workshopping scripts

Over the last four decades, almost without exception, every successful TV comedy series has been written by two writers. They have used each other as bouncing boards to workshop scripts. Recently I have seen several plays, where the writers have just missed the mark, mainly by being far too verbose. Comedy dialogue, especially, needs to be pruned to a minimum.

The playwrights should keep in their minds, a firm picture of who their intended audience is likely to be, and then keep the jokes and language appropriate.

Ensure that the poster lets the audience know in advance the genre of the show. If it is a comedy, a bloody thriller or an ‘adults only’ show, then state this clearly on the advertising or at the ticket point of sales. It is sad to see so much work going into productions, which are presented to, and antagonising, an audience expecting something completely different.

Even obvious talent such as Johnny Grim and Martin Lindsay, have recently presented very clever, well-researched shows with original storylines; however, both works desperately needed a good friend to act as a mentor or script editor.

Great things are so often just around the corner, for so many directors and writers who either take on too much, are too shy or too proud to seek opinions before the rehearsal stage.

As another ugly old bugger there is a lot in what you say Johnny that I agree with. I work alone except on one occasion but I do (as you do) get outside opinions and go through workshops. I am quite happy to ignore advice that is wrong (i.e I don't agree with it) but will take on board helpful and constructive advice. Look, in the end it's your name on the script so you have the right to say "No I will not change it any more." You also then have the responsibilty to cop any outside criticism and so you should. (Please note in this last paragraph the word you implies all writers including myself.) Is that all there is? Well if that's all there is my friend, then let's keep dancing. www.tonymoore.id.au

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