• Alison Mead

WHO WILL BUY?

The weather and I are unsettled. On Friday of this week I have invited a large group of people to gather around my re-edited play about the Salters and read it aloud. They are all busy people but are suitable interested to read it and take part. Now I am woncdering why New Writing doesn't stay where it is; in a dusty cupboard gathering more dust. And simply stay out of everyone's way. Out of sight and out of mind.

The reason given is that writing is very important. Having been part of a writer's life for so long, there is an urgency that the work must be seen.

Theatre after all is a most complex and powerful art form and can often change the way people think. I want this play to make change. But I am paying a high price. Putting myself on the line for criticism. Or worse. Rejection. And the time is looming nearer for that crucial phone call to the National Theatre.


ME: Oh Hallo!. I've got this play....

THEM: Well send it in

ME: Yes, well, the thing is, I need to tell you about it before I do. I need to tell you why it matters, why only you can do it......

THEM:Well, send it in and we'll see.

ME: Yes, but I want you to treat it with care and consideration and love and ........ You have to have a wall on stage you see. Well, you don't have to of course, that's ridiculous. It's just that I can see it in my mind's eye and it would work so well. Oh, and by the way, there's a really big cast but I'm thinking you can probably afford that and there are a lot of technical requirements but then again, you don't need all of them I suppose but it would be...............

Hallo? Are you still there?

What happened to "Two people in a Room?" The cast of characters has grown; some of the pages have made a regretful exit. And some pages are vying for attention even though the word count has temporarily gone on holiday. On the scratchpad hoping to be back in play. But still I wonder: is it readable? Is it perform-able? I shall have an idea of the answers to those questions on Friday.

0 views

© 2016 Alison Mead