Hello Adi!
You've written a very interesting one-act play. This isn't the play you began writing during our workshop, though--that was longer, more complex, and more ambitious.
At this point, would you like to develop this particular play further as a one-act play? That is quite all right. We can go with this for now, but I advise you to write full-length plays afterward; this will propel you faster to become a major Singaporean playwright, which I know you can be, especially with your flair for characterization and dialogue.
My comments on your manuscript:
--Always be aware of stage business. What are the characters doing? If they are sneaking into a room and spying on someone they would be huddled most of the time and their use of stage space would be restricted. They would also have to be speaking in whispers.
--You have a single walk-on toward the end of the play. Is this necessary? How challenged would a performer be to do this walk-on? Would he even include this project in his portfolio? Always think of your director and your performers and how their talents can shine.
Consider several walk-ons that would compel your characters to have a variety of reactions and a variety of movements.
--Keep in mind that it takes thousands, if not millions, of dollars for a producer to stage a play. Producers will bank on financially viable projects. Ensure that your play, no matter how short or how long, has a new, unique, and non-whimsical message for your prospective audiences.
You've written a very interesting one-act play. This isn't the play you began writing during our workshop, though--that was longer, more complex, and more ambitious.
At this point, would you like to develop this particular play further as a one-act play? That is quite all right. We can go with this for now, but I advise you to write full-length plays afterward; this will propel you faster to become a major Singaporean playwright, which I know you can be, especially with your flair for characterization and dialogue.
My comments on your manuscript:
--Always be aware of stage business. What are the characters doing? If they are sneaking into a room and spying on someone they would be huddled most of the time and their use of stage space would be restricted. They would also have to be speaking in whispers.
--You have a single walk-on toward the end of the play. Is this necessary? How challenged would a performer be to do this walk-on? Would he even include this project in his portfolio? Always think of your director and your performers and how their talents can shine.
Consider several walk-ons that would compel your characters to have a variety of reactions and a variety of movements.
--Keep in mind that it takes thousands, if not millions, of dollars for a producer to stage a play. Producers will bank on financially viable projects. Ensure that your play, no matter how short or how long, has a new, unique, and non-whimsical message for your prospective audiences.
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