Saturday, 5 August 2017

Gallifrey 3.2: Warfare by Stewart Sheargold (June 2006)

Warfare focuses further on, and more or less resolves, the ongoing Gallifreyan Civil War which we saw begin in Imperiatrix and really kick off in Fractures. As already identified, this is a war of individual psychological identities as much as - if not more than - it is a war of laser guns and barricades. Two sides of Gallifrey clash, with Romana in the centre of it (twice) and the pressure cooker is tearing both planet and president apart. That's an undeniably epic premise woven from appropriate bits of Doctor Who mythology, and as such the story has both a forward momentum and a sense of import to it. Warfare also dwells on the fragments of different voices heard in the minds of both Romana II and Pandora, still using the body of Romana I. In the latter's case, this allows Mary Tamm the opportunity to play the actual Romana I (or at least her voice... no, really, I mean her voice in-story), which distinguishes her from Pandora, makes Romana I more active in the story-line, and generally keeps things clearer than they were last time round. There's a fun moment where President Romana realises that her past self is actively working on her side against Pandora. Mind you, I still don't think this series has made very good use of Tamm, and I'm itching to actually hear her do a full Big Finish story as her proper character in the future. Time for the allegedly "weaker" incarnation (and I still don't know what I think of that) to get a crack of the whip!

Meta-Metamorphosis (2010)

The first drama script I ever wrote, when I was about 15. I've just discovered it on my hard drive, much to my surprise, so here it is, ready to be unleashed on an unsuspecting and mostly indifferent world... (How weird a thing it is to read one's juvenilia back! I have, at least, retained my affection for all things Kafka, theatrical, and metafictional, so I am consistent if nothing else...) The script version of Kafa's "Metamorphosis" used here is that of Steven Berkoff and I cast myself in the part of the rather inhuman director, described here as "the git": something of an ego-trip with a sprinkling of self-deprecating humour. 

Also, when I was 15 apparently I didn't know how to spell "Gary", so at least I've learned something.

“Meta-Metamorphosis” 

SCENE ONE. 

A black stage; a curtain, chairs, etc. The rehearsal space/studio of a Theatre Company, although when the lights come up they are reddy-green, with shadowy edges...surreal, unnerving. It is as if the play is real, and the studio is a dream. 
There are three characters on stage: JAN, EFFY and GARRY, the three members of the acting company. The director, MARK, referred to by the others as MR MILLIGAN, is sitting with the audience.
 Jan is playing the part of GREGOR SAMSA, the main character in the play they are rehearsing, ‘Metamorphosis’. Effy is playing the part of GRETA SAMSA, Gregor’s sister, and Garry is playing the FATHER of the family. When playing the ‘Metamorphosis’ parts, it would be good if the actors do it with as much conviction as possible, almost as if this were the play, but the parts should be clearly distinct from their own roles.  
Cue creepy music.