5 Dangerous Plot Devices to Put in a Play

One major aspect of plays to remember as a playwright is that not everything that we’re used to having in movies and books can be done on stage. Many definitely can’t be done easily or cheaply. That’s why I call these dangerous plot devices to put in your play – because they can make it harder for the play to spread and be performed.

Plot Devices That Make Plays Hard to Do

Once a play or musical becomes popular, playhouses around the world will go out of their way to make plays with big tech requirements work. Because they know the play will bring in a crowd.

But what about new plays? Why go that effort and cost when there are plays with simpler tech requirements that are just as good?

That’s the risk. Here are some plot devices that increase that risk.

 1. Flying

First of all, not all theatres have the rigging options needed to fly a person. Those that do may not have the training.

Or the insurance.

Specific equipment, training, and certification is needed before these tricks can be tackled safely. And once they are, other set and curtain options may be limited. After all, there are only so many lines in a single fly system.

Yes, there are other ways to do the plays without actually flying, but those methods aren’t particularly popular in the U.S. If a theatre isn’t set up or trained for flying, odds are good they’ll pick plays that don’t require it.

2. Fire

For centuries, playwrights have tried to include fires in their plays. And a parade of burned-down theatres were left behind to prove it.

Today, there are fairly decent methods for adding pyrotechnics to a show safely (as well as better methods for putting unintended fires out). But a lot of the same rules apply as for flying (training, equipment, certification, insurance, etc.).

There are also some additional rules. For example, the rules set by the fire marshal. Like standing by in the wings with a fire extinguisher in hand when a cast member so much as smokes a lit cigarette on stage.

And, yes, you stand there until the cigarette is out.

That’s not something every theatre wants to deal with even if they can. And fake fire that looks real enough for creative impulses (if there is such a thing) may cost more than they want to spend. The more cost and effort required, the less likely they’ll bit.

3. Automation

If you need something to move without any visible reason for it to, it better be manageable with strings or hidden people. The majority of shop builders know how to work with wood, traditional flats, and maybe some welding. Wheels, they can do. Fine machinery? Not so much.

Unless the theatre happens to have a worker with that interest, investing in something pre-built or the manpower to make something is unlikely.

The exception is if the tool would be useful for many different shows. All in all, though, it’s safer to use techniques that could be done with lower tech.

4. Quick Changes

Whether you’re talking costumes or sets, anything you want to change quickly in theatre needs to be extremely simple and easy (like Shakespeare Abridged simple). The more elaborate the set or costume to change, the harder it is to do quickly.

While instant effects are great in movies, they’re far harder to pull off in live theatre. Timing your scenes so that changes can move smoothly (A.K.A. not frantically) can be a big plus for making your play work.

And making your play less work.

Anything that makes your play less work to do is a big pro with practical directors.

5. Huge Casts

Unless it’s intended for schools where everyone gets a part (do those still exist?), huge casts can be a huge hurtle for theatres. Actors have to be paid, after all. The number of seats for sale doesn’t change just because you hired more people.

So try not to add characters you don’t need. Or look for ways to use doubling.

You get the idea, right?

Think about how what you’re writing could be staged and how much time, effort, skill, and expense are required. I won’t say that difficult staging will completely bar your play from being done. But it may make the route there harder than it needs to be. I guess my point is don’t do it just to do it. It has to be important to the play.

Something to thing about.

-Em