What The Future Holds
DAVID CHRISCOLE | SUNDAY, 21 AUGUST 2016
The continuing story surrounding the birth and development of my second stage play.
Fringe Benefits - Write For The Stage
During July 2016 I had the good fortune to be able to see a great many theatre shows at The Greater Manchester Fringe Festival, and one event caught me a little by surprise. It was a publishing launch by Studio Salford called "Write For The Stage", who have begun publishing scripts by writers who have come through their courses.
- The Call Of Nature (Mike Heath)
- Barbara The Zoo Keeper (RP Douglas)
- Bleeding With Mother (Sarah Cassidy)
- One Flesh (Naomi Sumner)
- All Tomorrow's Parties (Mike Heath)
- The Rise and Demise of Kenneth Kennedy-Smythe (Mike Heath)
Taking note of the courses I began to wonder whether it could be a good idea to get involved. After all, with the advent of this my second play, I should take every advantage of learning skills useful to the trade. With courses being run in the evenings, it fits in perfectly with my full-time work schedule. Being partially funded by The Arts Council, the courses are not expensive, making them accessible for people like myself who are just starting out. Speaking to organizer Mike Heath at the event, I learned that the next intake for the INTRO Writing course was in October 2016, so I booked my place as soon as it was available.
I'm taking the idea for my "What The Future Holds" play into the writing course, specifically concentrating on the very first scene, to be able to learn techniques and put them into practise. The course intent is to build a 15 minute piece, which I think I can easily produce with the first scene from the play. If I choose, I can submit that to the WFTS Showcase, held at Studio Salford at The Kings Arms. This will be performed by professional actors and directed by accomplished, professional directors during Studio Salford Development Week (date to be confirmed).
Given my experiences with Manchester ADP, who host regular "script aloud" evenings, the idea of having my development performed is something I'm certainly going to pursue with WFTS.
ACT I - SCENE 1 (It's Never Too Late)
There are no spoilers in this section as the premise of this scene is clearly described in the main play synopsis, so read on!
Cast
Jacob Tanner, Male, 30
Maria Tanner, Female, 65 (retired nurse)
Synopsis
Jacob is at home taking care of his mother Maria. She is dying of {some illness} and is found laying in her bed. She reveals a truth to Jacob, that he was an adopted child, and hands over details of the adoption and of his biological parents. She also hands over the key to a box held in the basement of the house. The box contains old clothing, jewellery, and a notebook containing technical drawings. Maria tells her story, asking Jacob's forgiveness for leaving it so long to tell him the truth. Jacob's love for Maria, the only mother he has ever known, overflows as he forgives and absolves her and embraces her as she gives up her fight, passing away gently in his arms.
Discussion
I couldn't resist writing this scene before going on the WFTS course. The current draft runs for about 10 minutes, so plenty to get into and develop further. I think it will work as both a stand-alone short, and as part of the larger "What The Future Holds" play.
The premise here is to set up Jacob on the path to discover information about his parents, and the fact that they died of a mysterious illness. So too, the discovery of the notebook containing technical drawings. In this scene there is no hint of science-fiction, it's just pure dramatic theatre all the way. We don't find out what the notebook means until a later scene in the first act.
In this scene we aim unveil Maria's embarrassment, and her fear of rejection, and see how revelations and truth can lead to forgiveness, acceptance and a strengthening of maternal bonds between a parent and child. We will also touch on loss, and the pain felt, despite knowing that death was a mere heartbeat away.
In Closing
Taking this scene with me into the WFTS writing course will hopefully give me a great pair of characters to develop. The emotional ties that this pair have must come across in abundance. I really want the audience to fall headlong into the scene, and feel Jacob's anguish as this wonderful woman he calls mother passes away in his arms.