You’ve won our ten-minute playwriting contest for a second year in a row this year for your play Camp Fire, which is a sequel of sorts to last year’s Movie Club. Tell us a bit about the play and why you decided to write a follow up? 
 
The first time around Movie Club was an altered version of a sketch I wrote. I did some edits, but most of the material was already there. This time, I wanted to create something specifically for NotaBle. I had been toying around with different ideas for a Doris sequel because people seem to like her and find her rather funny! She’s also a pretty easy character for me to write because her brain works in similar ways to my own. Finding the right set-up for a sequel took a few tries but I realised that it’s best to stick with something you know and enjoy so I went with the horror theme.  
 
How do you approach writing a ten-minute play? What’s your process like and what are the best and hardest things about the genre? 
 
I sort of just go with the flow. I usually just have a rough idea and keep writing until I run out of steam. I wrote the first draft of Camp Fire all in one go, then I tweaked it as I re-read it. I think the most difficult part of the process for me is cutting what’s not needed. I’m usually a “more is more” person, but with a 10-minute show you don’t always necessarily have room for “more”. There were a lot of jokes that I had to remove for time’s sake and to keep the show family friendly. 
 
How did you find your plays changed through the dramaturgy period last year and this year? Did you take any lessons from last year’s process? 
 
Last year I worked with Julia Lederer on Movie Club. I had already done a few drafts of that script before it got to Julia, so a lot of her notes were tweaks and joke offers. This time was with Jena McLean and the version that I gave them was the very first version of Camp Fire. There was a lot more work to be done on this piece than the latter. I got the note to lean into the horror tropes which definitely made Camp Fire more interesting and helped set the tone. I’m grateful for both dramaturgy experiences and I’d love to work with either of them again! 
 
 
Why so many movie references in your plays? Do you want to challenge yourself to write one next year that has none, or is this just your thing? 
 
I am someone who loves pop culture and I don’t know if I could write something without including references or nods to other media. I love satire, I love parody, and I love farce. I have a few ideas for next year and I already have a few movie references picked out so everyone will have to wait and see. 

It’s opening night for Taking it to the Streets and Street Scenes! The six winners of the 2024 NotaBle Acts Ten-Minute and Site-Specific Playwrighting Contests will be performed outdoors tonight through Wednesday at 7:30PM, beginning in the Beaverbrook Art Gallery Courtyard. Here is a sneak-peak of our lineup for the evening:

Like Talking to a Very Thin Wall by Brandon MacDougall

As Barry and Rosalind argue over what to do about the couple arguing next door, walls get dropped and the tables get turned.

Camp Fire by Drew Hudson

Doris is back, working as a counselor at a camp where she confronts The Woodsman Killer and teenage woes. Will she be able to save the day?

Soda Noir: the Cola Conundrum by Jason McIntyre

When former detective partners meet to discuss the betrayal that ended their friendship, amid a forbidden romance, a heist gone wrong, and accents that don’t quite add up, you’ll lose track of who’s backstabbing who.

Portrait of a Woman by Muriel Falkenstein

At a support group for women in famous paintings, Judith, Venus, Girl with a Pearl Earring, and Mona Lisa come together to smash their painters, the patriarchy, and a loaf of Mona’s famous zucchini bread.

Careless Walking by Brent White

A tech exec from Ontario runs afoul of the local constabulary for using his phone while walking in the analogue, artisanal, Luddite haven of Fredericton, NB.

Gargoyles by Alex McAllister

After guarding Christ Church Cathedral from evil spirits for 150 years, Harold has decided to see if his stone wings can fly. His friend Tom isn’t so sure.

Performances of Taking it to the Streets and Street Scenes will take place nightly from Sunday, July 28 through Wednesday, July 31, beginning at 7:30 PM in the Beaverbrook Art Gallery Courtyard. Performances are outdoors and weather-permitting. Dress for the weather. Patrons may wish to bring a seat cushion for Taking it to the Streets (seating is in the concrete amphitheatre of the BAG courtyard) and a cushion, blanket, or lawn chair for Street Scenes.

Run time: Taking it to the Streets: approximately 60 minutes; Street Scenes: approximately 35 minutes.

Admission: by donation.

: Michael Holmes-Lauder