Why No-Subtext Plays Work

THE PLAYWRITING SEMINARS > CONTENT > SUBTEXT > NO SUBTEXT > THEY WORK

'The important thing in writing is the capacity to astonish. Not shock -- shock is a worn-out word -- but astonish.'

-- Terry Southern

Robert Shenkkan's THE KENTUCKY CYCLE is another example of this No-Subtext genre. His is driven by 6 hours and 200 years of murder and mayhem. And it was launched by major regional theatres. Much of the success of KEELY AND DU and THE KENTUCKY CYCLE comes from a combination of . . .

A sensational subject fit for the pages of the National Inquirer
This gives these No-Subtext plays an incredibly strong Suspense Plot. They're What-Happens-Next Plays -- and about as close as you can get to putting a run-of-the-mill Hollywood film on stage.
Launching by one of the nation's leading Regional Theatres
And with performers of exceptional talent. Outstanding performers can create the illusion of Subtext, even when there is little or none in the writing.

If these things don't describe the Suspense Plot and probable first production venue of the play you have in mind, keep your Subtext where it works best: beneath the surface of the dialogue.

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