Although I have been a professional writer in a business context for many years, and am also a published author of fiction, writing for the theatre is new to me, and Moving Parts has offered me a very valuable learning experience.

Several months ago, I had developed a draft of my play, "Home Bodies," and we had a reading of the play at my home (how appropriate!). The parts were read by friends of mine (some of whom had been working in the theatre for many years, others of whom were dedicated amateurs), and the audience was limited to myself, my wife and another couple. I learned a lot from that performance and went back to work on the play.

A subsequent draft was read on October 15, 2006, by a group of actors associated with Moving Parts, to an audience of about 30 people. The Moving Parts experience was valuable to me in two important ways.

First, the rehearsal was an excellent opportunity to get insights and input from actors who were trying to define their roles, understand the motivation and the objectives of the characters they were playing, and interact effectively with each other. I made some notes after the rehearsal and changed one important line in the play (although I could see several areas that needed work).

The reading itself and the discussion afterwards (by the audience, as well as the actors) provided many interesting comments and suggestions, which were uniformly friendly and constructive. Clearly, any dramatic situation can move in a variety of directions, and everyone's take was different. But there was a substantial body of agreement on some basic elements that needed my attention.

A few days later, Stef even forwarded an e-mail to me from a writer who wanted to add another observation. So the reading provided more food for thought -- and a lot of additional notes.

I enjoyed the Moving Parts experience very much. Stef and the cast were friendly, helpful and positive, as was the audience at the reading. I'm going to use both aspects of the Moving Parts experience to try to make "Home Bodies" a better play. And when we're next in Paris, I'd like to offer it for a second reading.

Dear Stef

Thank you so much for this and for everything. It was a marvellous reading and the actors all did brilliantly. One of the signs of a really productive workshop is that you see just what works and what doesn't and I've been writing notes like mad so I can do a rewrite. Yes, I really feel that the play could go somewhere. It was a really great evening for me and I am so grateful to you for arranging it all and your excellent casting.

All the very best

Love

Antoinette

Dear All

Back in London now, but I wanted to write to thank you again for such a wonderful reading! As I mentioned early and often, your brilliant performances have inspired me to revisit the project and send the play out to theatres with the hope of getting a full production. I hope we'll all have the opportunity to work together again soon.

Warmest good wishes,

Eric

My pet hate, since you ask, is "Bard abuse"

You've all seen them - the plays whose authors love to show off their knowledge of Shakespeare, and have their characters quote him completely out of context. How about these horrors:

"For this relief, much thanks" (Man in urinal)

"Goodnight, sweet prince, and flights of angels speed thee to thy rest"
(Mother tucking her small son up in bed. For Pete's sake, Hamlet's just died!)