Dylan Malloy, Author at Dramatics Magazine Online

3 Tips to Improve Your Theatre Design Skills

Dylan Malloy — Tue, 20 Feb 2024 16:32:01 +0000

You’re preparing to design your first production! Any form of theatre design – scenic, light, sound, prop, makeup, or costume – requires a close read of the script. Here’s how to study a script so that your design highlights the story happening onstage.

1. Take Note of the Basics

Before you start designing, take time to understand the basic elements of a piece. For example, if you’re doing scenic design, the playwright might indicate there are multiple doors characters walk through. If you’re doing lighting design, the playwright might want a specific-colored light in a certain scene.

The earlier you note these specifications, the less chance there is for surprises halfway through the rehearsal process. Playing catch-up in the final weeks before opening night is stressful and often expensive. Some elements to look for:

Time Period & Setting: Creating a collage or vision board full of pictures from this time/place will give you an idea of the colors and textures of the world you are creating. If the play is a period piece, you may find it helpful to talk to a history teacher about what life was like in that period so you can hear even more perspectives.
Language: The playwright’s language can give you a deeper sense of the story world. Is the language poetic and lyrical, gritty and rough, or somewhere in between? If the play is experimental and less tied to reality, you will have some additional freedom in your design choices, so long as the choices you make are directly related to the story. Ultimately, an experimental comedy will likely not look the same onstage as a realistic tragedy.
Tone: Paying attention to tone is also important so your choices amplify the emotions of the story. A more optimistic, comedic tone can possibly result in brighter lighting colors, more vivid makeup, and wackier sound effects than you would use if designing for a more grounded, realistic play. You want your design choices to make the story come alive, not feel like a distraction.

Once you have a list of the basic elements in the script, you have the foundations of your design plan.

2. Study the Characters

Next, take note of each character and personality traits you associate with them (happy, sneaky, angry, kind, proud, etc.). The designs you create can subtly tie back to the personality traits the playwright explores in the script.

Say you have a character that is enthusiastic and encouraging. This character could wear yellow (a happy color), the lights could become slightly brighter when they enter the room, or they could wear makeup that emphasizes their smile. Each character changes over the course of the show, and your design choices can reflect this change to make it more poignant for the audience. For example, this enthusiastic character might become discouraged over the course of the story and start wearing bleak, bland colors. Whether the play ends hopefully or tragically (or something in between), the design should emphasize the journey of emotions being felt.

Similarly, large-cast shows may divide characters into groups, for example, different families or social classes. Take note of these groups. If these differences are important to the meaning of the story, you can use your design skills to emphasize them. For example, characters in different social classes can wear different colors or carry unique props. No matter what you notice as you read the script, if you ground your design in the characters and the arcs they follow, your design will feel cohesive with the story.

3. Discuss with the Director

Before you get to work and start designing, you’ll want to sit down with the director and share ideas. The director has also been intensively studying the script, and they might have thoughts about certain design elements. In the rehearsal room, part of the director’s job is to guide the actors towards a deeper understanding of the characters, so they’ll be especially attentive to the tone and arc of the story. Bring pictures, sketches, collages, or digital models to the conversation to share your ideas.

During your conversation, there might be some differences of opinion. Be sure to let your director know if you feel certain design choices they want are unachievable, whether it’s due to your budget, the amount of time you have, or your ability/knowledge. Being honest at the start of the process can prevent challenges down the line, and coming up with alternative ideas reminds your director that you’re a flexible team player.

No matter what, you’re now an expert on this script and have a multitude of excellent ideas to make the story world come to life!

The post 3 Tips to Improve Your Theatre Design Skills appeared first on Dramatics Magazine Online.

A Conversation with Liam Pearce

Dylan Malloy — Fri, 26 Jan 2024 18:04:35 +0000

Liam Pearce, star of the new Broadway musical How to Dance in Ohio, is exactly where he wants to be. While studying musical theatre at Pace University, he secured the lead role in the musical, sticking with the production as it underwent many workshops and premiered on Broadway. This heartwarming production follows seven autistic teenagers preparing for a dance; Pearce and his six young costars are all autistic as well.

Originating his character, Drew, gives Pearce the opportunity to confidently create something new onstage every night, which he has been working towards since high school.

Finding Confidence in the College Audition Process

While applying to college as a senior in high school, Pearce only applied to musical theatre schools. “There was never really a background plan or anything else I really wanted to do.” Pace University was the frontrunner for several reasons. Pearce prioritized being in New York City and connecting with others in the industry; he also valued Pace’s ability to host masterclasses with influential musical theatre performers.

He got a taste of the school’s personality as soon as he entered the audition room. “I just really loved the individuality they celebrated, specifically in the audition process,” he says. “They were like… sing what you want to sing.” Pearce changed his audition song and sang two pop-rock songs that showed off more of his personality as a performer.

He describes the college audition process as “one of the more daunting things I’ve ever done,” applying to over a dozen schools. He recommends “putting time and effort into making [your application notes] as clear and organized as possible” instead of trying to keep track of everything mentally.

Auditioning for Ohio

In July 2021, Pearce saw an open call for How to Dance in Ohio. The call invited autistic actors to submit footage of themselves singing a song they love. Pearce submitted a self-tape of himself singing “Someone to Fall Back On” by Jason Robert Brown and received a request to audition for the role of Drew three weeks later. Pearce now marvels at how the entire cast “booked the show that would lead to [their] Broadway debuts off of Zoom calls and self-tapes.”

The cast of How to Dance in Ohio.
© Curtis Brown

After booking the role in September 2021, Pearce and the other actors prepared for the show’s 29-hour reading, the first of numerous workshops and readings. “When I walked into rehearsals for the Broadway run,” Pearce says, “it was my fifth time having a ‘first day of school’ for How to Dance in Ohio.”

Pearce performed in the first reading of the musical as a senior in college, and to keep himself in top shape for performing, he had to learn how to say no to certain things, prioritizing his physical and mental health above all else. “You know your body, you know your mind, you know yourself better than anything else,” he says. “If you know that this is going to be stretching you too thin, it’s okay to say no to it because what’s meant for you is what’s meant for you.” Protecting his wellbeing gave him the strength and longevity to continue performing with How to Dance in Ohio, resulting in his Broadway debut.

Connecting and Keeping It Fresh

Stepping into the role of Drew offered Pearce something very close to his heart. While speaking of the character, he says, “our autism manifests in similar ways when it comes to the structure we like in our lives.” Pearce feels free to explore new facets of the character and the script onstage, claiming that “if I decide to say a line differently, or try a slightly new approach, within the boundaries of making sure the scene is still the same, it’s something that is encouraged.”

Performing with understudies also gives him the opportunity to experience new dynamics onstage. Pearce calls his costars “a family to me at this point” and makes a point of saying hello to all of them every day before they go onstage, grounding himself in their friendship and connection.

“I can say that 2023 was the best year of my life for so many reasons,” Pearce says. His belief that “what is meant for you will come to you” has resulted in unique confidence and courage that defines his brand as an actor.

Dylan Malloy is a regular contributor to Dramatics. Find her on Instagram at @dylan_writes.

The post A Conversation with Liam Pearce appeared first on Dramatics Magazine Online.

Planning Your Theatre Off-Season

Dylan Malloy — Thu, 04 Jan 2024 17:15:56 +0000

Maybe you just took your final bow or finished striking the set for your school’s fall play. You’re so proud of all your hard work, but now, there are months until auditions for the spring production. While it can be easy to start focusing and working towards that next production, it’s also a great time to take a much-needed break (while still being a little productive).

Need some ideas? Here are tips to help fill the time between now and your next act.

1. Take Time to Rest

No matter how much fun you have throughout the process, working on a production is always exhausting. Late nights and long rehearsals can leave even the most seasoned professional drained. Now is a great time to catch up on homework, spend time with your family and friends, and get back into the rhythms of normal life. Even something as simple as returning to a normal sleep schedule will work wonders for your mental and physical health.

The hours after school may feel long at first without rehearsal, but by taking time to recharge and catch up on other responsibilities, you can make excellent use of the time.

When doing things you enjoy, like theatre, it can be easy to push yourself too hard without realizing it. But it’s important to take lots of time to rest after each production to recharge. It’s difficult to create art while running on empty. Spending time with other people and prioritizing sleep “fills your tank” so you’re energized for your next production.

2. Go See Other Shows

Now that you’re not working on a production, you have time to go watch other pieces of theatre in your community. First, look at other high schools. It’s easy schedule-wise to go see a show after school, and supporting your fellow Thespians makes the entire Thespian community stronger. Watching other high school students perform or do tech inspires you by showing you what is possible. Maybe a student from another school aced a challenging monologue or executed a perfect set change. You’re just as capable of doing that, too.

You might also have access to other forms of theatre in your area. Community theatres often produce familiar plays and musicals, and larger theatre companies tend to include brand-new plays in their lineups. Do some research to see what’s playing in your area. Seeing professional work teaches you about the complexity of bringing more large-scale productions to life, and you’ll likely leave with some ideas about things you can try in your next production.

3. Continue to Bond with Your Company

During a production, everyone involved in the company, both cast and crew, become very close. Bonding comes naturally when you’re rehearsing late into the night and spending all your free time on set. However, once the production ends and everyone goes back to their separate lives, it’s natural for people to drift apart. You can be a leader in your theatre company by hosting bonding events in between shows to keep the sense of community alive.

These events don’t have to be complicated. You can:

Invite people to watch a movie, such as a recording of another theatre performance, like Hamilton.
Grab scripts from your drama teacher’s collection or the library and do a read-through of a play you’ve never experienced before.
Have a brief meeting after school to check in with everyone or plan some time for coffee.

No matter what you do, be sure everyone from both the cast and crew is welcome. Sometimes, these groups feel separate, but the strongest and most unified theatre companies have lots of interaction between cast and crew.

4. Find a New Favorite Show

Even when you’re not working on a show, you can still get excited about theatre! Technology makes it easier than ever to discover musicals that are both well and lesser known. Use online music streaming services to search for public playlists full of songs from other users’ favorite musicals. Put these playlists on shuffle and you’re sure to hear musical theatre songs of all different styles and time periods.

When you find something you like, listen to the full album to begin to understand the story, and depending on the show, it might be possible to find a published version of the script to read. Try to figure out why you prefer some types of stories over others. Does the music speak to you, or the technical elements, or the characters? By identifying which stories resonate with you, you begin to define your personal taste as a theatre maker. And who knows – maybe a new show you discover will be an option for your spring production.

After you finish work on a show, it’s important to rest, reconnect with others, and find new shows to love so you can enter your next season with fresh inspiration. It might seem like a long time until you’re onstage or backstage again, but when you’re intentional about your time, you’ll step into your next production more energized than ever.

The post Planning Your Theatre Off-Season appeared first on Dramatics Magazine Online.

Dramaturgy 101: Creating an Actor Packet

Dylan Malloy — Thu, 16 Nov 2023 14:18:25 +0000

This fall, I learned about dramaturgy for the first time by serving as a dramaturg for my college theatre department’s production of Lost Girl, written and directed by Professor Kimberly Belflower. Dramaturgs perform the research and story analysis that make a play come alive for the actors and creative team. They’re also often responsible for creating the “actor packet,” a short research document with information relevant to the play.

4 Tips for Creating a Great Actor Packet

The actors use this packet to gain more context about the themes present within the script, essentially helping build the story from the inside out! While there’s plenty to learn, here are four of my biggest lessons creating my very first actor packet.

1: Read the play.

First, sit down with the play and read it thoroughly. It helps to make note of what you notice while reading. Do certain character dynamics stand out? What themes seem particularly clear? Does the ending make sense, or is it more ambiguous? Is the style realistic or not?

Once you finish reading the play, ask yourself one key question: What information do actors need to know to tell this story well?

The answer to this question can come in the form of themes, historical context, storytelling devices, information about the play’s genre – the options are endless. You’ll research many different things while working on your actor packet, but answering this question for yourself narrows your focus.

2: Research the context.

Next, begin your research into the play’s context, as this often determines so much about the story from the start. Context is the particular lens through which the author, director, and/or creative team approach the material, informing how characters relate to each other and how they interact with the setting.

For example, Cabaret is a story about a passionate love affair between a British nightclub singer and an American author. However, its context is that it’s set in Berlin on the eve of the holocaust, and this affects how the actors might portray the story. Knowing details about the world the story is set in helps you understand what different characters value.

Even if the play takes place in the present, do some broad Google searches into a play’s historical setting and geographical location. What was happening in the world at the time when the play takes place? Where is the play located in the world, and how has that location been impacted by global issues?

Make a bullet-point list of the most relevant facts that actors should know. The list doesn’t have to include everything – just enough information to provide some background. At the end of the actor packet, include some links that actors can reference if they would like more information.

Think of it like drawing: by providing historical context in the actor packet, you’re outlining the sketch. Next, you’ll focus on the smaller details of the story and add some color.

3: Explore themes and genres.

In every play, the playwright wants to communicate a message about the world. They do so by exploring conflict between characters and the world around them. You can help the actors understand the themes of the story by pointing to works with similar themes. Everything you include in the actor packet helps the actors to ground themselves within the story.

For example, if the play you’re working on is a romance that ends tragically, you can provide a list of other romances that end tragically. Actors can read or watch these stories to understand the nuances of the emotions they will portray onstage. When actors understand a play’s genre, they can also work to understand what makes this particular play different from stories of the same genre. Different themes and approaches set stories apart.

While creating the actor packet for Theater Emory’s production of Lost Girl, the dramaturgy team included information about different genres: fantasy and coming-of-age. Lost Girl is inspired by the story of Peter Pan and follows Wendy Darling after she returns home from Neverland and tries to start her life again. We wanted to have a section of the actor packet that talked about tropes commonly found in both genres so they could understand how the play works with and subverts those tropes.

4: Study the characters.

Once you’ve provided research about the context, themes, and genre of the play, shift your attention to the characters. Every character pursues different goals and experiences conflict along the way, and actors seek to find out why they act the way they do. You can help them in this process by sharing research related to psychology and behavior.

For example, if a character is grieving a loss, including a scientific article about grief makes it easier for an actor to understand the character’s emotions. While working on the production of Lost Girl, which focuses on Wendy’s heartbreak after losing Peter Pan, the dramaturgy team provided research about mental health in the actor packet to contextualize why Wendy struggles to move on.

However, always be careful that the sources you include are accurate, professional, and trustworthy. If you have any questions about whether you should include a source, be sure to ask your theatre teacher. It’s best not to try to explain the characters, but to share interesting pieces of research that empower actors to draw their own conclusions.

Once you compile all your research, you’ll have a completed actor packet ready to distribute! Your research and attention to detail will help the cast and creative team see the story in a kaleidoscope of different ways.

The post Dramaturgy 101: Creating an Actor Packet appeared first on Dramatics Magazine Online.

From Dreams to Stage

Dylan Malloy — Wed, 18 Oct 2023 18:41:21 +0000

As a double major in playwriting and business at Emory University, seeing my work onstage is always a dream come true. This summer, my full-length play The Groundwater won the Blank Theatre’s 31st Annual Young Playwrights Festival, producing the play in Hollywood in July 2023. The play is the final installment of a five-play series about human connection and the climate crisis.

This was my second production with the Young Playwrights Festival, and it was also the company’s first in-person festival since 2019 (due to the pandemic). Any playwright between the ages of 9 and 19 can submit work to the festival, and 12 winners are chosen from the nationwide submissions every year. I can’t recommend the program highly enough!

Bringing The Groundwater to the West Coast was an exciting challenge, and while the play was first performed as a staged reading by Emory’s Oxford College theatre department in September 2022, the Blank Theatre produced the first fully staged production.

Here’s a peek into the festival experience and the playwriting lessons I learned along the way.

Mentorship and Edits

The Blank Theatre assigns every playwright a mentor as they edit their script. I worked with Aliza Goldstein, a playwright who is also an alumnus of the Young Playwrights Festival. She and I met over Zoom multiple times to reread the play and discuss how to make it stronger.

Because I tend to overwrite, this meant cutting down the script and removing unnecessary lines of dialogue. The mentorship process also gave me the opportunity to explore different facets of the characters and include an entirely new scene.

Lesson: Keep it short

From these meetings, I learned that brevity makes a script stronger and dense paragraphs of dialogue are difficult for the audience to follow. When writing, ask yourself how the characters can communicate using as few words as possible.

The Rehearsal Process

We began rehearsals in early July, where I met the cast and creative team for the first time. Madison McLaughlin (Arrow on CW, Chicago PD), Jorge-Luis Pallo (The Secret Life of the American Teenager), and David Bloom (American Born Chinese on Disney+) starred in the production. I learned so much about the craft of theatre from watching them work!

The actors all brought an incredible amount of enthusiasm, talent, and dedication to the play. As we analyzed the characters, I discovered even more about the story, which I’d been working on for two years. We all grew very close during late-night rehearsals and became fast friends. The new relationships formed over the summer are one of the most transformative parts of the Young Playwrights Festival!

Lesson: Make space for creativity and rest

Our director, Laura Stribling, wanted the actors to feel free to make bold decisions onstage, so she let them improvise certain movements to see what felt natural. From this experience, I learned that stage directions should work for the actors, not the other way around. If you’re working on an original play and notice that a certain direction is uncomfortable or unnatural for the actors, it helps to step back and see if there is another way to approach this movement.

Though we usually rehearsed at night, I spent the rest of the day working on other writing projects. It’s easy to become burnt out while juggling multiple stories. I realized that I had to make time for rest so that I could bring my best self to rehearsal. Going on long walks, spending time with family, reading, and taking naps gave me energy. If you’re working on a production and want to recharge, try setting aside time in your day when you are not doing anything creative. Spending time in silence quiets your mind and reduces stress levels.

The Finishing Touches

The production ran from July 20-23 and was performed alongside two short one-act plays written by other winning playwrights. The West Coast premiere of The Groundwater was magical, and I’m so excited to continue developing this script.

We performed in the Skylight Theatre, a gorgeous venue in Los Angeles with an actual skylight.

Lesson: Shows will always evolve

After multiple productions and performances, a play is never “done” until a playwright decides that it is. The world of your story is like a sandbox: You can build and rebuild different parts of the story for as long as you’d like.

Our director decided to introduce classical music mixed with sounds of dripping water, which formed the musical motif of the show. We loaded in furniture pieces and then experimented with different technical elements. Blue and purple light represented moments where the characters are dreaming or feeling distanced from reality. It was wonderful to learn more about how technical elements highlight the emotions of a story.

The Blank Theatre has changed the lives of countless young playwrights, and I’m forever grateful for the summers I spent with the company. Working in the theatre this summer taught me how to revise a script to make it punchier and more efficient. I also learned how to balance a demanding rehearsal schedule with time to write and work on other projects. Through the friends I made on set, I once again discovered the joy of telling stories with other people and watching their talent shine onstage.

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How to be a Student Director

Dylan Malloy — Tue, 06 Jun 2023 18:33:07 +0000

How to be a student director who leads with confidence and encourage others is not as hard you may think! As a student director you get the chance to empower everyone in the production. As a leader, you set the tone of the rehearsal room and can inspire actors to do their best work.

Here are four ways to energize your rehearsal room and form a close-knit group. How to be a student director in four easy steps!

#1 – Start with a warm-up

Getting loose before you start rehearsal helps everyone relax. Directors often use different theatre games to help actors have fun before rehearsals, but these games also target different areas of performance, such as focus, diction, and improvisation. Vocal warm-ups are another great option to make sure that everyone’s voice is ready for rehearsal. Here are some fun tongue twisters everyone can try. Warm-ups only last a few minutes but give people enough energy to sustain them for that day of rehearsal.

We carry tension in the muscles of our bodies, even if we don’t always realize it. This can make actors feel stiff onstage. Physical warm-ups are helpful for both body and mind; these also help reduce stress. Try a 10-minute yoga exercise together (simple beginner stretches are great for everyone no matter their yoga skill level). Or have a dance party to your favorite song. You can also stand in a circle together and practice shaking out the stiffness in your arms and legs.

Picking someone new to lead warmups every day ensures that everyone feels like they’re a part of the process. The best directors make sure that all cast members have opportunities to speak their minds, even about small things.

#2 – Spend time together in real life

Sometimes the key to having high-energy rehearsals is having fun together outside of rehearsal. Spending time together as a company helps everyone get to know each other better and feel more comfortable while rehearsing. This doesn’t have to be elaborate! Something as simple as getting dinner together or just talking outside after rehearsal allows you to slow down and enjoy each other’s company.

Photo credit Pexels RDNE stock project.

It’s extra special if the bonding activity relates to the play in some way. For example, if the play you’re directing takes place in the past, taking a trip to a local history museum can inspire new ideas for everyone on the team. If you’re directing a rock musical, sitting in the park and listening to similar-sounding rock albums gets you all in the right frame of mind. All that matters is making sure everyone feels included. And as a bonus, these hangouts often end up being some of the best memories from the entire production!

#3 – Encourage discussion

Directors should always provide space for the actors to explore the script. You might have one opinion about the story, and an actor might feel completely differently. Sitting down to talk about the script lets you hear everyone’s thoughts. As a leader, you want to make sure that everyone feels their opinion is valuable.

You can try directing scenes multiple ways so you can explore different interpretations. As an example, if you think an actor should deliver a line angrily, but the actor thinks they should deliver it sadly, try both versions a few times. You might find that an unexpected choice is the exact thing that the scene needs. Directors can empower their actors by leaning into discussions and encouraging them to make bold choices. When actors feel empowered, the energy level of the entire production is much higher.

#4 – Know when it’s time to take a break.

If you’ve ever tried to study for a test late at night, you know that it’s nearly impossible to learn while you’re tired. The same goes for rehearsal. Actors and directors alike need time away from work so they can recharge and refocus on the story they want to tell. Pushing people to work too hard leads to burnout. During high-intensity periods like tech week, when everyone is working for hours on end, directors need to be especially intentional about taking breaks. Try to sprinkle rest periods throughout rehearsal. This can be as simple as leading a short stretch exercise or organizing snack time.

You can also use breaks to check in with actors about how they’re feeling. During intense scenes, actors may experience a lot of emotions, and stepping away from the scene for a minute allows them to process how they feel. Earning the trust of your actors involves listening to their thoughts and providing support. Actors create their best work in a space where they feel free to express themselves!

Directors work to support the actors in their production by making the rehearsal room a positive place. You’re a leader both onstage and off!

Dylan Malloy is a regular contributor to Dramatics. Connect with her @dylan_writes.

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Dealing with Rejection

Dylan Malloy — Tue, 23 May 2023 19:39:38 +0000

Dealing with rejection in useful ways is a skill every single one of us needs. That’s because every person in the theatre industry experiences rejection…period.

Whether you’re an actor, a writer, or a technician, you’re going to be told ‘no’ on some project sometime. And that’s okay! Ultimately, rejection doesn’t define you or your ability to be successful. That is, so long as you take the time to reconnect with your passions. Here are ways to bounce back stronger than ever when you don’t get the answer you want.

Dealing with Rejection in 3 Steps

The first step is to take a step back.
At first, you might be dealing with complicated emotions. During this phase it’s easy to fall into a pattern of wondering what you could have done differently. However, when you audition or apply for an opportunity, it’s impossible to know exactly what they are looking for. Remember this!

Rejection does not mean that you are not good at what you do. (Go back and read that again right now.) It’s possible that your work was excellent, but the timing wasn’t quite right for what the decision makers need or want. Keep the faith that an opportunity might open up to you again in the future! One rejection does not determine what could be possible for you down the line.

YES, it’s alright to take some time to be sad, but don’t dwell on what you could have done differently. Why? Because so many factors are/were outside of your control.

Make self-care a priority. Spend time with friends. Go on a walk. Do other activities that you enjoy. Think about things other than the work you’re doing and the opportunities you’re hoping for. This will give you energy and prepare you to jump back into the swing of things, once you feel ready. It’s necessary to turn your mind away from your work sometimes so that you don’t burn out.

Rejection Management

The second step is to learn something new.
IF you were told that you lacked a specific skill and you want to pursue a similar opportunity in the future, then work on honing that skill.

Or, focus on adding another new skill to your portfolio of abilities. This prepares you for future opportunities. Now, it’s easier than ever to learn something new. Free options include watching YouTube videos and checking out library books or other materials

Plenty of people have unique skills, like tap dancing, writing monologues, and designing sets. Many of them would love to share what they know with a wider audience. Look around you and see who you could ask to mentor you.

Learning new skills and gathering new-to-you knowledge are great ways to keep up-to-date with the theatre industry. Great ways to make yourself relevant. Great ways to push your mind in new directions. Of course, a newly learned skill may end up simply being a fun experience. And yet it could also help you in a future opportunity here ‘yes!’

You can apply the opposite approach here, too. Teaching others what you already know helps your self-confidence and boosts s positive feeling. Giving back to your community or others theatre folks especially is always a win.

No matter what part of the industry you work in, you’ve definitely got some knowledge that you could share with others. If you wanted to volunteer your time, you could give vocal lessons to local kids, or teach script writing, or start a blog about technical theatre. Sharing what you know helps you remember how talented you are and how much you love what you do, while also giving you the chance to make a difference in someone else’s life. There’s nothing more rewarding than getting someone else excited about one of your passions.

Let Rejection Be Protection

The third step in dealing with rejection is to get inspired again.
Remembering why you love theatre is the final step toward bouncing back. Which productions did you see as a kid that made you want to act onstage? Which plays did you read in school that made you try to write scripts of your own? Identify that key moment that got you excited about the theatre work you’re doing today. Talking about this moment with a friend adds extra energy, because excitement and inspiration are contagious.

While recovering from a rejection, seeing a lot of theatre inspires you to keep creating. If you’re not able to see theatre in person, reading scripts is an excellent way to expand your mind and prepare you for future opportunities. Exploring different genres of playwriting and practicing your craft along the way–for example, studying monologues from the plays you read–teaches you what you can possibly create as your career continues.

You could also try reaching out to older and more experienced people who do what you do. What about a student who graduated from your high school who is now studying theatre in college? Find out how they’ve navigated their careers and handled rejections of their own.

Even the most dedicated and talented theatre professionals experience rejection in their careers. You can bounce back by taking time to recharge, picking up new skills, and getting inspired. The industry needs you: your talents, passions, and experiences.

Dylan Molloy is a regular contributor to Dramatics.org. Connect with her on Instagram @dylan_writes.

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How to Write a Script in 4 Steps

Dylan Malloy — Wed, 17 May 2023 22:33:51 +0000

Learning how to write a script is a simple process, and yet it takes time to hone your craft. Be patient and try these steps that work for me.

Whether you’re an actor who wants to create characters from scratch or a director ready to create a whole new world, this process works. Writing your first play is always exhilarating and it’s easy to get distracted. Here’s how I sharpen my focus; see for yourself that adding some structure to the creative process helps to find success.

How to Write a Script: Step One

Find your inspiration. Every writer gathers ideas from different places, so resources that work for me might not work for you. It helps me to make lists of things that inspire me before I sit down to write.

Here are questions to think about as you write down your list of inspirations:

What visuals inspire me? (photographs of places, people or animals, painted artworks, statues, etc.)
Which songs make me feel the feelings that help me create new characters and worlds?
Which stories stay in my mind after I finish reading or watching them?

When you answer these questions, you can narrow down which genres and moods interest you. For example, if you’re always first in line to see the next Star Wars movie, there’s a chance you might want to try writing science fiction. If you love going to art museums to look at Renaissance paintings, maybe you’d like to try writing a period piece.

The stories we create are made up of a mix of the things that inspire us–all different genres and types of media. Paying attention to things that excite you is the first step toward creating your original stories.

Once you understand your story’s genre, physical location, and time period, you’re ready to begin drafting.

Script Writing: Step Two

Next, set a timer for five minutes and try to describe, in writing, the physical world of the play. Is it set in a living room, a boat, in the woods, or on another planet? Pretend you are watching the setting from above, then “zoom in” as much as possible and write down what you see.

Try to find unexpected details. Audience members want to feel immersed in the worlds of the stories that they watch, and the more you know about your story world, the more it will come through in your dialogue. Of course, it’s impossible to create a perfect representation onstage of the world you see in your head, but if you have a clear mental picture, you will have a stronger understanding of how characters can navigate this world.

Once the five minutes is up, set a timer for ten minutes and begin to describe the different types of characters who inhabit in your world.

Where do they live?
What jobs do they perform?
What are their relationships with each other?

You don’t have to overthink this, and you also don’t have to stick with your first ideas. This is a simple way to identify people who might live inside your story.

Script Writing: Step Three

The next step is to construct your first scene. This might feel nerve-wracking at first. It helps me to think of writing each individual scene as if I’m driving down the road. Let me explain.

When driving, we sometimes take unexpected turns, or speed up, or slow down. And yet while we’re driving we’re moving, and ultimately moving forward.

That’s what a scene is: forward motion. Each scene moves the story forward because characters are always trying to get what they want. They might change strategies along the way and try different tactics, but no matter what, they are always moving down that “road” by trying to reach their desires.

Characters’ desires need to always come into conflict. Without conflict it’s hard to keep the viewer’s attention. And, well, even characters in a script can’t get what they want all the time! A character’s desire doesn’t necessarily have to be something life-changing. It can be as large-scale as world peace or as small-scale as getting an ‘A’ on a test. But no matter what, there must be consequences if the character doesn’t get what they want. (These consequences are called stakes.) This kind of necessary tension drives a story forward.

At the planning stage, you don’t have to have an outline of every scene in your play. Making new discoveries about details along the way is the most exciting part of the playwriting journey! Some writers prefer to outline everything before they start drafting, but you don’t have to do so if this feels overwhelming. So long as you’re thinking about how to keep the story moving forward, the
script will eventually fall together.

Script Writing: Step Four

Ask any playwright and they will tell you: Writing is mostly a process of rewriting. You can discover more about the characters and the world of your story as you continue to rewrite and create. It’s important to give yourself time and space to write pages that might not make it into the final play. Work that you do is never wasted; everything you write, in some way or another, contributes to the final script. Take the pressure off yourself to create something excellent at the very start! A lot of the best story discoveries come from unexpected detours.

Above all, be sure to give yourself grace as you learn how to write plays. There’s no singular way to get it “right.” Every time you sit down to work, you’re learning–not just about your story, but about your own creative vision.

Dylan Malloy is a regular contributor to Dramatics.org. Connect with her @dylan_writes.

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Becoming Scorpius Malfoy

Dylan Malloy — Mon, 08 May 2023 18:31:30 +0000

Becoming Scorpius Malfoy is something this actor can tell you all about. Erik C. Peterson, a young actor (and former Dramatics reader) currently starring as Scorpius Malfoy in the Broadway production of Harry Potter and the Cursed Child, knows a thing or two about magic. He says that, when he was 14 years old and heard about the show for the first time, “I was a Harry Potter fan, so I was like, whoa! That could be me! And of course, it wasn’t for years and years, and now I’m so incredibly fortunate to be in that role.” Peterson landed the breakout role in August 2022 after seven rounds of in-person auditions and two video auditions, and he sat down for an interview with Dramatics the day after completing his 162nd Broadway show. Here are three key tips to acing your next audition.

Control what you can control

While still in high school in Colorado, Peterson looked at approximately 16 colleges and used a combination of 12 different monologues for his auditions. An organized system and over-preparation kept him from getting overwhelmed by the process. “I made a big, old spreadsheet on my computer,” he says, “and I included every school and every audition requirement. I noted what piece I was going to do. What the time limits were. Remember that there are so many things outside of your sphere of control, that being very organized and very methodical and very prepared … is the best thing you can do to set yourself up for success.”

Erik C. Peterson as Scorpius Malfoy (center). Matthew Murphy photo credit.

Peterson carried the same intensity into his auditions years later for Harry Potter and the Cursed Child. After spotting an open call on Playbill in February 2022, he submitted a video audition. As he advanced further, he regularly flew into New York for auditions involving movement and reading sides. He prepared by reading the play over and over. (He’s not sure exactly how many times he read it during the audition process, but estimates it’s in the double digits.)

Peterson also likes to follow a specific ritual before his auditions. He says that, before one of his auditions in New York, “I ate at the Westway Diner in Hell’s Kitchen, and I got a callback. I proceeded to eat at the Westway Diner before almost every audition.” The bottom line? Hard work and preparation are the keys to acing auditions. And having a special pre-audition routine can ground you as you step into a big opportunity.

Trust your instincts

Peterson earned his BFA in acting at the Webster Conservatory and, during the college admissions process, had a strong gut feeling that this school was the right place for him. He describes meeting two faculty members during his audition for the conservatory like this: “We just chatted for about five minutes before I even did my pieces. Just having a good time. It felt like the type of room that I wanted to spend more time in and my instincts told me that was a good sign.” He ended up visiting three different schools and shadowed a current student at Webster for a day. The shadowing experience allowed him to see what real life looked like on campus. However, the memory of that audition room guided him toward making the decision to attend Webster.

Scorpius Malfoy (played by Erik C. Peterson) in the Broadway production of “Harry Potter and the Cursed Child.” Matthew Murphy photo credit.

When you tour colleges, it helps to ask current students what they enjoy most about the program. It’s equally important to pay attention to how you feel when you’re there. If you feel welcome, eager, and calm, then those are positive signs that the school could possibly be the best fit for you.

Learn the classics

Before making his Broadway debut, Peterson performed in numerous Shakespeare plays, including Romeo and Juliet, Othello, and The Tempest. He returns to Shakespeare’s plays because there is “something timeless in the core of those scripts that speaks to the human experience on a grand scale.” He understands that, for a student, approaching these scripts can feel intimidating, but he’s reminded of something said to him about Shakespeare by a professor at the Webster Conservatory: “It’s just English.” Peterson says that “letting those words [in Shakespeare’s plays] hit you in the heart instead of trying to wrap your brain around them is the way to go.” He claims that reading out loud makes it click for him, and “once that kind of connection happens, and you become fluent in Shakespeare, the words and the way they feel and the way they sound are so striking.”

This tip can be applied toward any play you are assigned, classical or contemporary: when you’re studying a play, reading it out loud allows you to hear different dimensions and explore new emotions. Reading Shakespeare can be a bit intimidating at first, but it is just English, which means you can understand it and perform it beautifully.

Now, Peterson performs as Scorpius Malfoy in a sensational Broadway production. He regularly revisits his artist’s statement, which he wrote to define his creative career. His goal is “using storytelling as a catalyst for increasing empathy with an audience and myself.” He does so by working hard to make a magical world come to life.

Dylan Malloy is a regular contributor to Dramatics. Find her on Instagram at @dylan_writes.

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Clarifying Your Vision

Dylan Malloy — Fri, 23 Sep 2022 15:37:09 +0000

Summer is a season of vision. Vision can be defined many different ways, but I love to think of it as ambition mixed with focus. As a student at Emory University who is majoring in playwriting, I spend my fall and spring semesters studying hard and getting inspiration. So, when the summer rolls around, I’m ready to dive deeper into my playwriting work.

Get a sneak peek into what I’ve been up to this summer — and read about the many lessons about theatre and the power of vision that I’ve learned along the way.

ADAPTING THEATRE FOR LIVE-STREAMING AUDIENCES

Photo of Dylan Malloy by Jack Randall

Recently, a play of mine entitled Venus, and What Else is Nocturnal received production in The Blank Theatre’s 30th Annual Young Playwrights Festival in Los Angeles. This festival annually produces 12 plays selected from nationwide submissions by playwrights between the ages of 9 and 19. The production was live-streamed. It allowed me the life-changing experience of rehearsing on Zoom with some brilliantly talented professional actors (who have performed for groups such as Netflix, Amazon Prime Video, and Disney+) over the month of July.

Each day of rehearsal was a crash course in how to adapt physical work for a digital setting. We used technology like green screens and Open Broadcaster Software (OBS) to make it look as though socially distanced actors were in the same room together. (Magic!) I’m so grateful to The Blank for the opportunity to bring this play to life in such an innovative and moving way.

The rehearsal process reminded me that playwriting involves constant learning and adapting. As technology evolves, the variety of tools at our disposal expands. Staying informed about shifts in the industry makes us as writers more flexible and versatile. However, this need to learn extends beyond just keeping up with the latest technology. Reading nonfiction or listening to podcasts over the summer is a surefire way to stay informed about the world and to fuel yourself with inspiration for your work.

PLAYWRITING TIP: WRITE DOWN YOUR MOMENTS OF INSPIRATION

Having a clear vision empowers your learning. Studying playwriting has taught me that anything can provide inspiration for a story, from a news article to a song, to an interview. It doesn’t matter how strange the topic is!

One helpful playwriting tip is to write down things you read, watch, or listen to that particularly inspire you — sort of like a research log. If you can go back through the list and identify common traits that appear throughout — like a theme, setting, or character type — then you may find inspiration for your next story! This intentional process sharpens your creative vision by reminding you of topics that make you curious and the types of stories you want to tell.

No amount of research is ever wasted in the grand scheme of your writing. For example, I’ve spent a lot of time learning more about technology, a topic that really engages me and appears throughout much of my work. All this reading prepared me ahead of time for this summer’s work of shifting Venus to a remote setting and connecting virtually with actors. You never know how unique rabbit trails will help you later in life — and the surprise factor adds excitement to your work.

WRITING A PLAY CYCLE

This summer also taught me about how to use the idea of vision to create a cohesive body of work. I’m in the process of completing a years-long playwriting project, and here is my mission statement for the endeavor: The River Cycle, a five-play cycle about loneliness, legend telling, and environmental crisis in rural Colorado, where I grew up. (Venus is the first installment.) The fifth and final play, The Groundwater, is in development and is currently set to be produced this fall as a staged reading by Emory University’s Oxford College theatre department.

A play cycle is defined as any number of plays that connect in some focused way. Cycles can cover any topic. Characters don’t have to overlap between stories, but there is always a common thread. Some playwrights utilize cycles to examine life in a particular part of the world over a long period of time. Other playwrights might use their work to explore certain themes.

Writing my own cycle has come with a massive learning curve, and I’ve written countless pages that will never see the light of day! But over the past couple years, I’ve learned that focusing on a vision gives writers endurance.

PLAYWRITING TIP: CREATE YOUR MISSION STATEMENT

Creating a mission statement for your writing focuses your ambition on an end goal. Whether you want to write one play or an entire play cycle, identifying the “why” behind your work gives you a clearer sense of vision. Think of it like an elevator pitch that defines your writing but still allows enough broadness for you to explore bursts of inspiration along the way.

Here are some questions that could help you clarify your mission statement:

What themes do you like to explore?
Who would enjoy your plays?
What do you hope the audience takes away from your writing?

These statements often change over time, which is natural because it means your work is growing and evolving! When we use specifics to define our writing, we give shape and structure to our ambitions. It enables us to visualize the goals of our work and the impact on the world that we want it to have.

As summer draws to a close, I’m eagerly preparing to return to Emory, reconnect with my friends, and begin the fall semester. I’m so thankful for this summer’s unexpected opportunities and the lessons about vision that they taught me.

Dylan Malloy is a student at Emory University double majoring in playwriting and arts management. She recently won the 30th Annual Blank Theatre National Young Playwrights Festival, and one of her plays received a production by the Hollywood-based Blank Theatre in summer 2022 with professional actors. Other plays have been produced by Emory University’s Lenaia Playwriting Festival, Oxford College New Play Festival, and the Emory Oxford College theatre department.

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