-- Ping Chong
You're doing what most American Screenwriters do: you don't let your characters talk directly to the audience. Or to put it another way, you don't let them make eye contact with all the folks in those seats.
This is the good old Fourth Wall device: just before the curtain went up some idiot in a bulldozer apparently ripped off the front wall of that living room -- and the characters inside never notice that we're staring at them through the hole. It's is the Ant Farm approach to theatre.
You're admitting the obvious -- folks are out there watching, so you might as well use that fact in telling your story. And you let at least one -- or sometimes all -- of your characters talk to us.
You can do this technically with a Narrator who leads us through the play while the rest of the characters don't acknowledge us.
That's what Charles Fuller did in A SOLDIER'S PLAY [the play, of course. Not the movie]. Or you can have any number of your characters take us into their confidence. This is what John Guare did in SIX DEGREES OF SEPARATION [the play, of course. Not the movie.]
And you can do an interesting I-Don't-Want-To-Have-Just-One sort of thing as Wendy Wasserstein did in THE HEIDI CHRONICLES. Her central character addresses us at the beginning of each Act, but in the guise of an art history lecture. So she talks to us, but she doesn't acknowledge us as a theatre audience. We understand we're her students sitting in a lecture hall.