Aug 26, 2022·edited Aug 26, 2022Liked by Audrey Cefaly
I like the way you’ve characterized and think about non-speaking roles. I, too, use them in my plays. In Holy and Unruly, I have a dead lover and an imagined, never-conceived child who personify Queen Elizabeth’s internal conflicts. In Tiny Empty Nest, I have a couple of stage hands who carry set pieces around to keep the action moving. In Every Creeping Thing, I have a panicked rat whose manic activity emphasizes the existential threat of an approaching asteroid for my dinosaur main characters. It’s a blast to create these characters and a real challenge to figure how to use them in ways that genuinely add to and advance the story. Thanks for this post!
I like the way you’ve characterized and think about non-speaking roles. I, too, use them in my plays. In Holy and Unruly, I have a dead lover and an imagined, never-conceived child who personify Queen Elizabeth’s internal conflicts. In Tiny Empty Nest, I have a couple of stage hands who carry set pieces around to keep the action moving. In Every Creeping Thing, I have a panicked rat whose manic activity emphasizes the existential threat of an approaching asteroid for my dinosaur main characters. It’s a blast to create these characters and a real challenge to figure how to use them in ways that genuinely add to and advance the story. Thanks for this post!