Now reading Playwriting: A Backstage Journey by Dan Rebellato
As I prepare for the upcoming showcase of a new play, title still undecided, at OSO Theatre in March, I find myself diving deeper into the craft of playwriting. While the OSO Writers’ Studio has provided invaluable support, I’ve been looking for additional insights to refine my approach—especially as I explore the complexities of the seven deadly sins in my piece.
That’s how I ended up with Playwriting: A Backstage Guide by Dan Rebellato. It’s a practical and thought-provoking book, offering both technical guidance and artistic inspiration. Unlike some playwriting manuals that focus heavily on structure and mechanics, Rebellato’s book embraces the dynamic nature of theatre, addressing not just what makes a script work on the page but also what makes it come alive on stage.
One of the key takeaways so far is his emphasis on theatricality—the idea that a play isn’t just a story being told but an experience being shared between actors and audience. Given that my play explores human vice through heightened, sometimes surreal, moments, this concept has been particularly relevant. How can I make greed or sloth feel tangible, immediate, and immersive for the audience? Rebellato encourages thinking beyond dialogue—considering movement, silence, rhythm, and even the space itself as integral storytelling tools.
The book also highlights the collaborative nature of theatre. Unlike novel writing, where the author has complete control, a play transforms in the hands of directors, actors, and designers. This is something I’ve been encountering firsthand at OSO. Seeing my previous script interpreted by performers has been both exhilarating and humbling. What I thought was clear on the page sometimes needs reworking in rehearsal, and Rebellato’s insights remind me to embrace that process rather than resist it.
With March fast approaching, I’m balancing final script refinements and soon with rehearsals and production planning. Reading Playwriting: A Backstage Guide has been a timely companion, reinforcing my belief that theatre is as much about discovery as it is about execution.
For anyone working on a play—whether it’s their first or their fiftieth—this book is a great reminder that writing for the stage is an ongoing dialogue, not just with the audience but with everyone who brings the script to life.