Categotry Archives: base instruments

by

Process of drafting Base Instruments

No comments yet

Categories: base instruments, development, Tags: ,

image

At last, all that outlining for Base Instruments is paying off. I worked my ass off, with Bernie’s help, to figure out what would happen in each scene, and while that tactic can be grueling, I find it so much easier to actually draft the piece with that effort put in on the front end.

Here is my current process strategy. I have broken each scene down into discreet sections. On stage, changing locations is a big shift, so scenes tend to be demarcated by things that happen in the same circumscribed place (like the parlor, the ballroom, et cetera) in the same continuous time period. So, if Nathaniel and Mary are having a conversation just the two of them for a while, but Mrs. Hawking enters at a later point of it and they three talk together, that’s the same SCENE because of the location and temporal continuity, but I’m considering them different subsections. I find such chunking very useful, as it enables me to break down the task of writing everything into manageable pieces.

image
A glimpse of my outline

My goal is to write at least one complete subsection a day until I have a complete first draft. Since it’s usually just a part of the scene, it will only works out to a few pages. I do well with breaking big tasks down into smaller, measurable milestones, so this is really helping me dig into the drafting.

The one thing I’m a little sorry about is that the more I learn about how this story is actually going to be put together, the more of the original scene drafting (much of it done during 31 Plays in 31 Days 2014) is not going to be useable. A shame, a couple pieces I liked there either won’t be room for, or just aren’t applicable anymore. Alas, but sometimes darlings are casualties of the process.

The only thing I haven’t yet worked out in the outline is the ending. I know sort of what I want to happen, but there’s a few mechanical issues I haven’t solved. But I think I needed to switch gears, so I thought switching to writing to waste less time. Still, the climax where they fix everything is still up in the air. But maybe actually fleshing out the piece will help inspire a great solution.

by

“What If I Don’t Want To?” — early drafting of Mary’s arc for Base Instruments

No comments yet

Categories: base instruments, development, scenes, themes, Tags: , , ,

I find that the overall plot of Base Instruments, which is a mystery, is proving to be hard to nail down. I’m very close now, though it certainly could still change as I test how everything works. The other day I worked out an important aspect of it through drawing a diagram and moving coins around on it that represented where the characters were at various points in the story. Proud of myself for figuring that out!

image

I wrote this snippet for Base Instruments as part of 31 Plays in 31 Days 2014. I got the major themes and journeys hammered out pretty quickly, so here's something, getting at the idea that as much as Mary wants to be Mrs. Hawking's protege, she may not be ready for everything Mrs. Hawking's going to expect. This will be Mary’s major struggle for the piece.

What If I Don’t Want To?
By Phoebe Roberts

MARY STONE, Mrs. Hawking’s maid and protégé
NATHANIEL HAWKING, Mrs. Hawking’s gentleman nephew

London, England, 1883
~~~

MARY: Did you know that Mrs. Hawking studied ballet when she was young?

NATHANIEL: Is that so? I'd no idea, how interesting.

MARY: Apparently she once considered making a career of it.

NATHANIEL: Oh, really? Was she any good, then?

MARY: I don't know. But doesn't that surprise you?

NATHANIEL: I quite honestly don’t believe there’s anything she couldn’t do if she cared to. Why, does it you?

MARY: It’s, well… Mrs. Hawking doesn't often like things for their own sake, now, does she?

NATHANIEL: She doesn't like much of anything.

MARY: That's not what I mean. Everything's to a point with her. She practices skills to hone her craft. She studies facts in case it might serve her to know them. For goodness sake, she only reads for the points of reference. To think of her dancing for only the love of it… why, it's entirely new.

NATHANIEL: Goodness. I think I see what you mean.

MARY: Do you think… she’s always been that way?

NATHANIEL: I’m hard pressed to imagine her before she was so bitter.

MARY: It could have been that. Or… do you think she’s found it necessary? For her work, I mean. To care for nothing but that which serves her purpose because that’s the only way she’s capable of accomplishing the enormous things she accomplishes?

NATHANIEL: Goodness, I hope not. I mean to be of help to her, but I couldn’t bear to live as she does. Devoting herself to nothing but her work.

MARY: What if that’s what it takes?

NATHANIEL: Well, then I haven’t got it. I’ve a family, for heaven’s sake, and a hobby or two I’d care to pursue.

(He laughs, but MARY sits very quietly, eyes wide.)

NATHANIEL: Are you quite all right?

MARY: What if I haven’t got it either?

NATHANIEL: Oh, Mary. I’m sure you too can do anything you want to. If you put your mind to it, I’m sure you could become as honed and dedicated as she is.

MARY: No, Nathaniel… what if I don’t want to?

8/3/14

by

Structuring “Mrs. Hawking part 3,” Base Instruments

No comments yet

Categories: base instruments, Tags: ,

Been doing some serious work on the third Mrs. Hawking story, Base Instruments, as this summer I have real time to buckle down and write. As I’ve mentioned, this is a tougher project than usual because of the demands of writing a mystery to be performed onstage. But that difficulty is compounded by all the other things that need to be in it.

The Mrs. Hawking story is intended to be a serial, with all the advantages and disadvantages that involves. I love the the fact that our characters can develop overtime, building up rich journeys and the surrounding setting through what stories came before. With two adventures already under our belt, the world of Mrs. Hawking has started to take shape, including a larger cast of characters that we want to see more of. Nathaniel’s wife Clara and Arthur the police constable, both introduced in Vivat Regina, will be returning to continue their roles in Base Instruments. I also want to introduce Nathaniel’s older brother Justin Hawking, to further expand the literal and metaphorical Hawking family, and add in new sources of interaction and conflict.

But doing these cool characters full justice takes a lot of stage time! Though I will be building on what came before, at the same I want the stories to stand alone as much as possible, which means there has to be enough information for people to understand the relationships without necessarily having all the background. And this has to be balanced with all the stuff needed for the solving of the case. We need investigation, deduction, suspects. Lots of scenes are going to have to pull double-duty, advancing the pursuit of the mystery while still getting in the character moments with what’s looking to be the largest cast in a Mrs. Hawking play to date. It takes a lot of characters to include our heroes, our supporting cast, and all the suspects necessarily to tell an engaging and legitimate whodunnit.

The length of the play is also something to watch. Both previous two Mrs. Hawking stories come in at a lively hour and fifteen minutes. That’s actually pretty short for a stage play, but I find I like that. They move at a good pace and there’s no time for the audience to get bored. But Base Instruments is looking to be jam-packed with story to tell. I probably have a little bit of leeway to make it longer than the others, as seventy-five minutes is a fair bit shorter than is usual for plays, but I don’t want to make this story bloated, and take away the piece’s momentum.

So I’ve been working very hard on the structure for Base Instruments, which has held the bulk my attention at this stage of the piece. It’s generally a rule of thumb to introduce characters earlier rather than later, so I’m trying to find ways to get the majority of our cast in view up front. But the action and the investigation has to get going right away as well, so often it’s a matter of figuring out where people can come in around the detective work.

Striking that balance is turning out to be very important. Hopefully both the character interactions as well as the pursuit of the case will engage the audience, so interweaving them with the correct pacing will keep the story moving. I believe that finding the best blend of these threads will be key to making this play a success.

by

The challenge of writing Base Instruments

No comments yet

Categories: base instruments, development, Tags: , , ,

The third installment of Mrs. Hawking is now underway. With Bernie’s help, I have begun the challenging process of plotting it out, and it’s clear that this will significantly harder than what I’ve done before.

First of all, Base Instruments will be a true mystery, as opposed to a caper like the first two stories. In Mrs. Hawking and Vivat Regina, our heroes are presented with a problem rather than a question. “Foil a blackmailer and return a kidnapped child.” “Bring a monster to justice who is hiding behind diplomatic immunity.” They knew what they were going after, and their challenge was to figure out how to accomplish it. In a mystery, however, they have to investigate to find out the answer to what’s gone on. That’s a very different story design process, as it requires the slow unfolding of the truth based on the gathering of clues, which is really tough to do in a theatrical medium. Think about it; most mystery stories require lots of people to interview and places to investigate, while in theater you have to minimize both locations and characters in order to make staging feasible. The few theatrical mysteries tend to be of the “locked room” variety, to keep both suspect pool and number of settings down.

Bernie and I are trying to use that “locked room” model after a fashion for that very reason. Still, this play is going to have a LOT of speaking characters, there’s just no way around it. We’ve got our three leads, of course, and we’re starting to build up a cast of supporting characters we want to recur and develop– in this case, Nathaniel’s wife Clara and Arthur, the policeman Mary befriended. I also want to include Nathaniel’s brother Justin Hawking, and of course there’s going to have to be all the characters specifically involved in the mystery.

But we’re trying to concern ourselves more with telling the best possible story than with “production stuff” yet. Writing a compelling mystery will be tough enough on its own. I’ve been watching a ton of mysteries lately for research, and we’re going to be working out a lot of kinks. Wish us luck! I want the next installment of this story to continue the upward trajectory of the last two.

by

“Your Vessel Has Not Betrayed You” — scribbling on the ballerina client

No comments yet

Categories: base instruments, development, scenes, Tags: , , , ,

IMG_0785.JPG

This early piece for Base Instruments is pretty much pure idea and very, very little refinement. It grew out of the fact that I want to have a ballerina for the client in this one, who can bring up ballet as a metaphor for exploring some of Mrs. Hawking's issues. Ballet dancers, particularly broken down ones, are a favorite subject of mine to write about. I really like using this conceit in the story, and I think I'm really on to something in this scene. I hope it's as subtle as I'm working for it to be.

The trouble is it was written without context, so definitely needs editing once I figure out what the mystery and plot is. For this I just threw in a few details as placeholders; I don't even know who "Alexei" is supposed to be, for example. But I can sort that out later. For now I just wanted to take a stab at the idea, and even in this rough form I think it's going to be a good one.

Your Vessel Has Not Betrayed You
by Phoebe Roberts

VICTORIA HAWKING, secret society avenger, early forties
ELENA ZAKHAROVA, prima ballerina of the Royal Ballet, late twenties

London, England, 1883
~~~

(ELENA ZAKHAROVA makes her way down the hall. Suddenly MRS. HAWKING springs out in her stealth suit. MISS ZAKHAROVA starts and sucks in a breath to scream, but MRS. HAWKING whips back her hood to show her face.)

MRS. HAWKING: Hush! It's me!

(With effort MISS ZAKHAROVA calms herself.)

MISS ZAKHAROVA: God in Heaven! How– however do you do that?

MRS. HAWKING: A trick of the trade. I had to find you, and I did not wish to be seen.

MISS ZAKHAROVA: What is it?

(She notices MRS. HAWKING's intense scrutiny.)

MISS ZAKHAROVA: Why do you look at me?

MRS. HAWKING: How long have they been like that?

MISS ZAKHAROVA: What?

MRS. HAWKING: Your ankles.

(MISS ZAKHAROVA stiffens.)

MRS. HAWKING: The laudanum concealed the extent of it when you visited me before. But I know those ginger steps to protect against the pain.

MISS ZAKHAROVA: I am only– sore from rehearsal!

MRS. HAWKING: It is more than that. A prima ballerina lives on her ankles, and yours are crumbling beneath you. They will only grow worse with time.

(Pause.)

MRS. HAWKING: You're on your on your way out, Miss Zakharova.

MISS ZAKHAROVA: Please. You mustn't tell anyone.

MRS. HAWKING: This changes things.

MISS ZAKHAROVA: It changes nothing of this!

MRS. HAWKING: If your position is no longer secure, then you have reason to act against the hierarchy of the company.

MISS ZAKHAROVA: I would never! The company is my life!

MRS. HAWKING: And that life is about to end.

MISS ZAKHAROVA: I have done nothing but the dance since I was a girl of six! I have sacrificed so much. All I had to my name was my career and Alexei, and now Alexei is dead. Can you not understand?

(Pause.)

MISS ZAKHAROVA: How could you? Your vessel has never betrayed you.

MRS. HAWKING: Miss Zakharova–

MISS ZAKHAROVA: Look at you! To be able to climb as you do like a cat in a tree! Might I be so impertinent as to ask madam's age?

(Pause.)

MRS. HAWKING: Forty-three.

MISS ZAKHAROVA: Forty-three. I shall have fortune to walk so long. I would do murder for the clean lines of your legs.

MRS. HAWKING: Nonsense.

MISS ZAKHAROVA: Any dancer would.

(Pause.)

MISS ZAKHAROVA: The ballet is my one calling. And in perfecting it, I have ruined myself for it.

MRS. HAWKING: You concealed it.

MISS ZAKHAROVA: So that I might have it just a few moments longer! They will replace me in a breath. In my place, what would you have done?

MRS. HAWKING: That's the trouble. I might have done anything.

8/12/14

by

“The Cuff” – scribblings on the end of Mrs. Hawking’s mourning period

No comments yet

Categories: base instruments, development, scenes, Tags: , , , , ,

IMG_0694.JPG

So I’ve been working to figure out the Mrs. Hawking timeline to nail down when each story needs to happen. The main things to work around are that the first story takes place in 1880, to happen in proper proximity to the Indian Rebellion and the Battle of Kandahar, and I want the sixth story to have Mrs. Hawking taking on Jack the Ripper, which would happen in 1888. Six pieces need to be spread across that span, with an amount of time between them that is believable. I’ve decided that it makes more sense to place Base Instruments in 1883 rather than 1882, which is what I had originally been using for all other pieces of it written for this 31P31D, so that the second trilogy can be in 1885, 1886, and 1888, making no gap longer than two years.

If it’s happening in 1883, then, it occurred to me that means that Mrs. Hawking will be almost out of mourning for her late husband the Colonel. Mourning for widows was very regimented in Victorian England, so even if it didn’t match her own feelings or preferences, she would have to observe the etiquette so as not to attract unwanted attention and criticism. I don’t know if this is an especially useful scene to include in Base Instruments, but it’s an interesting thing to address.

The Cuff
by Phoebe Roberts

VICTORIA HAWKING, lady’s society avenger
MARY STONE, her housemaid and assistant

London, England, 1883
~~~

(MRS. HAWKING dresses to go out in public. She regards herself in the mirror. MARY neatens the vanity table.)

MRS. HAWKING: Two months now.

MARY: Two months of what?

MRS. HAWKING: Two months until I’m out of mourning.

MARY: Oh, my. I’d quite forgotten.

(She goes to the wardrobe and begins looking through the dresses.)

MARY: I haven’t looked at your old things since I came. I think it should all still fit.

MRS. HAWKING: I don’t much care.

MARY: Well, I should think it would be easier than having to shop.

MRS. HAWKING: I’ve no wish to return to colors. It isn’t as if I can dress how I like anyhow.

MARY: Well. If you kept to blacks, no one would think anything of it.

MRS. HAWKING: Mm.

(She holds up her right hand to look at her wedding ring.)

MRS. HAWKING: I wouldn’t mind dispensing with this, though.

MARY: Oh. I’m… not sure that’s done.

MRS. HAWKING: No. It is not. If you’re shackled to a man, you’re at least rid of him when he dies. But you remain in the cuff until you replace it with some living fellow’s.

(Pause.)

MRS. HAWKING: I had thought to bury the Colonel with his. But Nathaniel saved it, and gave it to me. He thought at the time I might like to have it.

MARY: Did you keep it?

MRS. HAWKING: It’s in a snuffbox in his dressing room. What else could I do? Like this, certain parties would object to anything less.

MARY: It’s a small thing, at least.

MRS. HAWKING: It keeps me beneath notice.

(MARY comes close to look at MRS. HAWKING’s ring.)

MARY: It’s beautiful.

MRS. HAWKING: India ruby. He was so proud.

8/21/14

by

“Glad to Be Your Man” — scribbling on the reappearance of Arthur Swann

No comments yet

Categories: base instruments, development, looking ahead, scenes, Tags: , , ,

Base Instruments is likely to have a very large cast. That's not ideal for produceability, but more and more I suspect I just need to adapt these Mrs. Hawking stories into a miniseries or something, so I'm not worrying about that stuff when I'm just trying to figure out what happens in each installment.

Arthur Swann, a young policeman, was introduced in Vivat Regina, and though nothing happened beyond getting to know him a little, it was pretty clear he was positively impressed by Mary. Because I think Base Instruments will end up being a murder mystery, I think it will be necessary to have Arthur reappear in this story, especially since I'm planning on him becoming more and more of an important character. That means the relationship between him and Mary will have to progress. One of his traits is that he's supposed to be charming in a way that respects and admires Mary's capability and independence, which I want to demonstrate in his pursuit of her. However, I have to be careful to not push things too hard, as I want the attentions of Nathaniel's brother Justin to be a legitimate distraction for Mary in this story. Justin'll seem less special and remarkable if lots of dudes are throwing themselves at her. I may be able to rely on the fact that he's very good-looking and a gentleman, the sort of man Mary never would have expected to give her a second look, while Arthur is a bit more ordinary-seeming. But I can balance that out later. Here's a shot at looking what Arthur reappearing in Mary's life would begin with.

I really love him calling her "rare bird," given the significance of the bird motif in these stories. :-)

Glad to Be Your Man
by Phoebe Roberts

MARY STONE, house maid and assistant society avenger
ARTHUR SWANN, a policeman

London, England, 1883
~~~

(Officer ARTHUR SWANN leans against a lamp post. He notices MARY as she walks by.)

ARTHUR: As I live and breathe. Evening, rare bird.

(MARY turns.)

MARY: I beg your pardon?

ARTHUR: Don't you remember me? Because I couldn't forget you.

MARY: You're that policeman. Who needed some help with a ruffian.

ARTHUR: And you're the girl what gave it to me. Mary Stone.

MARY: Goodness. It's been more than a year, hasn't it?

ARTHUR: I'm like to recall a maid who can swing a poker like that. You know, ever since that night I've been keeping a weather eye out for you, hoping you might come back again this way. But you never have.

MARY: I'm sorry, I've had no cause.

ARTHUR: Shame on you, then. Who knows what trouble I might have gotten into without you around to watch my back? Could you bear to carry that on your conscience?

(MARY laughs.)

ARTHUR: So, then. Can you stay a spell to visit?

MARY: Forgive me, I've things to do.

ARTHUR: More important business, eh? Like German spies slipping away in the night from embassies?

(MARY fights to keep her expression neutral.)

MARY: I… I don't know what you mean.

ARTHUR: Well, it isn't as if us walking bobs often receive tips about when to bust up foreign spy activity. And when it comes after I've only just met a remarkable young lady clearly staking out the embassy…

(MARY laughs breezily.)

MARY: Staking out? Oh, heavens.

ARTHUR: I may look like just a pretty face, but there's a tick or two working behind my baby blues. Thank you kindly for that, by the by. My captain was fair chuffed with me.

MARY: Sir. I really don't know what you're talking about.

ARTHUR: No worries, miss. I'm not about to say anything, have no fear of that.

MARY: Perhaps I'd best be on my way.

ARTHUR: I won't keep you. Only I hope if you've a moment sometime, you might spare it to have a chat with me. And you know… if you ever need another copper to show up at the right time… I'd be glad to be your man.

MARY: Well… that's kind of you, I suppose.

ARTHUR: If I might see you again, I'll do a lot more than that.

(He tips his cap.)

ARTHUR: And remember, the name's Arthur Swann. In case you ever need it again.

8/20/14

by

“Family Dinner” — Hawking drama I’m not sure about

No comments yet

Categories: base instruments, character, development, scenes, Tags: , , ,

I started this scene for inclusion in Base Instruments, but the more I wrote it the less sure I was about it. While it’s roughly in character– Nathaniel wants Mrs. Hawking to show up to a family dinner while his brother Justin is in town, Mrs. Hawking doesn’t want to go –I don’t feel like the motivations are necessarily strong enough.

Yeah, Nathaniel wants his aunt to act like she’s part of the family, but he knows that she and Justin don’t like each other and it’s not likely to be a pleasant evening for anyone involved. I feel like he would be wiser than to force everybody into a situation that’s likely to make the whole family miserable; he would instead pick his battles to work on developing relationships with her that both mattered to him more and had more of a chance of success, such as his and hers, or even hers and Clara’s. Also, I think if Mrs. Hawking didn’t want to go to an event, she just wouldn’t; she’s starting to value Nathaniel and his feelings more, but the concept of “but we’re your faaaaaamily” just doesn’t matter to her. She wouldn’t make herself miserable to do any service to that. I don’t like making characters do thing for the sake of drama or the plot that I don’t feel are really in character.

I tried to make it work. I tried to give Nathaniel an outside reason for why he would insist on this– tying it into his issues with Justin rather than just letting it rely on his desire to make his aunt connect with family. And I tried to make it so she was only trying to minimize her own misery by agreeing to the dinner on his terms, because the alternative would be worse. But I’m not sure I buy it. Also I don’t know if I actually want to include that dinner happening in the story; I’m not sure what dramatic purpose it would serve. Although it might be funny just to see all these people fighting with each other under the guise of polite conversation, with Nathaniel frantically trying to make everybody just be nice to each other for one evening for God’s sake.

Ah, well. Even if I don’t use it, it’s practice. And I won’t have to try to recreate it if I decide that I want to.

Family Dinner
by Phoebe Roberts

VICTORIA HAWKING, lady’s society avenger
NATHANIEL HAWKING, her nephew and assistant

London, England, 1883
~~~

NATHANIEL: Here’s the research you asked for! Interviews with the company members, and diagrams of the crime scene. And not a soul will know you’ve had them.

(He hands over a folder and she inspects it.)

MRS. HAWKING: Hmm. That was neatly done. Thank you, Nathaniel.

NATHANIEL: Glad to do it, Auntie. And I’ll have the floor plans for the theater on Monday.

(Pause.)

NATHANIEL: Are you pleased?

MRS. HAWKING: I am. I must concede, you’ve been a great help and very little trouble in the recent past.

NATHANIEL: I’m glad to hear it! And I promise not to trouble you by dropping by while you’re ruminating for the rest of the week.

(She freezes suddenly and stares at NATHANIEL in suspicion.)

MRS. HAWKING: What do you want?

NATHANIEL: Now, don’t get cross, Auntie…

MRS. HAWKING: Out with it.

(NATHANIEL takes a deep breath.)

NATHANIEL: Justin is coming to London for a visit, and I’d like you to come to family dinner.

(She turns to walk away.)

NATHANIEL Oh, come on, Aunt Victoria!

MRS. HAWKING: Go chase yourself.

NATHANIEL: It’s only just an evening!

MRS. HAWKING: Which you seem intent to ruin for everyone.

NATHANIEL: Justin’s in town so rarely. Can’t we spend one night at least pretending we can get on like a normal family?

MRS. HAWKING: To what end?

NATHANIEL: My occasional peace of mind.

MRS. HAWKING: Best not to rely on delusions for comfort, nephew.

NATHANIEL: He won’t be here long. He’ll be on to the country in a few days to see Father.

MRS. HAWKING: Then let your father bear him. Your brother is an entitled rake who never stops talking.

NATHANIEL: I thought that was what you thought of me.

MRS. HAWKING: You’re not a rake, I grant you.

NATHANIEL: Indeed? Oh, goodness, Auntie, I never knew you cared.

MRS. HAWKING: Justin, however, I can’t stand across even a dinner table.

NATHANIEL: Oh, come now. It’s rare to have so much of the family together.

MRS. HAWKING: Perhaps think on why that is for a moment.

NATHANIEL: Clara wants you to be there.

MRS. HAWKING: No, she doesn’t.

NATHANIEL: The children never see you!

MRS. HAWKING: By design, Nathaniel.

NATHANIEL: Careful there, Auntie, that’s my flesh and blood you’re talking about.

MRS. HAWKING: I don’t care for children, why should you subject yours to me?

NATHANIEL: Because I want them to know you.

MRS. HAWKING: Whatever for?

NATHANIEL: Because you’re important to me! My God, woman, is that so hard for you to grasp? Would I keep coming back for more of your trouble if you weren’t?

(She raises an eyebrow at him. He sighs.)

NATHANIEL: If you must know, Justin has opined to me, loudly and often, that he doesn’t understand why I’ve gone to so much trouble to keep you in my life. If you can manage to bear up through one family dinner without being particularly horrible, it might give the appearance that my efforts haven’t come to nothing, and perhaps it will shut him up. For a moment. Could you possibly see your way to helping me with that? I don’t ask much of you, Auntie.

MRS. HAWKING: Ha!

NATHANIEL: All right, then. In that case, I promise you, if you don’t come, Clara will commandeer this house and have a party laid in ambush for you in your own dining room. And there won’t be any getting rid of us then.

(Pause.)

NATHANIEL: And don’t think Mary won’t help me. Because you know she will! So, what shall it be, then?

MRS. HAWKING: You are becoming quite the ruthless strategist, aren’t you, boy?

(NATHANIEL laughs.)

NATHANIEL: I’ve been learning from the best.

(He goes to retrieve his coat from the rack.)

NATHANIEL: Do cheer up, Auntie. Perhaps little Beatrice might do with your influence.

(MRS. HAWKING looks at him, considering. He smiles.)

NATHANIEL: Imagine what might come of that.

8/16/14

by

Early development for Mrs. Hawking 3

No comments yet

Categories: base instruments, development, looking ahead, themes, Tags: , , , , , , , ,

I won’t be able to truly tackle this for a while yet, as I have other projects that are currently more pressing, but I do have a fair bit of preliminary work done on creating the third installment in the Mrs. Hawking story. As I’ve mentioned in earlier entries, it will deal primarily with the three following themes:

– Mary’s establishment of what kind of protégé she truly wants to be.

– A hinting at Mrs. Hawking’s fear of her eventual decline into old age.

– The reaction of Nathaniel’s family

I’ve talked a great deal about the first two themes in this space. The third will be dealing with the first time Nathaniel’s involvement in Mrs. Hawking’s work (and his growing feminism, in sharp contrast to the common values of the day) is scrutinized by the by and large conventional members of his family. I’d like to have his brother Justin show up, to demonstrate a clashing ideology, and have his wife Clara actually be informed of what’s really going on and have to respond to it. I want to explore how Nathaniel will handle experiencing the threat of disapproval for basically the first time in his life, and realizing just how much at odds his new worldview is with the rest of society.

The case they shall be working in the course of this episode will be brought to them by a ballet dancer, in order to introduce the ballet motif that will expose Mrs. Hawking’s inner struggle. I haven’t figured out exactly what the problem will be, but it occurs to me that we’ve yet to see Mrs. Hawking deal with a true mystery. The problems in the first and second installments were entirely known quantities— return a stolen child, capture a miscreant hiding behind diplomatic immunity. I’d like to show her actually having to figure out what happened based on the gathering of clues and applying deductive reasoning. I enjoy mysteries a great deal, as the need to seek out more information is a compelling way to pace things, and I love the way it allows stories to unfold.

I struggle a great deal with titles; though I’m pretty happy with “Mrs. Hawking” and “Vivat Regina,” I rarely think I’ve come up with good ones. But I have an idea, at least, of what I’d like to call this third story. I’m leaning towards either “Base Instruments,” regarding to the imperfections of those people who struggle to deliver grand results, or “The Burden of Regard,” in reference to the weight placed on people from whom important things are expected. The first two have a quality of irony about them, which I would like to maintain in this third title if possible. Opinions on what works better are of course welcome.

by

The ballet metaphor

4 comments

Categories: base instruments, development, looking ahead, themes, Tags: , , , ,

20140428-180211.jpg

I’ve always been fascinated by the art of ballet. First of all, I just find it beautiful, a pure pleasure to watch. But from an intellectual standpoint I’m enthralled by the contradictions. It is viewed as a very delicate, refined art, coded feminine in most modern people’s eyes. But those who practice it at the highest levels is run like an army with just as much discipline. The dancers look frail and delicate, but they have to be unimaginably fit and strong, not to mention able to endure an enormous amount of pain. The dance is so demanding that careers tends to be very short, as many ballet dancers end up physically destroyed by the effort. The image of the broken down ballerina— whose tragedy is that she can no longer practice what she has sacrificed everything to be able to do —is one I return to again and again in my writing.

I find this could make for a perfect parallel to Mrs. Hawking. I want the next story to include a ballerina who is facing inevitable breakdown in order to use her as a metaphor for everything Mrs. Hawking fears. Her work, which involves so much physical punishment, will eventually wear her body down, and age will at some point make it so she can no longer continue. The ballerina character will speak to this part of her, and cause her to ponder how she will eventually address this.

This could tie nicely into the protégé conflict, where she will be trying to mold Mary into a new version of herself. Her fear of her not being able to do her work anymore will motivate her to make Mary into someone she feels like she can trust to properly carry things on— literally, another her. We will see that things won’t exactly go her way on that score, but Mary will in time prove capable of taking up the mantle, if not exactly in the manner Mrs. Hawking initially hopes.

The staged reading of Base Instruments by Phoebe Roberts will go up on June 10th at 8PM at with the Bare Bones reading series, brought to you by Theatre@First.

1 2 3