The Building Project

Wife: The sky? Water is going to come from the sky!? Honey, water doesn’t come from the sky, it comes from the ground like has for hundreds of years.

Noah: Things are going to change.

Wife: (Starts to exit) Just make sure that this “flood thing” is done before supper.

Noah: My love, look at me. I’m building an ark. God is going to bring a flood. He’s going to wipe everything off the face of the earth and start from scratch. We get to be a part of that.

Wife: How?

Noah: We’re going to be on the ark. We’re going to live on the ark until all the water goes away. We get to be the ones who start over.

Wife: How long is this going to take?

Noah: I don’t know.

Wife: Where will we live?

Noah: On the ark until it’s over. After that, I don’t know.

Wife: What about our neighbors?

Noah: That’s why I’m building this ark. Everyone can see it. They’ll come by and ask what I’m doing and I’ll tell them I’m building an ark. I’ll invite them to come with us and when they ask why they should want to come with us, I’ll simply tell them about the flood.

Wife: And they’ll simply lock you up in the booby hatch! Where are you getting the money to pay for all this?

Noah: I’m borrowing it. I got a loan.

Wife: That’s going to be a lot of interest to be paying. It’s going to take a long time to build this.

Noah: It’s not like it’s going to take a hundred years to build it. Besides, they told me I could pay it back after the flood. (he laughs)

Wife: Where will we get wives for our sons? What about our future?

Noah: I don’t know. I just know that God is leading us into a future that we can’t see yet.

Copyright 2006 Eric Stapleton. All rights reserved.
This is an excerpt from the play The Building Project

The Next Level

[The following is and excerpt from The Next Level by Eric Stapleton]

STEVE: It’s like this. This yahoo with the gloom and doom message sees things from a skewed point of view as if there is only one way to understand truth and that he has the corner on it. There are lots of truths out there and many different points of view. It all comes down to preferences. Some people like to go to church on Sundays while others like to fishing. Some people like coffee and others like tea. And those are all well and good. But they aren’t right or wrong.

KIRK: So what you are saying is that we determine for ourselves what is right or wrong. I find that philosophy very useful.

STEVE: Exactly. You know my friend, I think that you are having an epiphany. What’s not ‘fashionable’ if you will, in the moral sense, today, may change in a few years. You see, we’re all evolving to the next level where we will be free of the shackles of oppressive absolutism.

KIRK: Well, I must be going. Boy all this really lifts a weight off of my mind. I was beginning to think that some of my choices in life were wrong.

STEVE: There are no wrong choices! Be free and at ease my friend!

KIRK: I really must be going. May I have your wallet please?

STEVE: (taken aback) No, you may not.

KIRK: I insist (pulls out a revolver or does the finger in coat pocket routine).

STEVE: B-b-but that’s wrong.

KIRK: Says who? Gimme your wallet.

STEVE: It’s against the law. (handing over wallet) It’s against the common good.

KIRK: Maybe in a few years it won’t be. Maybe I’m already at the next level.

© 2002 Eric Stapleton, All rights reserved
[The preceding is an excerpt from The Next Level by Eric Stapleton]

On Planning a Rehearsal

Know the play.

Determine how much time you have to put the play together.

Determine where the play is going to be performed and rehearsed (sometimes these are two different places.)

Determine which parts of the play will be the most difficult to teach/rehearse.

Make a synopsis for all scenes to determine which characters (actors) are needed for each.

Break the play down into scene sized-chunks. Plan these into the rehearsal schedule in sequential order. Allow more time for the aforementioned difficult parts of the play. Plan to run groups of scenes in order along with production numbers (off script) for actors to get a sense of flow. This is usually done with each act and then the whole play—off script.

Since every character is usually not needed for every scene not every actor will need to show up at every rehearsal…make this clear on the schedule.

Leave a week right before opening night where you will rehearse in the performance space. During this time you will start layering in costumes, make-up and technical effects (lights and sound.) This time will also include the final dress rehearsals.

Once the schedule has been planned with consultation from your creative team, get it down on paper before the rehearsals (practice) starts.

Excerpts from a Doll's Life

GIRL: I love you. You are my favorite dolly in the whole world! When we get home we’re going to have tea and then I am going to tuck you in to bed for your afternoon nap. You are my favorite dolly in the whole world and I am never never ever going to get rid of you.

DADDY: Honey, I got a surprise for you!

GIRL: What is it, daddy? (puts doll to the side)

DADDY: Well, I’ve thinking. You’re a big girl now and I think that it is time for you to have a big girl surprise!

GIRL: (jumping up and down) What is it, daddy? What is it?

DADDY: I got you your very own purse just like mommy!

GIRL: Oh daddy! It’s just what I’ve wanted! I’ll never never ever get rid of this.

DADDY: Well, let’s go home and show mommy.

GIRL: OK. (both exit)

GIRLFRIEND: (coming to sit on the bench) We have so got to see that movie again. Omigosh! That was so good.

BOYFRIEND: Maybe. There was too much kissy kissy boy meets girl, boy loses girl romantic stuff in it. I like the chase scenes and when that guy’s head exploded, that was so sweet!

GIRLFRIEND: Gross! See, I don’t think that needed to be in the movie at all. I don’t see why that gory stuff has to be in a love story!

BOYFRIEND: It wasn’t a love story! It was an action film! You don’t name a love story Death Chasers Part Four! Arnold Schwarzeneggar is not a romantic movie star, he—(sees that GIRFRIEND is getting sad) Baby, what’s wrong?

GIRLFRIEND: (sobbing) You don’t love me anymore!

BOYFRIEND: Sure I do!

GIRLFRIEND: No, you don’t. You’d rather take me to see an action film than a love story. What? Do you want to see my head explode?

BOYFRIEND: I think it is.

GIRFRIEND: What?!?

BOYFRIEND: Honey, I can be romantic, really I can.

GIRFRIEND: No you can’t. You never get me any gifts or buy me flowers like Arnold did for the girl in the movie.

BOYFRIEND: The girl in the movie was a spy and tried to kill him later on.

GIRLFRIEND: See what I mean, you think that I’m a monster! (starts to exit)

BOYFRIEND: Wait honey. I did get you a gift. Here, I got you this doll!

GIRFRIEND: No you didn’t. Some kid left that on the bench. That’s a used toy, I don’t want that old thing. (exits, followed by BOYFRIEND)

BOYFRIEND: Honey!

MASCOT: Never have to miss a call again when you sign up with Discount Wireless. Everybody needs a cell phone. Doesn’t anyone want a take advantage of this once in a lifetime offer? Anyone? If you sign up now, you’ll even get 23 free weekend minutes! I feel like such a loser. C’mon, anybody? I’ll even throw in this doll as a bonus. Anyone? Anyone? Oh, man, I’m such loser. (tries to sit down on bench, but can’t because his costume makes it awkward; looks over at doll) So, I guess no one wants you either. Hey, I’m stuck. I can’t get up. (GIRLFRIEND and BOYFRIEND walk by. BOYFRIEND is still trying to reason with GIRLFRIEND) Hey! You guys look like you need a cell phone. Hey! Wait up! (manages to get up and follow everybody else)

JANITOR: (enters with a push broom and humming tune) Ah, silly kids, leaving their toys behind! What am I going to do with this? It’s just a worthless old doll. No good anymore. Who would ever want this? Well, there is only one good place for worthless items…the trash. (starts to puts doll in trash)

DOLL MAKER: What are you doing?

JANITOR: I’m putting this old doll in the trash where it belongs.

DOLLMAKER: Don’t be absurd! That doll was created to be loved and adored.

JANITOR: What do you care?

DOLLMAKER: My card. Christopher H. Howard, designer of toys, dolls and other delights. The bringer of smiles, and the maker of dreams. (presents card)

JANITOR: (reading) Hmm. You designed this doll?

DOLLMAKER: Why yes! Yes, of course! (starts to ‘clean up doll’)

JANITOR: Well, it’s seen better days. Hardly much use of anything now.

DOLLMAKER: Nonsense! This doll has not yet begun to shine! Nobody, has thus far been able to care for it properly. Watch this! (DOLLMAKER touches back of doll and DOLL begins to dance around)

JANITOR: Wow! You know, I’d really like to take that home to my daughter. It would make a great toy.

DOLLMAKER: I won’t have it. This doll is far too valuable to be anybody’s mere toy. I designed it special. I put love into it. This doll is mine and I shall be the one to care for it from now on. (DOLL and DOLLMAKER exit)

Copyright 2006 by Eric Stapleton. All rights reserved.

[This is an excerpt from Excerpts from a Doll's Life by Eric Stapleton]

International Actress Sue Blough Comments on Characterization

Sue Blough is a former colleague of mine from my short time in an international repertory theater company called Covenant Players*. Watching Sue perform was a treat. Her total commitment to character was both incredible and inspiring to experience. Incredible, because of how much she was able to communicate about the characters she portrayed. Her performances were inspiring to young actors—like myself at the time—because of the work that she put into the performance to bring out the truth of the characters from the written page.

In my correspondence with Sue I have been able to glean not only some of the wisdom of a veteran Christian actress, but also a glimpse of what compels her. The many ways to go about character work all amount to what is necessary to be successful in any profession—work. When interviewing this energetic New Zealander, I originally was looking for some specific “how to” techniques and “how much work should one do or not do” etc. What I discovered was a taste of the passion that drives Sue to excel at her craft. The following is an excerpt from that interview.

E: Sue, how long have you been performing with Covenant Players?

Sue: Twenty-two years.

E: In that time, what has been the most fulfilling aspect of performing as an actress with Covenant Players apart from serving God?

Sue: Moments of truly living the role both in rehearsal and at the performance. By that I mean thinking character thoughts, responding and reacting to the other performers "in character.”

E: What’s a ball park figure of the number of roles you have portrayed during your time in Covenant Players?

Sue: I am not much of a counter/record keeper, but I will guess that I have performed over 600 roles.

[Wow!]

E: What has been your favorite role when performing or preparing? Tell me about the character and why you liked portraying that person?

Sue: Hard to choose but there are two roles in which I have experienced transcendent moments. One is the role of…Ann Boleyn. Chuck [Charles M. Tanner, author and founder of Covenant Players] has written several plays about Henry VIII and Anne Boleyn. I love rhetoric and Chuck's poetry is beautiful. He captures the tension and energy of this relationship powerfully in my estimation…my fellow actor’s ability to live in the moment and project another person's thoughts lifted me up. Our inter-relationship felt as dangerous and constricted, as I imagine it truly was, for Henry and Anne in those times.

E: Approximately how many hours (apart from actual rehearsal and line learning) you spend preparing for a role?

Sue: Depending on the size of the role and complexity of the character - probably anywhere between three to five hours outside of rehearsal.

E: That seems like a lot, what is your process?

Sue: Over the years I have synthesized what I do. First, I read the play several times over to figure out what is going on and who I am. I am looking for the things going on behind the lines and action as well as the obvious information. As I learn my lines and cues I try out gestures and character walks. I also consider the thoughts and motivations that will color the line reading and try breaking up the lines several different ways before settling on a reading. After the blocking rehearsal I continue to work on owning my lines and movement so it looks and sounds natural and spontaneous. Fast pickups and discovering the rhythm of the dialogue is important so I like to work outside of the set rehearsals with my fellow actors. Working on the texture of the relationships happens mostly inside the rehearsal, giving each other "character eyes" not just looking at the other actor and wondering what my line is! I try to live the moments. Then, with the help of the director I work at layering the performance, subtlety and timing, etc. Rehearsal is where I get my work out my head, or off the paper, and make it live and breathe. Then the magic of the performance happens. It's only been the privilege of performing a lot that has taught me to how control and use that mysterious injection of adrenalin that happens at that time. Actually acting, or being, is an ongoing process. You never fully arrive at becoming someone else. There are always more nuances to discover and embody. I find that exciting!

E: What do you think is the difference between acting a part and becoming the part?

Sue: Usually more of the audience is moved, challenged and provoked by the greater skill of becoming a part. You will see a difference when it comes to natural and spontaneous line delivery and movement. The eye communication (in responding and reacting to the other actors, to the lines and action in the play) will be electric and dynamic.

E: Which one is better, acting or becoming? Why?

Sue: Becoming. You are giving your audience and fellow performers a greater gift.

E: Do you think that it is possible to become so absorbed in the character that it negatively affects your attitude, behavior and/or social interactions outside the context of the script and/or rehearsal? Has that ever happened to you or anyone you know? Explain.

Sue: Yes, I think it is possible. I have seen people get carried away in rehearsal and performance. It has been set right by the sensitivity and courage of a fellow actor or director to confront the situation with love. These times are growing experiences and not ultimately detrimental. A performer must learn to differentiate between the script and real life, to put some boundaries on their imagination and research, and to trust the Lord to communicate what is needed. As both Christian and actress I long to experience the power of the play. I want it to affect me, not just the audience. I long to be challenged and ministered to on a personal level. My spiritual life thrives on creative situations such as those that are provided for in by acting and directing.

Eric: What is the cost in becoming a character? Please give personal examples.

Sue: The cost is work, time, concentration, effort, laying down inhibitions, being humble and malleable for and with your director and the other performers. It also means being reliable and consistent in rehearsals. I have had plenty of experience in being the "weak link" in the cast, or in supporting the "weak link". Then comes faith—before, during and after. Before you start, having faith or belief in yourself can make the difference between acting and becoming. This has to do with believing the Lord will work through you for His purposes. You are just being an available tool or vessel for his work. Faith during the process means having faith in the writer, director, other actors involved and afterwards trusting your audience to be smart, having faith that the Holy Spirit will work beyond whatever you do or don't do as a cast. All our work is nothing without the blessing and empowerment of the Holy Spirit. With it the work can be life-changing. I have learned these things through the hard knocks of my own inadequacies and the vagaries of circumstance. At times, I've been the one who hasn't worked on the lines enough so someone else has had to pick up when I've blanked. I have also learned to swallow my pride and help a fellow actor I privately deemed less "talented", only to discover that their performance is alive and fresh and impacting the audience, while I am coming across as studied and predictable - in other words I am giving a rote performance!

Sue’s performances, as I remember them, were never rote. Did you get a taste of the passion she has for her craft? I hope so. There is so much work involved in being excellent at any craft, but there can be so much joy in it also.

*Covenant Players is an international professional theater company. Founded in 1963, CP is now serving churches, schools, nursing homes, prisons and many other community groups throughout the world.

Worst Date Ever

OK, my wife digs ABBA...so this is my tribute to ABBA...

Proctor: Wow! You look great!

Abigail: Thank you. You too. I love that wide collar.

Proctor: Oh yeah. I dig the accent. Swedish?

Abigail: Yeah.

Proctor: Well, I've never done this before. I've dated a few women simultaneously but usually not with...

Abigail: ..them knowing about it?

Proctor: Right. Speaking of...where is your, um, friend.

Abigail: Inga had to freshen up.

Proctor: Yeah well, needless to say your ad got my attention, 2 girls for the price of 1.

Abigail: We're liberated we can share.

Proctor: Well, if she looks like you...

Abigail: People say I get my looks from her.

Proctor: Huh? What's that?

Abigail: Here she is...mom, meet our new boyfriend...where'd he go?

Cafeterianism

Patient: Doctor, I'm looking for something unique. Your list looks complete but--

Doctor: Well, take your pick.

Patient: I've already done my research though. I'm looking for God and I want religion but I want something different. I want the savior of Christianity but not the righteousness, I want the community aspect of Judaism but not the persecution, the fervor of Islam without the Jihad, the hipness of Buddhism but not all of the asceticism, what I want is—

Doctor: Cafeterianism.

Patient: Huh?

Doctor: You pick and choose which ideas you like. Instead of you being made in God's image, it's God made in your image.

Our Interview With Bill Stetson--Cowboy Hero in a Modern Age

DB: The bad guys are vanquished, you got the girl--with more of a struggle than the bad guys I might add-- put another key to the city on your ring and you've ridden off into the proverbial sunset. Just what are you going to do now?

BILL: Well lemme see. I could start a family, get inda debt puttin' up Walmart swingsets in the backyard of a cookie cutter house, get tired o’ all that, dump the wife and kids for another adventure and another sunset ‘cause beatin’ up bad guys is easy compared to commitment. Then I’ll write me a book about it. After that I will qualify for an appearance on Oprah, Dr. Phil or slum it on Jerry Springer.

DB: Oh.