Tag Archives: edinburgh fringe festival

Free Reads for Christmas!

Hey all!

I’m knee-deep in writing a science fiction play for a company in the UK, so this is going to be quick, but I hope you have a wonderful holiday and wanted to give you a couple of freebies to get you through the next week or two – particularly those of you with kids home from school and in need of entertainment.

If you’ve got kids, STUCK UP A TREE will be free on Amazon through December 29th.

If you like dystopian stories (and who doesn’t?) and haven’t read my play MOUSEWINGS, the next few days give you a chance for some free reading material, too.

I don’t often ask outright, but since it’s Christmas…if you think anyone in your network (including actors, drama teachers, directors…Steven Spielberg…) might enjoy either play, please pass on this blog or those links. And if, once you’re done, you feel like leaving a review? That’d be ace.

Again, both plays are free for Kindle (and associated devices/apps) through December 29th.

Merry Christmas & happy holidays!

xx

Rachel

 

PS – At time of writing, Mousewings and Stuck Up A Tree hold positions 3 and 4 on the Bestsellers list in Amazon’s free Playwriting categoy! (See below for a pic!)

free bestseller three and four mousewings

Now for Kindle! Mousewings: a post-apocalyptic urban fairy tale

“If you were three mice in a cage, one of you would be the weakest mouse. When the other two mice got hungry enough they would eat the weakest mouse. Eat it until its tumors were lying exposed on its back, or till someone from the lab came in and gave it a shot. Put it out of its misery. We’d do it for a mouse…”

It’s the end of the world. A disease decimates the population. A cancer-researcher’s home is invaded by two escapees from a housing project, making their way to the coast. A giant bird-turned-man haunts her memories. Mice turn cannibal under pressure; are human beings any different?

Over the last two years, I’ve uploaded my produced plays to Amazon. First POST, then Playing it Cool, then Stuck Up A Tree.

Now it’s time for Mousewings.

Bird behind Rin

Rob Flett and Catriona Grozier in Mousewings.

Mousewings was produced in Edinburgh during the 2007 Fringe – my last Fringe in Scotland (for the time being). Written in response to a call for work from the Bedlam theater, a venue run by Edinburgh University, it was also the first play I wrote for a specific commission. As part of the Traverse Young Writer’s Group, I received an email letting me know about the opportunity, and a short while later was sat opposite the venue manager and publicity manager in a pub near Edinburgh Uni, describing two possible plays they might be interested in staging. When I finished, the venue manager nodded and asked, “Which one are you more interested in writing?”

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Alastair Gillies and Rachel O’Conner in Mousewings.

Thus began production work on Mousewings. I contacted Emma Taylor, the director I’d worked with on Stuck Up A Tree, and asked if she’d be interested in working on this one. We held a casting call and found our Bird, Sylvie, Rin and Kyle, and the adventure began in earnest. I reached out to graphic design companies, and Definitely Red created a creepy, haunting graphic for our posters, postcards and program. Rehearsals were held in the Edinburgh Playhouse’s event space, discussions of the play’s relationship to pop culture introduced me to The Walking Dead (the graphic novels) for the first time, and I got to watch Emma and the cast bring this eerie twilight horror tale to life. It was nothing short of thrilling. The play hit its mark, earning reviews that proved it from a number of publications during the Fringe.

After many months and a few false starts, I’m thrilled to announce that Mousewings is now available on Amazon, exclusively for Kindle.

I hope you enjoy the play.

Buy or borrow Mousewings on Amazon.

DraftCover2 copy

THEATER REVIEW: Midsummer [a play with songs] by David Greig at the Clurman Theater, NYC

David Greig’s protagonists sit on a park bench in his play Midsummer [a play with words], drinking and aligning themselves with a ragtag group of teenage Goths. It’s an example of how this play captures the strange, free-forming social constellations I will always associate with Edinburgh in the summer.

Helena (Cora Bissett) and Bob (Matthew Pidgeon), who started their association as participants in a raucous one-night stand, are now spending a wad of cash that’s fallen into their laps – a recurring theme, in Scottish drama, now that I think of it (Danny Boyle’s Millions and Trainspotting come immediately to mind). As their bender progresses, the audience is brought into the experience of the festival city’s summertime discombobulation, always maintaining sight of the wider beauty and spirit Edinburgh offers both residents and visitors when the weather is warm.

Midsummer premiered in 2007 – coincidentally, my last summer in the city where it takes place – and is therefore dislocated from its context in three ways during its current NYC run: in time, in distance and in theatrical context. To see a breathtaking production during the Edinburgh Fringe’s unceasing barrage of plays is a singular experience, particularly if one has already seen dozens of shows. Measures of quality warp over the course of three weeks spent viewing productions back-to-back, and to see a show that found success there performed outside of the Fringe is more like tasting whisky after cleansing your palate than not.

Midsummer is an example of modern Scottish theater in many ways. In its opening, Greig’s language is rich and rhythmic, poetic and intense. This eases somewhat as the production continues, and it’s missed, but perhaps appropriate that as we learn the characters of Helena and Bob, they and Greig rely less on words and more on the knowledge we’ve gained throughout the production.

Under Greig’s direction, Bissett and Pidgeon’s depiction of the physical nature of the production and the visceral emotion of connecting with someone else blend into one. The set – resembling a bed, though at times Georgia McGuiness’ design seems more of a jungle gym (Japanese rope bondage!) – features panels and flip-out sections that enrich the specifics of each of the play’s settings; since the set itself is featured throughout the production it’s no small feat to transport the audience with each of its iterations.

As a “play with songs,” Midsummer features interwoven verses and small choruses that lift the audience from the immediate action and into a space that contemplates the individual experiences of the two characters, as well as the nostalgia it brings to anybody who’s resided there through an Edinburgh summer. While the play may not offer deep social commentary or revolutionize theater, it’s a fair representation of professional Scottish theatre – and a high-quality one, to boot. It may not be Black Watch, but Midsummer highlights a far less flashy tradition of Scottish storytelling in a way that’s accessible to audiences in both Scotland and abroad.

“Midsummer [a play with songs]” can be seen at the Clurman Theatre, New York, NY, from January 9-26, 2013.

Playing It Cool – now available on Amazon Kindle Select

In the summer of 2004, my second play, the romcom one-act Playing it Cool, was produced at the pend fringe @ Gateway as part of the Edinburgh Fringe Festival.

The Fringe sees the population of Edinburgh more than triple as hundreds of thousands of visitors descend to experience a round-the-clock theatrical melee that lasts for three weeks of the summer. For a theatre student honing their craft, the city is a mecca.

 

Eight years later, and as promised a week or so ago, the first of my Edinburgh Fringe plays is now available for purchase.

Playing it Cool is a one-act play about two friends, subtext and communication. It’s a two-hander that takes place in an apartment and a cafe, so might be of interest for those looking for audition scenes to read with a partner.

No big monologues here, I’m afraid, although both my later Fringe plays, Stuck Up A Tree and Mousewings (particularly Mousewings) will deliver on that front.

I’m listing Playing it Cool with Kindle Select for at least 90 days, so if you’re a member of Amazon Prime, make sure to put it on your list for a free read.

Cover art for PLAYING IT COOL

I’d love to hear what you think of this little snippet from my writing past.

Those interested in doing a production of Playing it Cool, please email me at PIC@rlbrody.com for more information on securing permissions.

THEATER REVIEW: Dublin by Lamplight at 59E59

Jered McLenigan, Megan Bellwoar and Sarah van Auken in "Dublin by Lamplight"In theater, each night of an individual production’s run is different. When two different companies – seperated by both miles and years – perform a play, the separate interpretations magnify both flaws and strengths in their texts – and the differences in their productions become tools for gaining new insight into the multi-faceted fragility of this collaborative art form.

Having first seen Dublin By Lamplight when The Corn Exchange brought it to the Traverse Theater during the 2005 Edinburgh Fringe Festival, my second viewing was at the hands of Inis Nua, a Philadelphia-based company taking part in 1st Irish 2011 – a festival of Irish Theatre that spans New York City.

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