Writing for the stage is addictively hypnotic. That is all.

Actually…..strike that. That’s NOT all.

Listening to humans, observing their natural (and unnatural) behaviour, drinking in and eating up the way they SPEAK and MOVE…and then turning those observations around to give those humans another voice via an ACTOR.

Taking a STAGE – which all the World is – and a player.

Having not only a character to inhabit, but creating one that you can manipulate; one that inhabits YOU. Not only allowing a part of you to flow into said character, but thumping them with an insistence that they get inside your skin and walk around in it.  And this: having a sparky epiphany that in seeking or finding yourself, you don’t have to lose yourself in the process.

And then there’s the WORDS…comedic, tragic, historical, all beautiful, ugly words. A soliloquy-train, a thought-process verbalised as you type out loud: a character revealing their very SOUL….and the dramatic irony inherent within jumbled chronology.

And in parts, scripted improv, allowing for smart ad-libbing, WHICH you know will be awesome: because you’ve already equipped your ensemble with perfectly-rounded characters. Gifting your cast with the POWER of their own words…designing a story where the silent speak (and where mugging is strictly VERBOTEN) yet where reaction and inaction are as important as action, inactivity saying so much.

Giving thought to expression, to artistry, from walking around the scenery in your own head to envisioning the costumes that haven’t yet been designed. Bare minimal dress to allow any required flamboyance to shine through SPEECH and MOVEMENT….and allowing bodies to tell your story.

Using a stage, not using a stage. Walking the audience around, or using theatre IN the round: 360 degrees of involvement. No tricks, just people with other people’s heads on.

This is EVERYTHING. And THAT is all.


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