Wine, New Book, New Job, & Teaching

A GUIDE TO WORKSHOP CRITIQUE

            This is intended to give workshop participants guidance in offering critique of a play. The underlying idea is that a play can be judged on its quality – how well it uses the formal elements of playwriting – rather than simply on whether or not the workshop participant liked the piece, which is simply a matter of taste. Though this initial section is too lengthy to use in a workshop setting, a simple rubric follows that should make any evaluation much easier.

            Note: the term play is used throughout, but is meant to refer to the workshop selection, whether it be a complete play, a short scene, or a discrete selection.

OVERALL QUESTIONS

·         Is the play primarily comic or dramatic?

Most comic plays have dramatic elements, and most dramatic plays have comic elements. Every play, however, has a certain primary task: is its main purpose to make the audience laugh, or to take the audience on an emotional journey?

·         How does the play look on the page? Sparse or dense?

A play in proper format should look largely like white space. If there is more text on a page than white space, this is a sign that severe editing is required.

·         What are my initial impressions of the play?

This is the only spot where your personal preferences should come in. Did you like the play? Did you drift off? Did the play make you angry? Did it surprise you?

CHARACTER QUESTIONS

·         Whose story is it?

A good play follows a single character. Though there are exceptions to this rule, those exceptions are largely for full-length plays, which are rarely done in their entirety in a workshop setting, and are quite difficult to successfully pull off. Identify who the play is about.

·         What is the main character trying to do?

A good play is about someone trying to do something. The more clearly you can identify what it is the main character wants, the more clearly you can analyze how successfully the play illustrates this.

·         Who or what is standing in their way?

Hint: the answer to this is almost always who and not what. Moreover, the who is very rarely the main character. Identify the antagonist, and identify what their primary goal is as well.

·         Is the main character actively pursuing their goal, or are things happening to them?

In a good play, the main character makes decisions, takes action, faces consequences, and then repeats until the play is finished. (This is true even of Hamlet, regardless of the common perception about him, and is also true about the cast of Seinfeld, which was absolutely not a show about ‘nothing.’)

PLOT QUESTIONS

·         What is the main dramatic question of the play?

This is usually linked to the protagonist’s goal, and is sometimes identical to it. This is sometimes as grand as ‘Will Steve Rogers stop the Red Skull from taking over the world?” and sometimes as small as “Will Harry and Sally end up together?”

·         Is the dramatic question answered decisively by the end of the play?

A good dramatic question is answerable by a ‘yes’ or ‘no.’ It may leave supplementary questions open to be discussed (Did Father Flynn really abuse the boy in Doubt?), but the main dramatic question should always be answered by the end of the play (Will Sister Aloysius get rid of Father Flynn? – yes, she does.)

·         Can any scene be removed without affecting the plot?

A good play, especially a good modern play, is as tightly-written as possible. Every scene must be in service to the plot, and must add something new – that is, not repeat another story beat. If there are scenes that can be removed without destroying the plot, identify them.

·         How are reversals used, if at all?

A reversal happens when something occurs to change the direction of the story. These are almost always large and unexpected, and are an excellent playwriting tool – especially in long plays. A Star Wars example is that Luke is originally trying to bring the stolen plans to Alderaan, but when he arrives, Alderaan has been blown up by the Death Star – and his ship is being dragged into the Death Star itself. A Hamlet example is that Hamlet is trying to kill Claudius, but accidentally kills Polonius – and now he becomes the target of a revenge plot himself.

THEME QUESTIONS

·         What is the play’s subject matter, in a word?

Every play, even the most ridiculously bad one, is about something. The play might be about faith, or racism, or the American dream, or duty, or survival, or … anything, really. Identify the essential subject matter of the play – but this is only step one in identifying a play’s theme.

·         What is the play’s attitude toward the subject matter?

This is where you get closer to identifying the theme. It is not enough to say that a play ‘comments on’ feminism, or capitalism, or true love, or whatever the subject matter is. It is our job as critics to identify what, precisely, the play is saying about these subjects. Keeping these attitudes ambiguous is an easy, maybe even cowardly, approach toward playwriting.

·         Is the play consistent with its theme?

This can be tricky, but you should identify whether or not a play says one thing and illustrates another. While this can be a purposeful technique, it is usually a sign of clouded thinking. (Longer plays can use subplots as counterpoint to the main argument, but this is usually not a great idea for shorter plays.)

·         Is the play offering a new insight, or reaffirming an old one?

Determining the value of a theme is important. If the theme boils down to ‘such and such social ill is bad’ – well, the theme might be strong and well-illustrated … but considering that very few audience members would argue that any social ill is good, the theme isn’t necessarily offering much of value. Recognize and reward plays that make challenging arguments.

LANGUAGE QUESTIONS

·         Is the dialogue realistic, stylized, or hybrid?

This is a matter of simple identification: does the dialogue sound like normal speech? Is it written in verse? Is it absurd? Or is it some combination of these? Moreover, does the playwright’s choice of style help or hinder the play?

·         Are the characters’ speaking styles different from one another?

This can be difficult to determine on a first read or listen, but look for idiosyncratic clues in the characters’ dialogue. Perhaps one character speaks in a brief or rushed style, or uses only monosyllabic words, while another waxes eloquently in long, languid sentences.

·         Do the characters use long speeches (3 or more single-spaced lines per speech), medium-sized speeches (1-3 single-spaced lines), or short speeches (half a line or less)?

Take note of the general size of each line of dialogue. In normal conversation, we generally don’t let each other speak for too long without interrupting or volleying back unless someone is telling a story or there is a power difference (teacher/student, boss/employee.) In most situations, long speeches should be trimmed down considerably.

·         How are slang and profanity used?

Identify slang and profanity. Both can be used as tools to illustrate character and enhance emotion, and both can be wildly overused. Moreover, slang will date your play, and profanity will limit its production options.

SETTING & SPECTACLE QUESTIONS

·         Does the play take place in more than one location?

It is rare for a play under ten pages to change location, and almost always destroys the momentum. There are (as with everything) exceptions, but doing so successfully requires a fair amount of skill. Identify location changes and possible opportunities for consolidation.

·         Does the setting add anything to the play’s meaning?

A classic example: a couple arguing over custody of their child would likely take place either in a law office conference room or perhaps their once-shared house. But putting the same scene in a playground would add emotional resonance, and putting the same scene in a public library would add tension (as the characters would have to control their volume.)

·         What visually striking moments happen in the play?

Hamlet and Yorick’s skull. Nora slamming the door. Mozart … well, farting. These are elements that stick with the audience forever. Does the play consist of people talking to/arguing with each other, or is there a memorable visual component?

·         How are sound effects and/or music used in the play?

Sound effects and music do wonders for expanding the emotional world of the play, and should be used sparingly and effectively. Identify moments and opportunities for using nonverbal sounds.

PRACTICAL QUESTIONS

·         Does the number of scene changes affect the play’s momentum?

See above.

·         Does the play require effects, props, or scenery larger than the likely budget?

Most short plays will have a budget of approximately $0. A ten-minute two-hander will most likely not have a rig system to let the characters fly around the stage. Identify elements of the play that are not likely to be found in the prop room of most theatres.

·         Is the cast too large for the scope of the play?

Identify cast size and unnecessary characters.

·         Does the play require the very best actors for it to work?

Though playwrights should aim for the best actors, the reality is that the best actors are not likely to be available. A rule of thumb: could the short play be successfully performed by high schoolers with a week’s preparation?

RESTATE THE PREMISE AND MORE

·         This is a (comic, dramatic) play about a (protagonist) who is trying to (main dramatic question) but is having trouble because of (antagonist.) It takes place in (setting) over the course of (number of scenes). Ultimately, the play is about (subject) and takes the position that (attitude toward subject matter).

CONCLUSIONS ABOUT QUALITY

·         How engaging is the play? (Flat – Mildly Diverting – Engaging – Enthralling)

·         What one of the above areas is in most need of revision?

DOs and DON’Ts

·         Don’t ever tell the playwright what they should do in the next draft. Write your own play.

·         Don’t ever ask the playwright what they were trying to do. If it doesn’t come through in the play, it doesn’t matter what the playwright was trying to do.

·         Be kind and respectful when offering feedback. Writing even a short play is hard work.

·         Remember that workshop critique has precisely nothing to do with whether or not you liked the play, which is a matter of taste. Workshop critique has to do with quality.

OVERALL          comic * dramatic          sparse * dense          cast size?          initial impressions:

CHARACTER          main character:          goal:          antagonist:          active * passive

PLOT          dramatic question:          answered * unanswered          reversals * no reversals          unnecessary scenes:

THEME          subject:          attitude toward subject:          consistent * inconsistent          new insight * common insight

LANGUAGE          realistic * stylized * hybrid          varied dialogue * homogeneous dialogue          long speeches * medium speeches * short speeches          slang or profanity?

SETTING & SPECTACLE          single setting * multiple settings          effective use of setting?          sound effects or music?          visual moments:

CONCLUSIONS: