After writing the piece on scratch nights last week, I only just found out that the Abbey are doing a couple of scratch nights of new writing this month. The first was last Tuesday and the second is at 8pm tonight. Apoligises for the late notice, but if you see this in time – it sounds like a very interesting evening:
The cast of ‘The Waste Ground Party’ will read works-in-progress from Darren Murphy, Elena Bolster, Jesse Weaver, John McManus, Lisa Carroll, Darren Donohue, Eugene O’Hare, Damian Kearney and a well-known special guest playwright, all directed by Resident Assistant Director Maisie Lee.
Peacock Scratch Nights are an opportunity for playwrights to try out ideas and get instant feedback. For audiences, they offer a sneak preview of up-and-coming work and the opportunity to support new artists and emerging talent.
Also Fringe have announced dates and deadlines for the next Fringe Fuse. It will be on Monday 15th December at 7pm. To apply email email@example.com with a short description of what you would like to present and why you’d like to show it (min 250, max 600 words). The deadline for applications is Friday 28th November at 6pm.
The practical modules of my drama degree always included a performance as part of the assessment. This meant that at the end of term, each class had a day of performances/exams. They could be great fun, particularly if it wasn’t your class that was being assessed that day! There were five or six groups in each class so the audience (other students and the lecturers who were marking the work) would move between the different performance spaces and see five or six short pieces over a morning or afternoon. The work was brand new, often experimental and the quality could vary wildly. The pieces could be playful or dark, some might be very wordy and others would be very physical. The work generally had an unfinished feel to it because we were all making it up as we went along. This, along with the fact that you saw a lot of short pieces one after the other, meant the days performance felt a bit like a scratch night.
Scratch nights are made up of short work-in-progress pieces. Over the course of the evening you might see a 10-minute snippet of a devised piece, a rehearsed reading of a play, an improvised dance piece and a short monologue. They are an opportunity for theatre makers to try things out in front of an audience. For devised work, which might just be a collection of ideas and maybe a couple of scenes, knowing you have to show it to an audience helps you to focus those ideas. You are forced to figure out a beginning, a middle and an end, as well as the transitions between those moments.
In the same way for playwrights, having a deadline means the work gets written! Personally, I’ve found that having a deadline is often a necessary motivator in making theatre. When you know that there will be an audience sitting in a room, waiting to see your work on a specific date, it gives the work an urgency and a momentum that might not be there otherwise. Scratch nights are a relatively low risk way to get that urgency.
Putting a piece of work in front of an audience is also the only way to find out if it works or not. Does it make sense? Does it do the thing you want it to do? Theatre is all about communicating your ideas to an audience. Of course, this can be terrifying – showing your baby to the world for the first time – but in my experience scratch audiences are pretty generous. They understand that it’s a work in progress (possibly because a large portion of the audience is made up of other theatre makers!). A lot of scratch nights incorporate an element of feedback, formally or informally so at the end of the evening, you will go home having learnt a lot about your piece, for better or worse!
I really enjoyed those performance days in college because it was a free and easy way to see lots of work and you came away with your head full of images and ideas. There was a heavy lean towards live art on the course, so often you had no idea what the piece was about, you just decided if you liked it or not. It was a way to learn about your own taste in theatre, and you could also learn a lot from other people’s triumphs and failures.
Scratch nights are usually cheap; Fringe Fuse, for example, costs €3 to attend and includes refreshment. For this bargain price, you’ll see a mix of things. You won’t like everything, but there’s always the chance you might see something you love. You could discover that you love dance or spoken word or something you’d never considered before. Scratch nights let the audience try something new, as well as the artists.
I’ve already mentioned one Dublin scratch night – Fringe Fuse, which is held monthly in Fringe Lab in Temple Bar. They take a break during the festival and haven’t started up again yet, but join the Fringe mailing list or the Fringe Lab group on Facebook to keep up to date.
There are also two festivals at the start of next year which will show work-in-progress pieces. The set up is a bit different to a scratch night, but they are an opportunity to see new work on the cheap. Collaborations will take place in Smock Alley Theatre from February 20th to March 7th 2015 and will included finished pieces as well as works-in-progress. The THEATREclub curated festival The Theatre Machine Turns You On is only looking for work in progress pieces this time around. The festival will be in Project Arts Centre from the 22nd – 26th January 2015. It’s also still open for applications until November 14th if you have an idea that you are dying to try out.
Over the years, work from both these festivals has gone on to full productions in the Tiger Fringe Festival, in Bewleys Cafe Theatre and on tour around the country. That’s the other really important aspect of scratch nights; they can be a great spring board for new work so it’s important to remember it’s the first and not the final performance of your show.
I think scratch nights can play a vital role in helping artists create work. For lots of other thoughts and opinions on the usefulness of scratch nights, I recommend this report from Devoted and Disgrunted.