Robert Weinstein, our far too humble host and resident storytelling teacher has written yet another play, which was performed by the Barrow Group, and we get to talk about it, celebrate it, and accidentally tear into it.

Read the play here: https://drive.google.com/drive/folders/1O_pb-vqXSIgZY2o9UsmZRMpkdBG1STGN?usp=sharing

I write characters

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the way that I wish they existed

in the world, It's so realistic.

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But it's not reality.

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I think there's a truth in it.

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If you want to read Robby's play,

before you listen to the rest of this,

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There will be a link to it

in the description,

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and if you have ten minutes,

you will get to experience

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the full array of human emotions.

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I know you, she said.

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That shouldn't just be between us.

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You need to say that out loud, too. Yeah.

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I hate plot so much, but I love stories.

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That's awesome.

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And it's so true.

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Yeah.

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the fact you just have instantly handed me

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something that has kind of no plot,

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but lots of story is tickling me

to no end.

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I love this play so much.

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what's the story to both of you two?

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since there isn't, like jumping off

buildings.

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Plot, plot plot.

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You have the phrase singing hymns

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in the church of the obvious.

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It's such a mythical, apocryphal

sounding phrase.

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I want to hear how you got to that,

because it is magical.

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When and how do you know

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when something is finished?

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What was that moment for this?

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For him.

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So the obvious.

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I know when I'm willing.

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once I take the first step to make it

a reality.

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That's very funny,

because I was walking through a gigantic,

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cathedral

to capitalism today called Hudson Yards.

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Surrounded by

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people who are very good at business

and very good at corporate things.

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And I just kept mumbling,

wow, I am not good at business.

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So it's very funny to hear you say,

oh, coal is good at business.

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but, like,

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It also.

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just because of like

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I forgotten what I was going to ask you.

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Everybody, Oh, the voices in your head.

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I'm wondering how you, Affect.

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How the dialog ends up

sounding to other people

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in the real world.

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Yeah.

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Let me ask that again.

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It's, you know exactly how you want dialog

to sound in your head.

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You can hear it in your head

in a certain rhythm, in a certain cadence,

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or in an exact rhythm

and an exact cadence.

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But once you've written something

and once you're interacting with it,

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and once actors are speaking it,

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it may not sound the same.

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How do you either deal with that tension

or how do you affect.

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The final outcome of how it sounds with

how you wrote it in the first place?

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but. my friend.

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You have done a bookend and repetition.

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How dare you! Oh. Yeah.

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And then,

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this bit of repetition

and the idiosyncratic nature of it

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is the number one thing about the play

that makes it such

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a perfect representation

of the format of a play itself.

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Like in their,

I wish I knew this for real, but like this

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the Greek sense of there

is something innate in a form,

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and there's the perfect idea of this form,

this recurring bit

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that you do is very close to,

like the perfect form

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of a play.

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loved it.

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Because it's not realistic in many ways.

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Like if you walked into a town

and people actually did this, you're like,

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what's. Why?

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Oh, really?

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I grew up in freaking

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In a more complimentary

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way, I should say that

my notes about this was.

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It's so realistic.

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But it's not reality.

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Let me ask

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Robbie's question

in a different way as well.

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How would you go about writing a wizard?

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And what would the wizard sound

like in your head?

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Yeah.

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What's your favorite line from your play,

Robbie? Wow.

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I have never met someone who hates ducks.

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I've been attacked by geese

multiple times, and yet I don't.

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I know, duh,

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It's in.

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Character.

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It's a perfect natural title.

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now my favorite line is going to sound

pithy, but, Janice

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the grandmother has just called somebody

a moron.

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Very bluntly, and it's been noticed.

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And Janice clarifies with

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she knows where I stand.

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those blonds,

as I've heard a character be.

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But keep it realistic within the world.

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And I always want my characters

to be blunter and blunter.

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But they teeter off the deep

end of believability.

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When I get to that.

Something like that. So I loved it.

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Is recording is through an iPad

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and sending a message from a nursing home

back to somebody a normal thing?

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Or is that, like, a huge story decision

to say these people are so just.

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She's so disconnected

from her granddaughter

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that they are not going

to pick up the phone and call.

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Well, they definitely.

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Yeah,

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you know, or someone

who can really be bothered by it, but I,

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I mean

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it was not a book.

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Call.

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It was the opposite of poking holes.

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It was saying it's such a distinct choice,

because obviously,

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There's no way in on unearth. that.

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You didn't have the thought.

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People pick up phones and call each other.

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You're not helping.

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Stop talking.

These two people just said he. Didn't.

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don't.

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Obviously nothing.

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Obviously. No. Jabroni.

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You wouldn't think,

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I actually did not

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Does it help if I say No.

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that it came off as profound?

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Yeah. It did.

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I agree, it felt like a very

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I'm so sorry.

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Obviously,

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What do you mean by a media?

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I'm sorry. I.