TEN-MINUTE PLAYS

“A Bowl of Soup”

Having Eddie talk the whole time gives us so much more information about Rob and Eddie’s relationship than if Rob had been participating in the conversation the whole time. It simultaneously provides back-story and shows us the rhythm and habit of their relationship. I learned from this play that sometimes a lack of something can say more than the something itself.

However, since Eddie’s voice is the only one we hear for the vast majority of the play, it needs to be especially believable and convincing. From the character description, we know that Eddie is, at the very least, in his late twenties, but probably in his thirties. He often sounded childish and did not convince me that he is an adult. Perhaps this is part of his character.

“That Midnight Rodeo”

“That Midnight Rodeo” also makes superb use of the unsaid. Particularly by using the close relationship between a husband and wife, Price is very successful in portraying the idea that connections between people do not always require excessive words. Contrary to “A Bowl of Soup,” where the babbling of one character illustrates clearly the relationship between the two characters, “That Midnight Rodeo” uses short, concise statements from Bo and Cindy to illustrate their particular relationship.

I learned that revealing little bits at a time of what is going on keeps the reader interested and still surprises us at the end. The ambiguous ending is exceptionally intriguing.

“The Man Who Couldn’t Dance”

There is a fine line between integrating background information casually, as part of the story, and shoving the background information down the audience’s throat. Mostly “The Man Who Couldn’t Dance” does the former, but a couple of places miss that boat. I learned from this that not everything can be perfect and there may just be some imperfections, even in a finished product.

Rhetorical questions are handy tools for back-story, character development, etc.

“The Roads That Lead Here”

This is a brilliant play of dialogue. The plot develops so seamlessly as the brothers go back and forth about their findings and contributions to their ‘project’. And once Jason joins, he facilitates the additional necessary back-story as seamlessly as Xander and Marcus had been setting it up before he enters.

Like “A Bowl of Soup,” “The Roads That Lead Here” gains a great deal with the surprise ending. It is unexpected, yet also somewhat expected based on Jason’s hints about their father not wanting them to continue their project. The play is brilliant.

What I learned from all the plays: ten-minute plays are very short…and yet a lot can happen and a lot of information can be conveyed in them.