Monthly Archives: February 2013

Once Upon A Time: A Review of the musical, ‘Once’.

Before the musical version of the film Once stormed the Tony Awards in 2012, the last Irish musical show to hit it big on Broadway was Riverdance. There are hardly any comparisons to be drawn between the two productions, yet there is one central strand that links them. Although Once is an intimate show with a small cast, one set and limited dance scenes, it sells a kind of staged Irish mythology that is both timeless and epic in scope.

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The film, released in 2006, told the story of a short, intense love affair between two outsiders in a Dublin that was strangely devoid of modern conveniences, even though it was set at the peak of the Celtic Tiger. In the stage version, the outsiders, simply named ‘the guy’ and ‘the girl’, are rooted in modern, downturn Dublin, yet at the same time it’s boom-time Dublin, with its influx of optimistic immigrants, and Dublin in the rare ‘ould times, with its pub setting and supporting cast, who could be from a Sean O’Casey play, albeit a bilingual one.

‘The guy’ is a jaded busker, plying his trade on the streets of the Irish capital having been ditched by his New York-bound girlfriend, and ‘the girl’ is a Czech single-mother who happens upon him one day and sets about opening him back up to the love of music, and as a byproduct, to love itself.

As if to get it done and dusted, Glenn Hansard and Marketa Irglova’s Oscar-winning song, Falling Slowly comes very early in the proceedings, as it did in the movie. It was a good decision because not only is the song the glue that holds these two characters together for the rest of the show, it’s an exquisite, goosebump-inducing moment that seals the show as a hit from its plaintive opening chords.

Much of this is to do with the chemistry between Declan Bennet and Zrinka Cvitestic (who take Hansard and Irglova’s roles), along with their perfectly balanced voices. Cvitestic’s version of ‘the girl’ is far more feisty than Irglova’s – she’s the energy that drives the show forward and whenever she’s on stage it’s almost impossible to take your eyes off her. By contrast, Bennet is a still presence, even when he’s belting out lovelorn ballads. He’s the Ireland of old, she’s the new day dawning.

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When the two visit a bank manager to get a loan so they can go into the studio to record ‘the guy’s’ songs, there’s a speech about Ireland’s cultural currency shining on as our reputation on the international markets is tarnished. It drew a spontaneous round of applause from the audience on opening night, which included Ireland’s President Michael D Higgins. It’s telling that Cvitestic is the one who eulogises Ireland’s artistic contribution to the world. It’s the outsider’s idea of the Irish that as a nation we’re so entranced with.

There is a hugely resonant Irish musicality to the show too, mixed with a little Eastern European flavour. Each of the cast members plays an instrument, and as the audience arrives in the theatre they’re having a singsong on the stage. This blends into a kind of sing-along quality throughout the proceedings, dotted with showstoppers written by Hansard and Irglova, which are somehow as life affirming as they are despairing.

The test of this show’s, and its director, John Tiffany’s mettle is in its ability to keep an audience riveted, despite having a story that could be told in two sentences, virtually none of the tropes that are usually part of musical theatre, and no pay-off whatsoever. And boy does it keep you riveted, delivering as many belly laughs along the way as there are genuinely heartbreaking moments.

It’s a show about love, not only between soulmates, but between the world and a dream of Ireland it has come to believe in. As you walk out the door, humming the reprise of Falling Slowly, you find yourself believing the dream is real.

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The Five Golden Rules of Romantic Comedy

If you want to write romantic comedy fiction or screenplays, here are five hard and fast rules you should stick to. If writings not your thing, but rom coms are, these rules will give you fun new way to look at them.

1. Different But The Same

You heard the term: opposites attract? This must always be true for the lead characters in a rom com. Yet at the same time both characters must be fundamentally the same as each other. This contradiction creates chemistry.

In When Harry Met Sally, Harry is an inveterate slob who thinks that a man and a woman can’t have a friendship without sex getting in the way. Sally, on the other hand, is a pernickety neat-freak who believes that men always make sex part of the male/female relationship because they think with their dicks. Yet despite Harry and Sally’s differences, they are both philosophers at heart. It is their shared love of talking about the fundamentals of relationships that constantly binds them together. So, while there is constant conflict, there is also the harmony of likeminded souls.

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2. Circumstances Will Tear Us Apart

Not only must your rom com leads be in conflict with each other, circumstances must conspire to keep them apart until three quarters of the way into the story. These circumstances can be anything. The guy is still in love with his ex wife (Silver Linings Playbook). The girl is a major Hollywood star and the constant subject of lies and gossip that undermine her relationships (Notting Hill). The girl and the guy live so far apart they have never get the chance to actually meet (Sleepless in Seattle). The girl’s career is taking off at the expense of the guy’s (The Five Year Engagement).

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3. He Wants, She Wants

In any book or movie the lead characters must desperately want something, and to create story their wants must be thwarted in escalating ways until the end. But in a rom com the characters’ wants generally follow a timeworn pattern. One half of the romantic pairing must desperately want the other, while the other half must want something different.

Confused? Here are some examples. In my book The Forced Redundancy Film Club, Katherine, having lost her job, desperately wants to get back on her feet again so she can keep the status quo. Martin, having also lost his job, desperately wants Katherine. In Pretty Woman, Vivian desperately wants to get out of a life of prostitution so she can earn self-respect. Edward desperately wants Vivian. In Bridget Jones Diary, Bridget desperately wants the selfish Daniel Cleaver. Mark Darcy desperately wants Bridget. In Breakfast at Tiffany’s Lula Mae desperately wants to forget her miserable, poverty-stricken past by reinventing herself as the sophisticated and invulnerable Holly Golightly. Paul desperately wants Holly.

The protagonist must desperately want something other than his or her romantic interest. The romantic interest must desperately want the protagonist.

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4. Turmoil At Three Quarters

Two thirds the way through a rom com novel or screenplay the leads must realise together that they are each other’s perfect soulmates. Then emotional turmoil must tear them apart again. Three quarters the way thorugh Pride and Prejudice Elizabeth and Mr Darcy have put their differences aside and fallen in love. Then they learn that Elizabeth’s sister has eloped with Mr Wickham, which will certainly lead to Elizabeth’s downfall in society, making it impossible for Darcy to marry her. On an emotional turmoil point, her pride is gone, and his prejudices have been confirmed. Three quarters the way through When Harry Met Sally, Harry and Sally discover they are in love and have sex. The next morning Harry freaks out and disappears, leading Sally to conclude that she was right about his inability to commit all along. She gives up on him. Elizabeth and Darcy, Sally and Harry – each couple must find a way to overcome this final separation before finally falling into each other’s arms. This encompasses the last act of the story, and by this point both characters want the same thing – each other.

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 5. The Learning Curve

By the time the leads in a rom com fall into each others arms at the very end, either one of both of them will have learned some fundamental truth about themselves and changed for the better to secure their own happiness. Meg Ryan’s characters often have to learn the same thing about themselves in her rom coms: idealistic expectations of perfection do not lead to true happiness. Sally learns this by accepting Harry as he is. In You’ve Got Mail, Kathleen learns this by overcoming her prejudices about Joe. In Silver Linings Playbook, Pat learns that clinging on to the past is killing his chances for happiness. In Pride and Prejudice both Elizabeth and Mr Darcy learn respectively that excessive pride does not lead to happiness, and neither does pointless prejudice. They learn to accept each other as they are, and in doing so to accept themselves.

In Breakfast At Tiffany’s Holly Golightly learns to accept the vulnerable, frightened part of herself she let go off when she took on a different identity. Only in learning to love Lula Mae can she find true happiness, and therefore true love.

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If you want to write romantic comedy, it’s a good exercise to sit down with a rom com novel or film and see how these golden rules always play out before setting out your own plot. Enjoy!

 

Can Men Write Chick Lit?

There’s a bit of difficulty in figuring out what genre to market my novels in, given that I’m a man writing books with principally female leads and a romantic underpinning. But the books are also told from the male character’s point of view, have multiple narrative strands, and so far they also have strong storylines that address LGBT (lesbian, gay, bisexual, transgender) issues.

A brief from my editor to the cover designer for my next book, ‘Knowing Me, Knowing You’ says: “Genre: Hard to categorise strictly. In the main, contemporary women’s fiction (as the title suggests) but there are strong male characters, always a gay character, so it nods to crossover too.”

Chick Lit? Contemporary Women’s Fiction? Although I have no issues with either category, and greatly admire writers like Marion Keyes, Sheila O’Flanagan, Roisín Meaney, and Sophie Kinsella, I don’t see myself as a Chick Lit writer. I also believe that Chick Lit is a reductive term. There is a snobbery around it that dismisses ‘Chick Lit’ writers, and it puts certain readers off.

So, I’ve decided that I am not a Chick Lit writer. Nor am I a writer of Contemporary Women’s Fiction. I am a writer of Literary Rom Coms.

More than one interviewer during the publicity round for my last novel The Forced Redundancy Film Club, suggested that it would make a great movie. To my mind that’s not only because the book features lots of beloved classic movies, but also because I have a great love for rom com movies, particularly those written by Richard Curtis, who uses multiple narrative in Four Weddings and a Funeral, Love Actually and to a lesser extent in one of my favourite rom coms of all time, Notting Hill.

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The inspiration for the romance in The Forded Redundancy Film Club is my favourite rom com of all time, When Harry Met Sally (which features as one of the movies in the book too).  When writing the book I structured it like a screenplay, I used short scenes throughout the novel that had the function of moving the story along. The book also has an underlying soundtrack, with mentions of certain songs in almost every chapter to underpin the atmosphere.

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At the end my two main characters share this moment of dialogue:

“Do you know what I’d like to do?” said Katherine.

“Walk off into the sunset?” asked Martin.

A little bubble of joy exploded in Katherine’s belly. “Maybe later,” she said. “But right now I’d like to dance.”

So, can men write Chick Lit? They certainly can write rom coms, as the Richard Curtis films prove. So, yes, of course we can. But just don’t call it Chick Lit!

The “walk off into the sunset” line is a deliberate cinematic reference. At the end of every rom com, our heroes walk off into the sunset. We know at the beginning of the film that this will happen, but the joy of a good rom com is seeing how they get there, despite their differences.