Originally written for Time Out.
The winner of last year’s Papatango New Writing Competition, Dawn King’s ‘Foxfinder’, conjured a haunting vision of a world built on the cultivation of fear. This year’s offering from Louise Monaghan explores fears and prejudices that lie much closer to home, bravely grappling with the thorny racial tensions that persist in modern Britain.
Monaghan’s quartet of female protagonists gather each week to master the rules of bridge, while beyond the walls of the community centre they are locked in a game in which the cards always seem to be dealt against them. Widow Deb struggles to raise her wayward teenage son, while her lifelong friend Stephie juggles a friendship with fellow bridge player Nasreen and her souring marriage to a bitter BNP supporter. As the bridge classes intensify, so too do the external strains.
Confined to the classroom, the piece wisely settles on an intimate setting in which to slowly rachet up the pressure, but Louise Hill’s direction visibly labours to bring the urgency of the outside world into this neutral space. As escalating events occur offstage, including the brutal racist beating of a young Pakistani boy, there is an inevitable atmosphere of reportage; someone is always running through the door slightly out of breath.
The evocative single syllable of Monaghan’s title suggests both a deck of playing cards and the gangs behind racist crime, but it also hints at a pack in the sense of a communal group. Appropriately, when the complexities of the play’s subject are most delicately handled, it is through the friendship that cuts across colour and creed.
Originally written for IdeasTap.
Opportunities for budding playwrights are now more plentiful than ever, but how do you make your play stand out from the rest? Catherine Love shares playwriting tips from the winner and runners-up of last year’s Papatango New Writing Competition…
You’ve decided that you’re going to write a play – what now? Dawn King, who won thePapatango New Writing Competition with her play Foxfinder, admits that “once you’ve learnt your craft, having an idea is the hardest bit”. But the worst thing you can do is just stare at a blank Word document waiting for that light bulb moment.
“The main thing is that if you’re trying to have an idea it’s actually quite hard to have one,” says King, “so if I’m trying to have an idea I tend to do something else.” Try taking a break and getting out of the house; you’re far more likely to find inspiration away from the computer screen.
Let your characters drive the plot
Plenty of advice has been written about plotting plays, but it is best to let the plot be guided by your own characters and ideas rather than by a set of textbook rules. Competition runner-up Matt Morrison prefers to think of a play’s structure “in terms of patterns and permutations”. He explains that one of the best ways to move the plot forward is to make your characters interact with one another in different combinations and scenarios. “A small amount of plotting will actually get you quite a long way.”
Nail the dialogue
It may sound obvious, but one of the central elements of any play is the words coming out of the characters’ mouths. Well-written dialogue should drive the action and develop your protagonists. Although writing dialogue involves much more than just replicating the way that people speak, Dawn suggests that listening to real speech is a good start. Matt, meanwhile, stresses that making your characters say what’s on their mind is the biggest mistake you can make, adding that “language is a force field to stop characters getting to the truth.”
Know your characters
Your characters are the heart of your play and you should know them better than your bosom buddies. Papatango runner-up Carol Vine believes that it’s “fundamental as a playwright to know what the character wants”. She goes on to explain that the desires of your characters are what keep your play moving forward: “as long as somebody wants something, then the play [and] the characters are active”. Matt agrees that the motivations and decisions of the characters are key. “The most important thing is to show characters making choices,” he advises. “You say, here’s a character, here’s their dilemma – which way are they going to jump?”
Carol entered her play Rigor Mortis into several different playwriting competitionsbefore it impressed the Papatango judges and emphasises that the judging process is inevitably subjective. “Competitions can be a wonderful platform if you win,” she says, “but if you don’t, given that there are hundreds and sometimes thousands of submissions, it certainly doesn’t mean your play is awful. You have to have guts and champion your own work, as there will be times when no one else will.”
Finally, don’t be discouraged if your play fails to win the first prize or competition you enter. As proved by Carol’s experience, persistence pays off. And most importantly, in the words of competition winner Dawn King, “be tenacious”.
Photo: Garry Lake