The Thrill of Live Action

The essential factor that distinguishes the live performing arts from other media is their dependence on the more-or-less perfect delivery of elaborate sets of actions, such that the risk of failure in any performance is exceptionally high. A circus audience, for example, is gripped not only by the skills and accomplishments of the performers but also by the fact (perhaps even the hope!) that some catastrophe might occur in the course of the show. Music lovers attend concerts by favourite performers in the knowledge that the unique conditions of each concert may give rise to unique moments of magic.

In live theatre, the risk of performance failure is muted (by comparison with a high-wire-between-two-skyscrapers act) but it is ever-present nonetheless. For the play to succeed:

• all actors must deliver their lines and stage business naturally and without the benefit of notes;
• lighting, props, scene and costume changes must proceed smoothly;
• music, sound effects and special effects must occur on cue;
• the audience must play their part by becoming involved with the action.

From the perspective of the players, the risk of failure generally has a positive effect. Live performers are acutely aware that the play is reinvented with every performance and that they must always be alert to the possibility of mistakes or unexpected events and be ready to adapt their performance accordingly. Unlike the television studio or film set, where the action can usually be cut, recaptured and seamlessly rejoined, an hiatus in a theatrical performance can seriously impede the audience's enjoyment or understanding.

The Thrill of Writing for Live Performance

At first sight, this might seem to have little to do with the role of the writer. Obviously, the writer can deliberately try to raise the stakes, for example by demanding complex feats of acrobatics or potentially hazardous stage fights, but the actual degree of risk is ultimately decided by the director, designers, performers and technicians.

The particular excitement of writing for theatre lies not so much in the performance risks, but rather the nightly reinvention of the play that gives rise to these risks. Whereas the words of the novelist or screenplay writer, for instance, become fixed on paper or film, those of the playwright come to life only when the play is performed.

An unperformed play is as dead as an unread book or the film that time forgot, of course, but a newly produced play is to a beloved old film as a perfect living creature is to a beautiful fossil.

Reinvention through Both Production and Performance

Arguably, plays offer a greater potential for reinvention than any other form of creative writing. It is true, of course, that the timeless novel is reinvented in the mind of every reader with the help of that reader's unique subtext. The reinvention of timeless plays, however, has an additional dimension, which is the production itself.

Whereas the reinvention (through reading) of the novel is a personal, even casual, matter, the reinvention of the play demands a concerted effort by directors, designers and performers for the play to be brought to life. The collaborative effort of so many professionals, each bringing her/his own angle to bear, ensures that every new production is a unique reinterpretation of the play, with subtext that is unique to that production.

The second dimension is the nightly reinvention of the production on stage, when each member of the audience adds her/his personal subtext to the production team's already enriched version of the play.

This double dimensionality is not absent in film and television productions, of course, but it is less rich for two principal reasons:

• New film/television productions of any text are relatively rare and usually, because of their greater mass market potential, more likely to be driven by commercial rather than literary considerations. This means not only that the writer's work is unlikely to be illuminated by successive reinterpretations, but also, crucially, that the text of the piece may be overwhelmed by other considerations.
• Whereas theatre producers typically choose plays according to the respective merits of the plays themselves and (generally) respect the intentions of the playwright, film producers choose source materials that may be adapted to conform with directorial vision and commercial imperatives, secure the right to adapt the text as they see fit and, as often as not, take liberties that the original writer would be unlikely to approve. Accordingly it is hardly surprising that the most famous advice to writers whose work is to be adapted for film or television is "Take the money and run!"

The Commercial Realities for Playwrights

Whatever one's views of the commercialisation of "the entertainment industry", it has important implications for all but the most high-minded of writers. The rise of film, television and, now, entertainment-on-demand are putting live entertainment under severe pressure.

Ironically, the pages of theatre listings suggest that the fringe is thriving. The London theatre-goer can choose from many hundreds of shows on any night.

However it must be said that this production activity is primarily motivated by actors trying to maintain their careers in the face of diminishing demand for performing talent (because film and television productions are packaged rather than reinvented every night). Accordingly, most productions are subsidised by the performers themselves and play to small audiences. Neither the playwright nor the performers can expect a proper financial reward for their efforts unless the play is generously subsidised or attracts exceptional critical acclaim and/or box office success.

In view of the economic realities, it is hardly surprising that it is increasingly difficult to have a new play produced at all, let alone at a profit. Potential producers of unsubsidised productions are forced to play safe, by producing ex-copyright crowd-pullers or commissioning writers whose names are likely to sell tickets. The leading subsidised theatres are overwhelmed with unsolicited scripts, but have relatively few slots to offer. Finding one's way into live theatre production takes not just skill but lots of luck as well.

Reasons to Be Motivated

Despite these gloomy facts, writing for theatre remains an excellent pursuit for both practical and intellectual reasons.

Writers who wish to penetrate the more lucrative, but also more exclusive, markets for film and television scripts can use the fringe theatre circuit as a launchpad, developing relevant skills and "showcasing" their talent in largely unprofitable theatrical productions. The lucky few may succeed in subsidised theatre or the West End as well as or instead of film and television.

Now should it be forgotten that some of the essential disciplines of writing for theatre, notably (but not exclusively) effective dialogue writing and plot construction, may be readily transferred into other fields of creative writing where the barriers to entry are not necessarily so formidable.

Whilst commercial success may be an agreeable goal, it is perhaps best for one's own peace of mind to think initially in terms of the intellectual and social benefits of play-writing:

• Writing a successful play is extremely challenging, and there is great satisfaction in working with others to bring one's play to life and seeing others' pleasure when it is performed.
• Whether or not amateur groups are able to produce work to particularly high standards, they are much less anxious about the risks of taking on untried playwrights, especially if there is a local connection.