Re-inventing the wheel
So, now I’ve got four books available to buy: Each of the produced two-act plays and a compendium of all three in one book (the bonus here is that you can save a bundle – and don’t forget to use the ‘standard’ delivery option).
But over the weekend I got a call from the director of the production of Denim that is due this October.
She had a problem… And that problem was language… More to the point, the language that I had used in Denim (in a few areas) was a little to graphic.
Now I have to stress that it was not a request to remove all the swear words in the script. I was a concern that some of the imagery that certain line evoke are a little graphic – especially when they are delivered by female members of the cast.
Normally I would have told the director that they have to stick with what they are presented. But this director had a very interesting point.
This is an amateur production. An amateur production that is going to be performed in a fairly secluded theatre. A theatre that depends on it’s regular audience. A regular audience that is becoming advancing in years but retiring in what they find acceptable.
So when a young woman on the stage makes references to oral sex as a put down, the director was worried that this could turn her audience against her.
And I could see her point.
So I’ve sent a couple of toned down alternatives to certain lines that were causing her and the committee a few raised eyebrows.
From the response… All of my suggestions have been accepted… By the director… Let’s see what the committee think.
I’m glad that it was me that did it though (and until I see the production, they’re not going into the master script – I like pushing an audience, unless the modifications are actually funnier!). The main advantage of me writing these alternatives is that I can do one of two things: 1. Keep the flow and not change the meaning of that extract. 2. Point out that it’s not always necessary to change a line or a scene, but it may require an additional line that enables the audience to feel more comfortable with what’s just happened, by getting someone on stage to complain (in context) on their behalf.
But it’s rather odd going back to a play that you wrote some time ago and alter lines that you have heard delivered.
I just hope I haven’t re-treaded a perfectly good wheel and turned it into an automotive 50p piece.
Labels: Books, Productions