An Actor's Take: What Writers Learn from Readings By Sable Jak

Years ago I studied playwriting with noted playwright Doric Wilson. Once a week writers would bring in scenes or monologues to be cold-read by local actors. I learned a great deal in those classes, most notably: Always, ALWAYS have people read your scripts out loud before you deem them "finished." There have been many articles written on the benefits of having actors (or even friends with a dramatic flair) reading your work out loud. You get a sense of the flow of the words, what works and what doesn't work, if sentences are too awkward, and if all your characters sound alike. However, I prefer to have actors participate in a script reading for an entirely different reason. After the reading is over I open the floor to a full discussion. At first the actors are a little hesitant, but as opinions are rendered, refuted or agreed upon, they get more animated. You see, actors take hold of, and refuse to let go of, the characters they read. Those characters become their property, even after the reading is over. And THAT is when you learn the most. So I really don't have them over to hear the script as much as I want to hear the discussion that follows the reading. A typical reading at my home goes like this: 1. The actors arrive and get their scripts. (I rarely give them scripts ahead of time, I want cold-readings, snap-decision choices, etc.) 2. We chit-chat, have coffee, tea, etc. and relax a little. I want the actors reading for me for the first time to be comfortable. 3. Then they start to read. 4. After the reading I feed the crew, pour more coffee, tea, or something stronger if they want it, and then take a backseat and let the actors discuss the script. 5. I keep my mouth shut unless I'm asked a question. (And, frankly, if I have to explain anything in the script, I know my writing wasn't clear.) I also take pages of notes. If you want insight into your script, its set up, delivery, logic and characters, THIS is the part of the evening that is the most noteworthy, frightening, nerve-wracking and gratifying I remember one reading when two actors almost got into a fight over their characters. "I wouldn't do that!" One stated. "Didn't you get a sense of my background at all?" Pages riffled as she dug out a line (yes, just one little line) that showed - to her - that her character had had her share of tragedy in her youth. "With all that going on I wouldn't react like that!" Not all actors do this. I've seen plenty who invest a great deal at the moment they're reading, and then step away completely from the role. It's not unusual for others to call me a few days later with comments. Some actors make portrayal choices I may not agree with, but are valid. Only once has an actor allowed his own background to influence how he read a character. He had issues with the character's profession and as a result, read the character in such a way I spent days trying to find out where I'd gone wrong and created a schmuck instead of an all-around nice guy. It took a few well-placed assurances from other actors (and the actor himself) to let me know the problem was NOT in my writing. Believe me, this is a very, VERY rare occurrence. Should an actor read a character in a way that seems terribly wrong, simply accept his reading (unless you just can't stand another moment of it.) Then, when everyone has gone home, check your script to make sure there isn't something there that provided him with his choice. Chances are, there is. (Remember the actress who based her character's background on one single line?) Also, the "wrong" reading might give you new insight into your character. Remember, you're looking for insight and new information more than corroboration. Before you have a reading decide what you want to accomplish. If you just want to hear the flow and if the script is logical or if the characters have their own voices, anyone (family and friends) can do the reading. But, if you want hardcore character building - and assassination - all in one evening, make sure you ask actors to read. And don't be shy asking. After all, the worse thing they can say is "no." Many of them actually appreciate a chance to do cold reading as audition callbacks require cold readings and there aren't plentiful opportunities to practice the skill in a comfortable setting. As an added note: I always feed the actors, after all, they're doing me a favor (even if they benefit from it.) Personally I think my chocolate velvet cheesecake is the reason so many actors I know are quick to say yes when I ask them over! One last piece of advice: when asking actors to read, remember, once they're hot into their characters you need to grow an extra layer of skin, because, depending on how comfortable they are with you, they'll fight you for their character's life. That's exactly how it should be. You want to create characters actors want to play because they will be character the audience loves, or loves to hate. One of the most satisfying things I've ever heard about a script was when an actor turned to me and said: "I want to play this guy!"   Sable Jak is a founding member of The Screenplayers.