I’m the kind of hardcore theater devotee that reads the scripts of plays as pleasure reading. Sure, I’d rather see a good production, but given the economics of modern theater, if you don’t live in a large city where there is enough demand that theater companies can draw an audience with some new or lesser-known plays, you most likely won’t get to see many of these shows on stage.
Besides, plays make for good reading. The time limits of the stage mean that a play is a quick read, something one can squeeze into a day if need be. I enjoy playing the game of imagining which of my favorite actors would be good in the roles as I read them. Even more fun, reading a play is an invitation to project yourself into the role of actor, even if you’d never go near a stage in real life. Plays are full of cracking good dialogue, meaty conflict, and even the heavy dramas often contain real belly laughs.
So it is with Seminar, a play headlined first by Alan Rickman then by Jeff Goldblum a couple of years ago on Broadway. Four aspiring young writers have pooled their money to schedule a private seminar from a literary icon, an event held at one of their homes. In her preface, playwright Theresa Rebeck notes that part of her pleasure in writing this play was to create a chance for an older actor take some younger actors to school. The writer Leonard is sour, used up, and manipulative, but one can’t help but stifle a nasty laugh at the way he finds the vanities and insecurities of the pretentious students and dissects them after reading a few sentences of their writing. He doesn’t have their best interests in mind and uses them in every way imaginable, but in the end, each learns something valuable from the contact.
If you’ve ever shaken your head at some of the blowhards that seem to populate the world of modern literary fiction, I think you’ll enjoy the way that Leonard puts a pin in the pomp of these four young writers while facing his own demons. Give this Seminar a look.
Check the WRL catalog for Seminar