On Writing : What Makes a Good Play? by Jerry DiCairano

Hi, Jerry. As a theatre critic, I have the pleasure (!) of seeing plays every week that FAIL and I often wonder why many writers can't get the essentials down: (a) an interesting protagonist who WANTS something, (b) serious (credible) obstacles to reaching that goal -- and/ or many more obstacles that are thrown in the path of this quest, (c) a protagonist we can root for and relate to, (d) interesting dialogue that surprises us and avoids cliches, (e) characters that are not stereotypical cardboard creations, and (f) if there is a villain, the villain should not be soooo much more interesting than the protagonist. . Link to one of my stage reviews: http://www.lideamagazine.com/alfo-learned-love-women/

LindaAnn, thank you! Your insightful comments speak volumes! I hope others will have a chance to read them. When I write a play, I also try to insert some stage action. It's not always easy to do so, but I think it's very important to have more going on than just talking. Finally, I do what I can to avoid a predictable ending. (I look forward to reading your review tomorrow. Also, when you have a chance, please peek at my Web site, if you're interested. --Jerry

Jerry, do you know the Lee Blessings play, the 2-hander "A Walk in the Woods"? Two diplomats, one American and one Russian, meet in the woods to try to hash out a SALT talk strategy away from their fellow diplomats in Geneva. "A Walk in the Woods" is not a great play -- but I saw it last month with actress Kathleen Chalfant as the Soviet diplomat! Suddenly, a stale drama, usually cast with 2 males, became a sizzling on-the-edge-of-your-seat play - - thanks to a great actress. Jerry, I will look at your site. Here is another link to one of my reviews: "LOVE IS A MANY-SPLINTERED THING" - link: http://www.stageandcinema.com/2014/09/23/daughters-of-the-sexual-revolut...

LindaAnn, I just read your review of "Daughters of the Sexual Revolution." VERY well done! You are an excellent writer, and you write selflessly, that is, you write to honor the production rather than to promote yourself and establish your own importance. (Sadly, I think many insecure reviewers commit that sin.) Furthermore, you do not make the mistake (a mistake in my opinion, at least) of comparing the play to 14 similar plays which you've seen in the past. The typical reader has not seen the other 14 plays and does not need to feel like a theater-going neophyte compared to an all-knowing, seen-it-all critic. EXCELLENT JOB! And, by the way, how long does it take you to write a review like that? --Jerry

P.S. LindaAnn, I know of "A Walk in the Woods," but I have not seen or read it. You have so many wonderful actors in N.Y. who can bring a so-so script to life. I don't think that is the case elsewhere––where our productions rank at the community-theater level and the performances are often "uneven." --Jerry

Dear Jerry: THANK YOU for reading that review. Paradoxically, it takes longer to craft a positive review than a negative critic. All the flaws in a bad / boring play - - ex: "Voices of Swords" by Kari Floren - - - http://www.lideamagazine.com/voices-swords-needs-sharpen-points/ - - - - are obvious. And most theatre critics have seen more awful plays than the reverse. I filed my review of "Voices of Swords" before The N.Y. Times and others got there; even so, our reviews are very similar because we all saw the same problems. Almost no one reviewed "Daughters of the Sexual Revolution" (perhaps because of the gender bias of mostly male critics) - - and I wanted to make sure the theatre-going audience would find it. Jerry, it takes no less than a few hours to think over the play and start crafting a first draft. I appreciate your comments and your positive feedback on my writing. On another note, I sent YOU a query this week about a short suspense drama of mine and hope you got my email. - - LindaAnn

Jerry, Keen Company has been doing a great job with reviving neglected plays. They recently did "The Killing of Sister George" -- yes! As far as I know, Lee Blessing's 1968 2-hander is usually cast as written: for 2 men. Keen Company works with Kathleen Chalfant often, so she took the role of the Soviet diplomat. In my next life, I want Kathleen Chalfant in all my plays. Who wouldn't? :-D However, Darlene Violette is also a very skilled actress. Here she is, bringing her deft touch to my play "Diamond Lil, Queen of the Bowery" http://youtu.be/rEJbRV-WeW8 It is just as rare to see acting of this caliber as it is to see a good play, Jerry. I just reviewed another "stinker." Sigh.