s a character here, well they’re hookless. Easily fixed, but it’s something I didn’t notice the first time I saw it, and it’s something I’m going to address. It’s so helpful to see a play multiple times. You notice different things.
And then I worked with the girls who are performing “Underneath.” Really lovely actresses and they made very defined choices. Which made me realize I need to make some adjustments in the script about the tonal quality of the play and what I’m looking for. For example, one of the characters, Josie, she is on a sugar rush. But you can’t rush all the lines. There needs to be some variety. Same thing, Brittney is very down but you can’t play all the lines down.
I love that these actresses made these choice and it’s up to me to go – you know what? I want something a little different. So I need to make sure it’s in the script. Both these schools, it was a real joy to work with them. They were awesome at taking direction. They took whatever I threw at them. They made changes on the fly and I’m looking forward to see them in full production
*Scene from “Underneath”*
TRINA: You know how much I’ve done for that stupid scumbag? You know how much I’ve missed out on?
BRITTNEY: People I’ve known since kindergarten.
TRINA: No one ever asks how I am, or what I’m doing.
JOSIE: I hate being the new girl. I’m not even that new.
TRINA: How’s Tyler, Did you see what Tyler did today? How come you’re not like Tyler?
JOSIE: It’s not my fault my parents went to jail.
BRITTNEY: I used to be this really happy person. I hate that someone made me unhappy and I can’t shake it. This town won’t let me shake it.
JOSIE: I hate this town.
BRITTNEY: This town sucks.
JOSIE: It’s time to go.
TRINA: Out of here!
BRITTNEY: Where are we going to go?
JOSIE: She’ll tell us.
JOSIE: Fiona. She’ll tell us what to do.
TRINA: You think so?
JOSIE: I know so. It’s fate don’t you see? Fate has delivered us to her doorstep, on this very night, all at the same time. Fate has conspired to bring three lost souls together to learn from the master. How did you do it? What did you do when the straw broke that camels back and you ran. Teach us how to run away. We are in your hands.