It’s been two weeks since my first full-length play The Inheritance had its last show at Belconnen Community Theatre. It was a short run – four days, five shows, and only six weeks of rehearsals.
What a ride!
I had a lot of anxiety going in: What if we don’t sell enough tickets? What if people don’t like it? What if an actor gets sick and can’t go on? What if everyone suddenly realises I’m not very good at this playwriting stuff?
Who’d have thought being a playwright could be so stressful!
Luckily, my play was in safe hands. Cate Clelland, our fearless director, ushered my story from page to stage with experienced finesse. Our actors brought their A-games. People turned up. Most seemed to have a good time (most!). And now that the dust has settled, I haven’t heard a whisper from the playwriting police demanding my playwriting licence back.
The world continues to spin …
Highlight of the week was being able to share my work with friends and family. I don’t see them enough, so being able to give them a glimpse into my silly little brain was a real treat.
I also got a kick out of talking to the friends and family of the cast and crew in the foyer after each performance. It was cool to see how proud and impressed they were with their loved ones, and it was great to know my little play could give them something to reminisce about down the road (“remember that ridiculous play you were in about the stupidly rich family …”).
The biggest surprise for me coming out of the production was seeing just how many people it takes to put on a play. It was humbling to see so many talented people volunteer their time and experience to get this thing off the ground.
With that in mind, here’s a big list of thanks …
To the crew, designers and set builders: Ryan Lee and all the other magical pixies! Don’t think I didn’t see you flittering about making stuff look great. Love your work.
To the front of house staff: Stephen and his many helpers. Every machine needs good lubrication. Thanks for popping those corks and keeping the happy flowing.
To the young cast: Erin Stiles, Vivian Murray, and Martha Russel. You started each show with a bang. If I had known we’d get such great young actors, I would have written more scenes for you!
To the “adult” cast: Linda Chen (for expertly playing the empathetic straight woman surrounded by class clowns); Jess Waterhouse (for taking “sassy” to a whole new level); Alexandra Howard (for making bitchy look dignified … and easy); Victoria Hopkins (for bringing depth, even from the confines of a toilet stall! Sorry!); Vivek Sharma (for bringing big laughs to a small role); Rob Defries (for keeping everything anchored in “reality”); and John Kelly (for bringing a dead guy back to life!).
To my fearless director, Cate Clelland: the script set you challenges, but you always had an answer. Big thanks for your frank feedback and words of encouragement. I learned a lot from watching you work. Best of luck with your future productions!
To my producer Kirsty Budding and Budding Theatre: thanks for taking a risk on me, and for your ongoing support. A lot of people seek permission to do theatre; you go out and do it. I love that, and I can’t wait to see what Budding Theatre does next. Until then, try and get some sleep.
As for reviews, The Inheritance got the full Hollywood treatment: The Good, The Bad and The Ugly! Some of the responses I expected; some caught me by surprise. Regardless, all the feedback has been insightful and beneficial.
Perhaps the biggest lesson I learned from The Inheritance is that you can’t learn until you do. It’s one thing to write a play, to hear a reading of it, to see it workshopped, to watch it rehearsed, to get written feedback on a script, to discuss it with friends etc. It’s something else entirely to see it in full flight on a stage with a set, lights, and audience. Only then do you see the full picture: what works; what doesn’t; what could have been done different; what special nuggets were always hidden inside. I can honestly say that the five shows I saw of The Inheritance has taught me more about playwriting than anything I’ve done before. I have no doubt it has made me a better writer for the experience.
So what next? Hopefully The Inheritance will live on in one form or another. I’ll make a few adjustments, send it around, see if anyone is interested in it. I have a suspicion this won’t be the last time I see this wacky family butting heads on stage or on screen.
In the meantime, it’s back to the keyboard. The best advice I’ve ever been given as a writer (apart from “read … a lot”) is to not delay tackling a blank page. So, I’m diving back in. I’ll do what all writers must do when they get to the end of a story – start again.