The Art of Writing for the Theatre: An Introduction to Script Analysis, Criticism, and Playwriting

by Luke Yankee, Jim Volz (Editor)

Writing for the theatre and about theatre requires a diverse set of skills, but whether you're studying theatre or developing your creative craft, this book covers everything you need to know. Filled with practical advice from an award-winning playwright, with a range of resources to guide you in the craft and business of theatre writing, The Art of Writing for the Theatre provides everything you need to write like a seasoned theatre professional,

* how to analyze and break down a script,
* how to write various types of plays, from short plays, plays for one person, to one act and full length dramas,
* how to critique a play and a theatre production,
* how to construct and craft essays, cover letters, theatrical resumes, applications, and
* how to avoid common grammar and punctuation errors.

This thorough introduction is supplemented with exercises and new interviews with a host of internationally acclaimed playwrights, lyricists, and critics, including Lyn Gardner, Kia Corthron, Ismail Khalidi, Marsha Norman, and David Zippel, among many others. Accompanying online resources include playwriting and script analysis worksheets and exercises, an example of a playwriting resume, and critical points to consider on playwriting, design, acting, directing and choreography.

216 pages, Paperback

Published August 11, 2022

About the author

Luke Yankee is an author, playwright, actor, director, teacher, and producer. He has directed on and off Broadway and at regional theatres throughout the U.S. and abroad. He has assistant directed six Broadway shows and served as artistic director of two regional theaters. He has toured internationally with his multimedia, one-man show, "Diva Dish!" about growing up as the son of Oscar, Emmy and Tony-winning actress, Eileen Heckart. This was was the inspiration for his first book, "Just Outside The Spotlight." Critics have called it "one of the most compassionate, illuminating showbiz books ever written."

Luke's plays include "The Last Lifeboat", "A Place at Forest Lawn" (both published by Dramatists Play Service), "The Man Who Killed The Cure", "The Lavender Mafia", "Diva Dish!", "The Jesus Hickey" (which premiered in LA, starring Harry Hamlin), and Diva Dish: The Second Helping. He has also written numerous television scripts and screenplays. www.lukeyankee.com

Reviews

[Jim Dooley · Rating 3 out of 5]

I need to say right up front that my rating of THE ART OF WRITING FOR THE THEATRE: AN INTRODUCTION TO SCRIPT ANALYSIS, CRITICISM AND PLAYWRITING has as much to say about me as it does about the quality of the book. Indeed, I had been a theater major in college long ago, so a great deal of what I read was a "refresher" for me rather than a link to many insights requiring copious notes.

My purpose in reading this book was to enhance my enthusiasm for embarking on a new form of writing. Both I and my daughter have worked in theater, although we both left it for different professions. For years, I've had this idea for a play that kept recurring on my project list. My writing background consists of screenplays, stories I've written for fun, and journaling my "film journey" on Letterboxd. I've been well-aware that I don't have the credentials for getting a play produced, the vast majority of my theater contacts are no longer regular connections, and I've never attempted to write a play outside of a college assignment many years ago.

Still, I've missed the camaraderie and excitement of putting a production together. In fact, I tucked away a portion of my retirement funds to pay for such a community theater venture one day. Well, lo and behold, it turns out that my daughter has missed the theater, too. Not enough to jump back in professionally, but she has been wanting to "dip her toe" into a production.

To wind up the "me" portion of this narrative, I discovered that her annual six-hour trek home for Christmas this year needed to include a significantly shortened stay (down to three days instead of a week), and that she would need to travel with her dog and cat. It didn't take long for me to come up with a different proposal. Instead of coming home for Christmas, what would she think of waiting for a time to come home for a week when her calendar cleared in the Spring or Summer, and then the two of us would engage in a "Writers' Retreat" to put the core of this play together? Since she was also intrigued by the concept of the show, she jumped at the chance.

So, although she and I are collecting ideas and sharing notes already during a weekly FaceTime call, I decided to pick out some books that would get my excitement boiling. This was the first one.

For me, the book had less value because it tried to address all points of entry into playwriting, from the novice to the seasoned pro. Consequently, while I did pick up a point or two that was new to me about Script Analysis, the biggest benefit came to me with the sections on Criticism and a "pick your brain" Q&A with some theatrical professionals.

Curiously enough, the big Collaboration advice that momentarily put this entire project in doubt was not to partner with someone who has a significant age gap from one's own. (It specifically cited 30-years, and that's less than the current age gap between myself and my daughter!) The reasoning was that the opinions and observations that will arise regarding story ideas and "putting it all together" will be too different to be useful. I must say that I do see the wisdom in that observation, although we share a passion for the story already, and I can only think that having more possibilities for how to put it together can only be of a benefit. (Plus, even if it all goes nowhere, it will be so wonderful to share a creative endeavor together!)

Regarding Criticism, I loved the advice provided about not looking for a way to tear down someone else's work. When I was working in theater, it was not unusual for others in the cast to opine that "the way we're doing it is not the way I'd do it at all." Luke Yankee promoted taking the time to seriously analyze what the playwright or the director was trying to do. Instead of saying "It failed" and be done with it, why wasn't it working ... for me? Maybe I was merely missing something. That would include being aware of how others were reacting to it. The tone of exploration shifts from "this isn't very good" to "here are specific things that would make it better." I loved that approach.

In that spirit, I'll say that the writer certainly accomplished what he was trying to do with the book. The fault (if there is a fault) lies in what I wanted at this point in my project. So noting that, it is also important to note that THE ART OF WRITING FOR THE THEATRE was a worthwhile read, and one that I'd recommend to anyone who was curious to discover what writing a play was all about.