And... Go!

Ten minute plays really freak me out. I mean, say all you have to say, and you have ten minutes to say it? I probably shouldn't be so freaked out by the concept of ten minutes - because that was the time limit for about everything I have ever written has had some strict rules about time) - but somehow it feels daunting to me. So how can one fit everything into ten minutes? Do you even need to? Each of the plays we read offers a slightly different take on the important elements of a script. A Bowl of Soup worked with mostly monologue, letting one character develop through language and the other develop physically. An interesting blend that helps to show that just because I character doesn't have a bunch of lines doesn't mean they aren't vital to a play. The Road That Leads Here was interesting and gripping but utterly confusing. Exposition cannot be as in-depth in a ten minute play but it really is rather useful. The two ten-minute plays that helped me the most were The Midnight Rodeo and The Man Couldn't Dance because they are the two that blended the most elements together for me. I think that just because a play is short doesn't mean that anything should be sacrificed. Strong characters, strong plot, actual desires and drives, and a purpose are useful things to have in any plot- let alone one that is so short. This means that everything needs to be well thought out and organized before the writing process in order to avoid superfluous information- but sometimes it is well worth the struggle. Take The Man Couldn't Dance for example. I don't really want to know what happens after they dance because I want my own imagination to make that decision, just as I don't really care what happened before because they tell me everything I need to know.

More Specifically:

A bowl of soup : Interesting character development- what with one verbal growth and one nonverbal growth. Sometimes silence is louder than words. It is amazing how much can be learned from a small amount.

That Midnight Rodeo: Mystery and plot do not have to be sacrificed for ten minute plays. Midnight Rodeo was gripping- keeping the suspense alive, even allowing for a non-committal ending. The characters were quite well developed (although a few more pages of development would have been nice). Big controversy can be presented well in ten minutes.

The Man Couldn’t Dance: I remember really loving this play when I saw it at the Directing Class One Acts a couple of years ago and I still love it on the page now. In such a short conversation we learn so much about these characters- learn to love them and to feel for them- and there is a point to the conversation. Character development and plot. I also have a weak spot for the writing that makes me laugh and cry and I can emotionally grow with the characters. Such a simple act as showing an old friend your child- especially an old boyfriend- is a really interesting way to jump into a scene. What I Like the most I think is that when the play ends I don’t focus on wishing it was a longer play- it is just right. I don’t want to know what happens next because I like guessing and I don’t need to know what came before. Exactly what a short play should be.

The Road that Leads Here: Well… I’m confused. I think I liked this… I think. The vagueness of the story, the lack of exposition, it was all very intriguing but I also had a lot of trouble becoming invested in the play or the characters. The ending was funny but also confusing. Why the religious undertones? Why would their father send them on the project? Why torch their cars? I just don’t understand. I think this is a great example of a good idea that needs to be seen not read- although I’m not sure I would appreciate it even on stage. I like the confusing but I do like some exposition…


While each play brought something new and exciting to my toolbox, I feel like what I really gleaned from the different approaches to writing shorter plays is that characters have to become strong quickly and within their words while plot is still vital. Interesting characters do not carry a short play, and no plot will make it harder to watch. Real life, human stories, even crazy abstract adventures, all need to connect with an audience quickly and sufficiently to make them fall in love with the characters as much as we do. The smallest things can reveal the most substantial moments in a human life and sometimes ten minute plays are the best way to salute such a mundane act as showing an old friend your baby or get up early before an operation. Letting out information slowly, letting comedy speak before tragedy, having a clear vision of what everyone will do, all are important parts of any play- no matter what length. Each of these plays offer something equally interesting and useful and I don't have to personally like them all in order to appreciate the concept.