a good man is hard to find...
... but not as hard as a decent English script.
I have no idea how we're going to get a car. Since we obviously can't get a car, due to financial, legal, and physical constraints, among other things, we have to find a way to get a "car effect"- we have to find a way to give the impression that we are in a car, or at least that we're trying to show that we're in a car, without resorting to one of those cardboard cutout things.
And then we have to make the car brake suddenly, and flip over, and we have to have everyone emerging from it, sort-of slowly, if not gravely wounded then at least rattled due to the fact that the car they were riding turned over.
And I don't know how you're supposed to show that time has passed in a play, without making it drag. It's easy if your play works the way Afraid of Roaches did- if it is simple, quick-paced, and held together not by the conversations but by the actions. It would also help if your play were not based off a short story where subtlety and symbol is everything.
It's a good thing I wasn't sick when the Ramayana rolled about, or else Sodium would have gotten a lot of side notes along with their script.
I have no idea how we're going to get a car. Since we obviously can't get a car, due to financial, legal, and physical constraints, among other things, we have to find a way to get a "car effect"- we have to find a way to give the impression that we are in a car, or at least that we're trying to show that we're in a car, without resorting to one of those cardboard cutout things.
And then we have to make the car brake suddenly, and flip over, and we have to have everyone emerging from it, sort-of slowly, if not gravely wounded then at least rattled due to the fact that the car they were riding turned over.
And I don't know how you're supposed to show that time has passed in a play, without making it drag. It's easy if your play works the way Afraid of Roaches did- if it is simple, quick-paced, and held together not by the conversations but by the actions. It would also help if your play were not based off a short story where subtlety and symbol is everything.
It's a good thing I wasn't sick when the Ramayana rolled about, or else Sodium would have gotten a lot of side notes along with their script.