- Don’t try to solve the problem. When someone says “this is my problem,” you should respond “shit, yeah, that sure is a problem,” instead of “okay, well, if you do THIS, you can fix it, it’s not so bad.”
- When you get a location, the first thing you’ll think is to be interacting with it as a visitor/patron/customer. Instead try to place yourself as someone who works there, behind the scenes, day in day out.
- Even a loose monoscene has a similar structure/rules to a Harold:
- Series of two-person scenes: even when there are lots of characters onstage, what matters is the individual relationships between pairs of characters. These are the two-person scenes that you’d have in a Harold.
- First beat, second beat, third beat. We haven’t covered this yet, specifically, but I’m pretty sure we will.
- Giving focus: just like you wouldn’t yell over each other in a group game, give focus and take focus where it’s needed.
- Know each other: (especially in the beginning of the monoscene.) It helps move the scene, it helps the audience give a damn (‘cos if YOU don’t care, how can they?). The characters should somehow care about each other.
More notes about walk-ons:
They don’t have to be brilliant– just be someone who’d flesh out the universe. The conversation you have with one or both characters SHOULDN’T be directly related to what the characters were discussing before you came on, so don’t feel stuck! (In fact, I bet I could brainstorm a bunch of announcements/ conversation starters beforehand, and have ’em available as backup when I need ’em– kind of like I did/still do with “relationships”. Or a bunch of three-person relationships– boyfriend, girlfriend, boyfriend’s roommate, for example)