I like that friendship is explored. I haven't read many plays, seen a few, but not many, my favourites were of those with only two characters holding it for its entirety so I would like this live, takes a good script to hold an audience for a play's entirety.
I don't consider myself a writer, more a child of a literature graduate, so blessed with a good collection of books under my belt, up till I was 16. I write 'shit' poetry when a relationship ends. The only times I've felt compelled to write. But, having been told I should write by a few people, I've attempted a few short stories and, I know I'm waffling a bit here, a few yeats ago I was tasked with writng a short play by an actress I know. She was an assistant director on a play that used my music a few years ago. I'd only read a couple of Shakespeare's as a teen uptill then so had no idea how the layout should be, what the rules are with a script.
What I'm trying to say is that your layout is extremely informative and I might go back to the script I sent her. She never replied or gave me feedback on it so I assumed it was atrocious. Anyway enough waffling. I would definitely go to see this if it was put on in London.
It's lively, and loosely braided, and it carries momentum like a fast flowing river. Even Rashida might have to locate her glasses and rifle through what I imagine is a very limited assortment of words associated with praise, for a plaudit a little more glowing than “effective.”
The dialogue has been gifted sufficient theatrical flourish to lift it into the audience, but remains weighted enough to be grounded in realist territory that is familiar and relatable – a relationship that is attempting reform even as it crumbles, as conflicting values are acknowledged out loud for the first time, and where money and business interests threaten to worm their way in and perhaps widen these divisions.
There are the absent women who define the worlds of the two men on the stage, and who the men sometimes refer to, as they attempt to throw down light on parts of their lives. Vargas's description of his relationship with Nina, in terms that are prosaic, and panoramic, and absurd, is my favourite part of these three scenes.
Drama without some measure of the ridiculous is emotionally distant melodrama. It seems counter intuitive that the image of a woman hunting for her spectacles, so that she might properly scrutinise a photograph of her husband's genitals, might enhance a dramatic pay-off, but it humanises Sonny. In the game of love (at least from the male perspective), the penis and the heart begin on adjacent squares, but can become estranged from one another as play progresses.
At some point in their life, everybody has a place like The Spank. For me it was a bar called The Sun Rooms, now long gone. Apparently, before it was bar, the basement was used as a morgue. A lot of crazy times played out under that roof. A lot of friendships were made and broken there.
I sometimes take my bike along the seafront of my home town, late at night when the cycle path is clear. Along the Golden Mile, when the pubs are emptying out, in the narrow oblongs of yellow light that are framed by the open doors, you will see cross-sections of lives; semi-silhouetted men, who from a distance seem to have partly merged together; the Sonnys and Vargases of this world. To a fleeting observer these pairings often seem mismatched. Perhaps this incompatibly is less obvious when face to face. Or it could be that these men share an intuitive recognition of the wild and complex forces that define their friendships, which can come and go, and are beholden to no binding vows.
Certainly piqued my interest in part two. I'm enjoying the male conversation about infidelity and family relationships. I seem to mostly read women writers, so this perspective is interesting. I love the sparky dialogue; a two hander suggestive of a sparring match almost. I don't know how well you speak Italian, but I imagine it must be strange to see and hear your play performed in a different language to the one in which you conceived and wrote it. I echo those who would like to see it performed in the UK.
My favourite is of course Sonny and my favourite line is where he says people underestimate dentists - we have our own energy. It is the best line I think. And he’s right about that - I fell in love (as I call it) with one of my dentists and god knows my fear is immense once in that chair but it’s the intimacy of it. Now I would want Sonny to meet his ‘match’ in the chair. Anyway whilst he’s flinging himself about Vargas is not quite the friend Sonny had in mind - and having read it two to three times (with The Masked Singer blaring in the background x) I am now appreciating or should I say wanting to appreciate all these interwoven relationships - in sum Hanif it has challenged me and made me think ⭐️Ps don’t like Sonny’s wife or daughter and probably his son either.
Funneee! I had such a laugh! I am going to reread Genesis, that is such a great interpretation. But the language used at the end, had me laughing so hard, pardon the “ hard.” Men…and their erections!
I like that friendship is explored. I haven't read many plays, seen a few, but not many, my favourites were of those with only two characters holding it for its entirety so I would like this live, takes a good script to hold an audience for a play's entirety.
I don't consider myself a writer, more a child of a literature graduate, so blessed with a good collection of books under my belt, up till I was 16. I write 'shit' poetry when a relationship ends. The only times I've felt compelled to write. But, having been told I should write by a few people, I've attempted a few short stories and, I know I'm waffling a bit here, a few yeats ago I was tasked with writng a short play by an actress I know. She was an assistant director on a play that used my music a few years ago. I'd only read a couple of Shakespeare's as a teen uptill then so had no idea how the layout should be, what the rules are with a script.
What I'm trying to say is that your layout is extremely informative and I might go back to the script I sent her. She never replied or gave me feedback on it so I assumed it was atrocious. Anyway enough waffling. I would definitely go to see this if it was put on in London.
well, a theatre should make haste and mount a production in the UK
It's lively, and loosely braided, and it carries momentum like a fast flowing river. Even Rashida might have to locate her glasses and rifle through what I imagine is a very limited assortment of words associated with praise, for a plaudit a little more glowing than “effective.”
The dialogue has been gifted sufficient theatrical flourish to lift it into the audience, but remains weighted enough to be grounded in realist territory that is familiar and relatable – a relationship that is attempting reform even as it crumbles, as conflicting values are acknowledged out loud for the first time, and where money and business interests threaten to worm their way in and perhaps widen these divisions.
There are the absent women who define the worlds of the two men on the stage, and who the men sometimes refer to, as they attempt to throw down light on parts of their lives. Vargas's description of his relationship with Nina, in terms that are prosaic, and panoramic, and absurd, is my favourite part of these three scenes.
Drama without some measure of the ridiculous is emotionally distant melodrama. It seems counter intuitive that the image of a woman hunting for her spectacles, so that she might properly scrutinise a photograph of her husband's genitals, might enhance a dramatic pay-off, but it humanises Sonny. In the game of love (at least from the male perspective), the penis and the heart begin on adjacent squares, but can become estranged from one another as play progresses.
At some point in their life, everybody has a place like The Spank. For me it was a bar called The Sun Rooms, now long gone. Apparently, before it was bar, the basement was used as a morgue. A lot of crazy times played out under that roof. A lot of friendships were made and broken there.
I sometimes take my bike along the seafront of my home town, late at night when the cycle path is clear. Along the Golden Mile, when the pubs are emptying out, in the narrow oblongs of yellow light that are framed by the open doors, you will see cross-sections of lives; semi-silhouetted men, who from a distance seem to have partly merged together; the Sonnys and Vargases of this world. To a fleeting observer these pairings often seem mismatched. Perhaps this incompatibly is less obvious when face to face. Or it could be that these men share an intuitive recognition of the wild and complex forces that define their friendships, which can come and go, and are beholden to no binding vows.
Certainly piqued my interest in part two. I'm enjoying the male conversation about infidelity and family relationships. I seem to mostly read women writers, so this perspective is interesting. I love the sparky dialogue; a two hander suggestive of a sparring match almost. I don't know how well you speak Italian, but I imagine it must be strange to see and hear your play performed in a different language to the one in which you conceived and wrote it. I echo those who would like to see it performed in the UK.
My favourite is of course Sonny and my favourite line is where he says people underestimate dentists - we have our own energy. It is the best line I think. And he’s right about that - I fell in love (as I call it) with one of my dentists and god knows my fear is immense once in that chair but it’s the intimacy of it. Now I would want Sonny to meet his ‘match’ in the chair. Anyway whilst he’s flinging himself about Vargas is not quite the friend Sonny had in mind - and having read it two to three times (with The Masked Singer blaring in the background x) I am now appreciating or should I say wanting to appreciate all these interwoven relationships - in sum Hanif it has challenged me and made me think ⭐️Ps don’t like Sonny’s wife or daughter and probably his son either.
Would love to see this as a play
Funneee! I had such a laugh! I am going to reread Genesis, that is such a great interpretation. But the language used at the end, had me laughing so hard, pardon the “ hard.” Men…and their erections!