Whspringshow2007
From BluWiki
Introduction to the Wiki:
So I thought this might be an interesting experiment in how to build a show together. This is a Wiki page and we can all add to it. What do you think? Let's see what happens.
Here are the guidelines that I mentioned in our meeting today.
- Assume good faith.
- Be respectful of all ideas.
- Treat others as you would like to be treated.
- Sign your entries -- all</math> unsigned entries will be deleted.
- The usual WH problem solving strategies will apply.
- Selena will be the moderator of the page.
The Show starts here:
This from Kevin SCENE 1 (The show starts with a bare gym, bare stage, fluorescents up, people in their seats. Maizy enters and waits until all is quiet and then says :) Alpha: Hello and welcome to our show. I know it doesn�t look like much of a show right now, but, believe me, it will. It sure will. The trouble with putting on a show here is that (points) there�s the real stage and the audience would usually sit here. (through this, the curtains open, someone is singing far upstage��ToMAARrow, toMAARrow�. cast move chairs to watch, with Alpha at the back) As you can see, you can�t see. And as you can hear, you can�t hear. The audience needed to be raised, or the stage needed to be tipped or something, so they would build the stage in front of the stage; way out here, and it just meant an awful lot of work, and it was too noisy and sorta shaky, and the guy who�s in charge, Mr. Jenkins, just got fed up and decided to change things.
A.J.Jenkins: I gonna change things!
Alpha: So, this year things are a bit different.
(Orla rises, walks over to Alpha and pushes him out of the light)
Orla: The magic of theatre is when your world (points to audience) gets to visit our world. And some times it helps if you separate those two worlds with the use of theatrical devices, such as light. (Pause) �.. JACOB!!!
(Jacob runs from his seat on-stage and behind the curtain.)
Blackout. (Crew members pull out flashlights, head-lamps, lighters, etc. Much hubbub ensues.) Crew: Aaaacccckkkkk!!! Find some light! Find some light! Find some light! No-one�s on the board. GO!! Shine it on the actor! Gimmee that! That�s not how you do it! Gawd. Etc. (�until a light slowly comes up on Orla.) Orla: See. Now it�s easier for you to get lost in this world.
(Satisfied, she returns to her seat.)
Alpha: Mr. J., is she allowed to do that?!
Mr.J.: Well� it sorta worked didn�t it? I mean, it gets things movin� along. (Pause. Not sure). If you know what I mean.
Alpha: What do we do about the change in order?
Mr.J.: (Pause) I say you�we march on. (He exits)
Alpha: Mr. J. is a little...(she gestures) I need to tell you about some other theatrical devices. This is a crew member. Don�t be alarmed. They don�t particularly like being in front of an audience, but they�re seldom violent. Their job is usually behind the scenes, behind the curtain, in the black, behind the eight ball, behind in their chores, behind in their Face Book time
Crew: Hey!!! (They rise and begin moving on the keyboard, stand, amp, chair, various cords)
Isaac et al: This is a Roland RD-700�
Alpha: This is Isaac...and some other guys...
Isaac: ��� a device for �..well�. it has 88 keys��.yeah, just like a real piano and it feels like a real piano. ��..?
Alpha: They�re� apparently going to help me.
Isaac: .... but it�s more than a piano. It weighs 53 lbs. 3 oz. And the same way as if you see a gun appear in a movie and you know, for sure, it�s gonna get used. In the same way, when you see a Roland RD-700 on stage, you know it�s probably going to get used.
Chorus: Oh, look. Here comes a patch cord to plug into the amp.
(Follow spot hits the crew member who is mortified that he�s in the light.) Alpha: Oh, now everyone�s helping�.
Isaac: And this is the amplifier we plug into. We�re the 3 Amigos.
(High fives all round.) Alpha: What do they mean, �more than a piano�? (Alpha saunters up and presses a key, which just happens to be a gunshot SFX ) BANG!!! (Everyone hits the dirt.) Alpha: (Screams)
Chorus: What the �!!! (Short-lived chaos ensues)
Alpha: Oops. Heh, heh, heh. Sorry. And this is a musician, who knows how to work this thing. (she brings on Karen) Maybe you can fix this. Karen: I�m sure I can.
(Karen starts playing the Bunny Theme; Daisy goes into action)
Isaac: (re: using the piano) Told ja! (to his crew)Didn�t we tell �em?
Alpha: Ah, the Bunny Theme�� This is our backstage bunny. Her name is Daisy. She keeps the crew hoppin�.
Daisy: that is exactly what i do.
Alpha: Why don�t you tell us the function of the backstage bunny, as I don�t think this audience is familiar with��..backstage bunnies.
Daisy: I�m the backstage bunny.and this is what I do: I hop around backstage getting things, doing things, watching to make sure nobody does anything stupid, eating carrots, etc. Sometimes I help with props too, but mostly I�m backstage. So now, you are familiar with the term. Don�t you agree, every show needs a backstage bunny? Thank you for listening. (The Bunny Theme slowly morphs into Jaws-like music as the Muscle Gang Members approach Daisy; mimed guns drawn. They stop in an ominous pose, make the ksh-kshsh sound of cocking the trigger.) Daisy: What are you doing, pretending to shoot me with pretend guns? (She stares them down) Losers. (She laughs) (The MGM�s slink back to their places, major ad-libs) Alpha: There we saw suspense, tension, determination��. mime �
Daisy: Humour.
MGMs: There was no humor!
Daisy: Yes there was.
Alpha: Conflict.
Sky-LG: As a matter of fact, Teachers and parents like to think that they approve of children playing, that they believe children learn and develop through play. They may remember that someone once said that a Child�s Play Is Its Work. Yet, equally, children�s play is a source of anxiety to these same teachers and parents. They may have come to terms with Doctors & Nurses, but Cowboys & Indians or more contemporary versions of violent shootouts leave them uneasy, as does the way children gravitate towards sex-stereotyped toys and ploys for their play. The unease might be relieved if we saw more clearly what Play is, appreciating its particular unreal, fictional and symbolic character. For Play - the genuine thing - is twice removed from reality, not once removed. An angry boy who shapes two fingers into a gun, points them at the object of his anger and fires (�Piaow, Piaow�), is using a representation (of a gun) in expressing the anger he feels. His action is once removed from reality, in the sense that it represents an attack on the hated object rather than actually being an attack with fists or stones or whatever happens to be available. But the attack, though it involves a representation (the image of a gun rather than a gun), is still located very much within a real relationship with the person who is the target of the aggression. So it is appropriate to respond to it within the context of a real relationship. The target of the aggression might meaningfully respond with such words as, �Now, now. Temper, temper�. ** Thank you.
Alpha: Wow. (LG returns to her seat.)
Alpha: Uh, thank you. And thank you backstage bunny. (Throughout the show we should somehow highlight Daisy doing her job.) Alpha: SCENE 2 Alpha: This is an actor. (Noir enters and doesn�t hear) His real name is Graham and his characters name is G.K. � (whispers) HIS OWN INITIALS!
Girl 1: Yeah, G. is for Graham and K is for his middle name...Kippersov or something. AND, it�s his own personal tribute to Garrison Kielor. Whoever that is...
Girl 2: Ya, like, he talks like...(to #1)...he used to have this radio show...but he talks about him all the time.
Alpha: He�s wearing a costume mostly from Value Village. (Shelley, Crystal and Brandy enter � it�d be nice if we could rig up a street light somehow. During this Crystal rushes to a dark part of the stage, back to audience, lights a bic, makes like she has a couple of drags, then rushes back to the group. Quick changes, change in set and we could show both the fantasy and the reality .i.e.: the girls as hookers in Noir�s mind but all holding Starbucks in reality. ) Noir: I was standing on the corner of Main and Pacific with Shelley, Crystal and Brandy. I don�t usually associate with their profession but it was late and my standards were feeling lower than usual. This was fine with Love�s Labours Lost; they jumped at the chance to spend some time with a man who didn�t smell like a cheap buffet. We were having a particularly heated discussion on the name of the actor in �Streetcar Named Desire�, Marlon Brando by the way, when Crystal decided it was prime time for a cigarette. Her thumb climbed onto her Zippo lighter and turned the oil inside into a flame which cast a shadow over her face, suddenly making me remember that she was, in fact, a woman, underneath her years of seedy hotel rooms and hamburgers for breakfast. As she drank deep from her death stick, ash fell from her lips like a black snow beneath a skin sunset. Lung cancer never looked so good. (The girls giggle.) (Sound effect of a record player losing power along with the lights dimming to black. Sotto panic amongst the crew/cast. This last for as long as we need for the quick change. Alpha begins again as if nothing had happened.) Alpha: This is an actor. (Noir enters and doesn�t hear) His real name is Graham and his characters name is G.K. � (whispers) HIS OWN INITIALS!
Girl 1: Yeah, G. is for Graham and K is for his middle name...Kippersov or something. AND, it�s his own personal tribute to Garrison Kielor. Whoever that is...
Girl 2: ( to Alpha) Ya, like, he talks like...(to #1)...he used to have this radio show...( back to Alpha) but he talks about him all the time.
Alpha: He�s wearing a costume mostly from Value Village. (Graham steps out with exactly the same movements before his first monologue, the girls enter having just come out of Tim Hortons, somehow the Streetlamp Block gets turned around into the Tim Hortons Logo Block)
Shelley: Johnny, this is a coffee break, not a *..who ya talkin� to? (laughs) (music starts under)
Brandy: That novel�s writing itself in his head.
Crystal: We love you Johnny Noir �cause you�re such a dip. Hey, call me crazy, but I feel a song comin� on.
( Click for sheet music ) ( Click for MIDI file )
Crystal: Hey, Johnny Noir! I wonder where you are today? Hello? Can you hear me out in space? Brandy: Hey, Johnny Noir! I think he�s gone too far away. He can�t hear you calling him, anyway.
Shelley: Hey, Johnny Noir! Won�t the town look marvelous tonight? The Provincial Inquirer wants to know! Crystal: Hey, Johnny Noir, With your notebook and cigar you never light, You chase someone else�s star, to and fro.
Brandy: Hey! I�m talkin� to you! Can you hear that I�m calling your name, Brandy & Crystal: Johnny? Crystal: Will you live inside the world Turning ever round you? Shelley: Hey! He hasn�t a clue, And it�s clear that he�ll lose his job if-- Brandy & Crystal: Johnny!
Brandy (spoken): I wonder what his novel�s about. Do you think it�s pirates? Crystal (spoken): I think it�s a heartwarming tale of a reporter who-- Shelley (interrupting): --who never writes anything because he�s always staring into space!
Shelley: Hey, Johnny Noir! Did you want to be a star? Well, that�s okay, As long as you don�t get in my way. Crystal (together): Hey, Johnny Noir! I wonder who you are today? Brandy (together): Hey! I�m talkin� to you! Can�t you hear that I�m calling your name, Johnny? All: And what if the world finds out Who you are, Johnny Noir, Or should I say, All (shouted): G.K.!
G.K.: Very funny.*
Shelley: Hey, isn�t that...
G.K.: That guy really looks like Max Schnool
Brandy: Who�s Max Schnool?
G.K./Shelley: He owns Blaupunkt. (G.K. and Shelley watch for a beat)
G.K./Shelley: IT IS!!! (Hands coffee to Crystal; starts pulling small tape-recorder out of his pocket; yells as he runs after her) Call Nic. Tell him to bring his camera! (Girls sing a tag and bounce off)
Alpha: THAT was a whole bunch of stuff. We saw props; (holds up a left-over coffee cup) we saw scenery, costumes, more characters, a song, singing, sortof dancing, the start of a chase-scene. And who�s Nic? (Chorus inhales)�Intrigue!
Kasea: We also saw a cornucopia of creative energy.
Alpha: (Gestures � what is going on here)
Scene 3 The Provincial Inquirer
G.K.: Nic!!!
It was late. The office was empty. I�d just conducted perhaps my greatest interview. Max Schnool; entrepreneur, empire builder, Boom Car God. He was candid, engaging, a little hard to understand at times, but all in all, I think he liked me. But, where was Nic? Where was my sound bite? Nic had been my right hand guy through it all. My interviews with the Dali Lama, Vander-Zalm, and, of course, the Cloverly Crisis. I told the girls to call him....
Nic: Yo, yo G.K. How�s it hanging?
G.K. Nic, where were you? I just conducted perhaps my greatest interview. Max Schnool; entrepreneur, empire builder, Boom Car God. He was candid, engaging, a little hard to understand at times, but...where was the camera?
Nic: Whoa, slow down Speedy Gonzales, what the frick-frack are you talkin� about? Me an� da ladies, we just had some dynomite soup at Pho Hoanging and here we are to do your biddin�. We are at your service. But you need to cool down, honcho-homeboy. What are you talkin� about? (The girls enter laughing about some thing) G.K. The girls called you from Tim Hortons; you were a block away!
Nic: I didunt get no call.
G.K.: Shelley, Brandy, Crystal � you called him, right?
Crystal: Shelley did.
Shelley: I did; left a message; didn�t hear back.
G.K.: Aw man, fix your phone Nic. That one was important. (Disillusioned, he leaves.) Nic: Nothin� wrong with my phone. (He leaves.) (Brandy and Crystal look at Shelley) Shelley: Whaaat? I did. Jeez, you guys. (Brandy and Crystal exit. An evil grin wipes across Shelley�s face. She exits)
Scene 4 . (Johnny enters his apartment.)
Frances: Oh, you�re home. I didn�t hear you come in.
Noir: If you had, it would have meant that my training with the blind monks of Blackstrap Mountain was for nothing.
Frances: You have messages on the machine; three from your mom, one from that magazine � I don�t think they want your piece � and one from someone named Terrance�
Noir: Who? (He goes to the answering machine)
Frances: Says he knew you from elementary school, I think. Sounded �strangely interesting. Anyway, please, please, please talk to your mother. I know she�s annoying but she loves you and she just needs to hear from you now and then.
Noir: Twice a day.
Frances: I think she�s threatening to have us over for dinner on the weekend; so if you talk to her make sure she understands both nights would have to be early �cause we have the class on Saturday and you know what on Sunday. (She trails off as she goes to the kitchen. Johnny, meanwhile has picked up the phone/pressed the answering machine.) Magazine: (Beep) Yes, this message is for Johnny Noeer. We received your um�.piece... Mr. Noeer and we�re sorry but the amount of profanity (Click)
Mom: (Beep) Johnny you said you would call yesterday and I�ve been home, as you know, for the last who knows how long and the phone has not (Click)
Mom: (Beep) Johnny, I can�t remember if I called you yet, but just so you know I�ve been home, as you know, for the last who knows how long (Click)
Terrance: (Beep) Yeah, Johnny. You remember the End of School Pageant in Grade Seven? I sure do. Hear you�re workin� downtown. Hopin� to bump into you sometime. Yeah. The name is Terrance. Now ya remember? (Beep)
(Mrs. Comes back from the kitchen) Frances: �and at the end of yoga, Elaine � gawd I love her; she�s the greatest teacher � showed me some ballet positions � I think she used to dance as a kid - and said that I looked like a natural so I�m signing up for ballet. I know; but she said it�s excellent for posture, poise, demeanor�. Are you calling your mom? And call Mr. Flancer about the ants in the kitchen; we went through this last year. (She goes back into the kitchen)
Scene 5 Noir: It was just like any other day in Grade 7 � before the first bell, I read the cafeteria menu in front of the class and took orders � I especially liked saying butterscotch pudding � my voice had changed and I read it as if I was Darth Vader. The girls giggled � made me feel like I wasn�t just some loser with a Buck Rogers lunch box. It was late May and the Principal informed us over the PA that in one hour it would be time for the tryouts for the End of School Pageant � I was a shoe-in. I�d made somewhat of a name for myself in Grade 4 as a last minute substitution for one of the courier du bois. Wes Larson�s left index finger had a nasty run-in with his bike chain, and replacing him was my ticket to the waiting room outside Orson Wells� office. I was a natural. The tryouts went grade by grade with the Grade Sevens last. This year�s theme was Expo 86 and many a moron wanted to be Expo Ernie - the fair�s robot mascot. I wanted to be Jimmy Pattison, the guy in charge. I looked good in a suit. Everyone who was auditioning had to sit on stage until their audition was done. One of the auditions was a country song.* (Walker sings Grade 7 Country, during which the director and her two assistants set up to judge the auditions) Walker: (Sings)
G.K.: Lady Luck was with me that day and she sat me next to Terrance, a trailer park kid lookin� for a pad to park on. His audition was the one before mine.
Director: Thank you Walker; I�m not sure about the content but the presentation was excellent. Who�s next?
1st Assist.: Terrance *(last name) (Terrance takes his place)
Dir.: Please tell us your name and what you�re going to do.
Terrance: Uh�my name is Terrance and I�d like to sing �Tap-Toe Through The Tulips� by Tiny Tim (G.K. guffaws; Terrance notices)
Dir.: Go ahead. (Tip becomes Tap) Tiptoe to the window, by the window that is where I�ll be...... Come tiptoe through the tulips with me! Tiptoe from your pillow, to the shadow of a willow tree..... And tiptoe through the tulips with me! Knee deep in flowers will stray, we�ll keep the showers away. And if I kiss you in the garden, in the moonlight, will you pardon me? Come tiptoe through the tulips with me! (Throughout this G. K. begins to laugh; tries to stifle it; laughs more; laughs louder until he�s on the floor convulsing. Director and assistant can�t help but laugh too. Terrance grows increasingly frustrated until he stops, moves toward G.K., would like to kill him but instead just storms out.) Noir: Doodles, it just dawned on me how cruel a talented teen like myself could be. Looking back with such clarity � (Walker gets up and crosses by G.K) Walker; He�s just a little kid. Jeez.
Noir: -I now realize that Terrance might have a reason to contact me. Hope he�s still not mad.
Scene 6 TO BE CONTINUED SCENE Terrance auditions; starts the killing spree. Alpha: One thing that usually happens when you put on a show is that the actors have to do auditions.
Group 1 Kai S. / Jayka opera
Mikael: We�d like to do the limbo.
Kai S.: Yes, thanks but we don�t need the limbo in our show.
3 Amigos Zach (Zach is humiliated enough to approach Kai S., as if to strangle him, but doesn�t)
Group 2 Carson /
Audition Kai Godfrey (I just gotta go to the bathroom)
Mikael: We�d like to do the limbo.
Carson: We saw that last year Mikael and we still won�t put it in the show.
Audition Zach (This time Terrance comes prepared. He pulls out his knife and almost succeeds, but has to hide it and exit at the last moment)
Group 3 Kynan/
Audition
Mikael: We�d like to do the limbo.
Kynan: Didn�t you read the sign on the door? You have to be taller than 4 feet to audition. Why don�t you try next year.
Audition Beat Box Over the Rainbow Zach Chicken Dance (Zach is humiliated and this time kills Kynan while the chickens dance.) SCENE Terrance meets Frances; they have things in common; there�s an attraction there. (Frances enters on the phone wearing a tutu) Frances: Judy, Judy, Judy � they�re all like that; space cadets. You should see Johnny these days; he doesn�t seem to be living in this world; he zones out, and I don�t mean just once in a while; it�s all the time� What? I didn�t just call him Johnny?...No, I wouldn�t� Huh, maybe I did� Oh, it�s just one of his character�s names in one of his many stories and I call him that some times. Huh� (There�s a knock on the door) Judy, someone�s at the door. I�ll talk to you tomorrow. (She opens the door) Yes.
Terrance: Is this where Johnny lives?
Frances: No, there�s no Johnny here.
Terrance: Johnny Noir?
Frances: How would you know �oh, are you from the Tab?
Terrance: The Tab, ma�am?
Frances: Johnny�s paper.
Terrance: I�ve known Johnny since Grade 7.
Frances: He�s been Johnny Noir since Grade�oh, are you the one who left the message?
Terrance: Uh, yeah.
Frances: That is so nice. I don�t think Johnny has had any contact with any of his school friends. Please, come in. Sorry for the costume. I�ve just started ballet classes and I know it�s a little soon but I�ve always wanted to wear one of these things. I can�t do ballet �yet �but one day who knows. My yoga teacher�
Terrance: I�m a tap dancer.
Frances: You�you�re�really� (she�s in awe)
Terrance: (re: the tutu) That looks so nice.
Frances: When I see tap dancing I�m always amazed.
Terrance: I have a picture of Marie Taglioni on my wall�it hides a nasty stain that�s lying there.
Frances: �who�s Marie Taglioni.?
Terrance: She was the first ballerina to dance �on point�.
Frances: Oh�Wow�Are you a professional?
Terrance: Professional what?
Frances: Tap dancer.
Terrance: I carry my tap shoes where ever I go.
Frances: Right now?
Terrance: Right now.
Frances: Would you dance for me... right now�?
Alpha: SCENE One of the dead directors is mob- boss son�s girlfriend�s dad. Mob- boss vows revenge SCENE MGMs follow Terrance to Noirs apt. Johnny shows up SCENE Meet Constable Hip-hop SCENE Meet Penelope (Dead Kynan�s daughter, in tears) and Lawrence, her boyfriend. She explains that her father was done in by a tap dancing killer. He says he knows some people. Nobody�s gonna get away with this. SCENE Lawrence goes to �Papa�, tells him his woes; �Papa� decides his boys will take care of this Tap dancing killer. SCENE Papa tells MGMs what they have to do. SCENE Constable Hip-hop meets MGMs � gets gangsters mixed up with gangstas � tells them she�s on the trail of the tap dancing killer. Imagine that, so are they. SCENE Terrance on the phone with Frances; plans a mid-afternoon rendezvous. SCENE
SCENE
ADD IN SCENE Daisy: Mr. Jenkins, there�s a problem, a big problem. YOU FORGOT THE BACKSTAGE! I�m a backstage bunny not an in-front stage bunny! What am I supposed to do?!
Mr. J.: Um� well�you�um�it�s fairly dark over there; not here where we are right now, but where you were� it�s sorta backstage�ish. It�s behind the blocks�Hey, we could call you the Back Blocks Bunny! �You know�Instead of the backstage�. (he trails off)
Daisy: Next year I�m requesting a real backstage.
this next part is from zach------------
here is my idea for my character and a scene for as many people who want to be in it.
the idea is that my character Terrence the Tap Dancing Killer became this way because of auditions going badly. I thought I would be sitting there with my knife and go into a monologue of why I hate directors...
scene spotlight on Terrence he is holding a knife with blood.
I haven't written it all yet. the idea would be to have me show examples of my bad auditions. other people could play the directors and other people. I thought every time I went to dance or do a monologue of shakespeare or something the director would either say NEXT or can't you sing? or something like that.
end from zach-------------
Question: (from Zach) can we know who everyone is? -zach
Graham: I just had this idea, but what if the grade 7 audition was like...the breaking point for terrence? We can have GK doing his thing, and then the light can shift over to Zach, and he can have a whole monologue about all the failed auditions he's had BEFORE the one we're about to see. Then the scene starts, and we watch his audition go horribly wrong, and then THAT is where he went crazy. Presumably he left that audition and went on to be a murderer for the entire time between the two time periods, and then we meet up with him again in present day. -end
Kelley: Hi all... been asked to get involved. I must admit, I find it hard to contribute without knowing what all the characters are (not just their character name) or what the overall story arc is... but I know there are gang members, a psychotic tap-dancer, an actor/tabloid writer(?) who has daydreams about being a "film-noir" styled character, and his mundane wife. Do I have it right so far? And a lot of it is meant to show the development of a play?
So... just brainstorming... if any sound good, go for it.
1) Since there are gangs in it, what about a mob-based thing? Maybe Graham, in search of a scoop, becomes involved in saving a mob boss's daughter. Mr. Bigg, in repayment, offers to use his influence to get one of Graham's plays produced. Unfortunately, Mr. Bigg's associates want to participate as actors. The mob boss's extremely homely daughter falls madly in love with her hero, and pleads with Daddy to have Graham's wife whacked... with hilarious results
2) A similar scenario... but Graham asks that the mob whack his shrewish wife (if she could be rewritten)... however, the mob boss begins to demand even more in exchange... maybe he's written a terrible screenplay and asks Graham to direct and cast his psychotic buddies... yada yada yada... with hilarious results
3) Graham's life falls apart... his wife leaves him... he is fired from his newspaper job... he is broke, and drifting into insanity. A mysterious character makes an offer to be bound in blood. He sells his soul to become a world-famous playwright. However, he slowly learns that the deal is crooked... with crazed stalkers, extortion attempts, plagiarism claims, etc., all culminating in a play that goes horribly wrong... with hilarious results
4) Although I'm still saving my Phantom of the Paradise/Opera idea for when Kevin/Susan are long gone, Zach's character could always be modelled along those lines. He was cut from the play, so he takes revenge on Graham's masterwork...Hamlet 2000....very ineptly... with hilarious results.
5)I read a book last year called "The Hook", where two college friends meet up. One is a successful author with severe writer's block, while the other is a struggling but great writer. The successful guy makes a deal with the other guy... you whack my ex-wife and I'll publish your work under my name, with you getting the money. No one needs to know. Graham could make a deal with Zach (in a more comedic story)... he'll cast him in his latest play, in exchange for the dirty work of whacking his shrewish wife... but Graham renegs on the deal after its done...with hilarious results
6) What about a murder mystery dinner?... fully interactive with audience. All of the characters are stereotypical and goofy folks, who are putting on a play. The director is murdered, and everyone is a suspect. Much of the play would deal with why everyone hated the director (in individual scenes... ie. Zach lost out to Graham in Grade 7, the mobster was collecting gambling debts, the wife was being cheated on with prostitutes, etc. - then each student could develop their own character in relation to some central unpleasant director character)... with hilarious results
Ok... now I'm just running at the mouth. If a story arc begins to happens, fill me in, and I'll write some filler if you want.
mari:i think kelly has some good ideas and i think we should start to get to the plot soon. my ideas r: perhaps some kind of business scandle involving G.K. loosing his job but it all ends up being fake like G.K. was framed or something
Karen: I've just added a draft of lyrics to the "G.K." song, which I can play for people at school on Thursday. (Sorry, Kevin, I still haven't tracked down anything by Sufjan Stevens, so I have no idea whether this sounds anything like his work. But you'll be glad to know I abandoned the doowop idea.)
Anyway, as I was writing, characters started to develop for Crystal, Brandy and Shelley. I think Crystal is fascinated by G.K. -- she doesn't know very much about him, but she's eager to step in and help him out. It's possible she even has a mild crush. She doesn't know that he's married. Brandy's not particularly interested in G.K. as a person, but she's certain he's a novelist and wants to know more about his book. And then there's Shelley. She sees him as a figure of ridicule, a journalist who's completely losing his mind ... which means that he's likely to lose his job soon ... which means that it'll soon be up for grabs ... and she wants it.
It seems to me that this could fit well with Mari's plotline. Maybe * is not actually a glamorous Hollywood actress, but a friend & conspirator of Shelley's pretending to be *. When G.K. shows up with a whole column of gossip about an actress whom everybody knows was actually in Antarctica adopting a baby that day, he's fired and Shelley gets his job. And eventually, after the rest of the plot happens, Shelley's duplicity is exposed and he gets his job back.
Thoughts?
