Interview: Faeron Wheeler of ONE-ACT PLAY FESTIVAL at The Masque Theatre

Interview Questions for Faeron Wheeler:

1. THE ONE-ACT PLAY FESTIVAL has become an annual highlight at The Masque. What makes this year's festival particularly exciting for you?

We’ve been building the Festival each year, getting smoother and smoother with our operations. This is obviously great for the entire production team! I also think that we have really hit our stride with the range of scripts that were available to choose from for the Festival. The variety in this year’s lineup is wonderful - something for everyone.

2. Why do you believe new South African plays are so important in today's theatre landscape?

New plays are always important. It’s only through new perspectives or new voices - even on stories that have been heard before - that we can really understand our society and our place in it. South Africa is so rich in diversity, with so many different ways of telling stories, that it seems vital that we find a way to have as many voices heard as possible.

About the Play Reading Programme

3. The plays have gone through a development process from script readings to full productions. How does that process benefit the playwrights?

As a playwright myself, I know first-hand just how helpful and inspiring it is to go through the script reading process. Often, the table read is the first time you are hearing the dialogue spoken aloud. Through this process, you’ll be able to learn how real your characters feel to the audience and if the moments you thought were important in the script resonate with audiences.

The Play Reading Programme at the Masque is great (if I do say so myself) because we hand the script over to a director who had nothing to do with writing it. The idea is to see what the director and actors pull from the text, and see if that matches with the intentions of the writer. The writer also has to step away and watch from the outside - which allows them to see what other people are picking up from their words. It can be incredibly scary for the writer, but it’s also incredibly valuable.

4. Have you ever seen a script change dramatically because of audience or cast feedback?

It has happened once or twice, where a script has come back to us looking radically different after a round of feedback from the review panel. However, it’s mostly just a journey of growth from initial feedback, through the reading process and then to the draft that is submitted for consideration for the Festival.

5. What qualities do you look for when selecting plays for the programme?

Our first priority is the strength of the script. We want plays that can stand up and grab the attention of the audience. In the selection process, we consider how the plays were received at the reading stage and how engaged the writer was in the discussion after the reading.

Once we have the contenders, we look at the broader Festival and how the plays would fit together. Yes, they need to be individually strong, but they also need to provide the audience at the Festival with variety and different interests.

The Four Plays

6. This year's programme ranges from comedy to psychological suspense. Was that variety intentional?

Very much so! We want to pique a range of interest and give audiences as much bang for their buck as possible. I also feel that we are so fortunate that we are in a position where so many different and intriguing stories came our way in last year’s Play Reading Programme.

7. Without giving too much away, which play surprised you the most during rehearsals?

It’s always so interesting to see how a play changes from reading it in private, to reading it out loud, to having actors move the piece on the rehearsal room floor. I am not heavily involved in the rehearsal process - I’m leaving that up to each director - but I think where we all had some fun surprises was when the cast found moments that the production team laughed at when watching a rehearsal that they didn’t realise were funny.

8. Is there a common thread that connects these four very different stories?

The strength of the writing. Each of these four plays have been written with some beautiful characters and the actors are really having a great time finding the depth in each one.

Supporting New Writers

9. Two of this year's playwrights are presenting their first stage plays. How rewarding is it to help launch new voices?

It is genuinely one of the most rewarding experiences of my life. It is such an honour to be with them at the start of their journeys, helping them to grow. This is why the Play Reading Programme and the One-Act Play Festival are so important to the Masque (and to me personally) - so we can help to grow and support our community.

10. What advice would you give to someone sitting at home with a play they've never had the courage to submit?

Go for it! The only way you’ll ever know if you’ve got something is if you let other people read it. And I promise that the Programme is all about encouraging writers and bringing out the best in every story we receive.

Audience Experience

11. Every performance is followed by a discussion with the cast and creatives. Why is that interaction with audiences so valuable?

The Festival isn’t about presenting polished, expert work that is ready to hit Broadway. It’s all part of the growth process. This is the first time each of these four plays is being staged for the very first time, with actors, props, lights and sound effects. We’re seeing the start of something new - and we want the audiences at the Festival to help these plays and the playwrights to build on what they’ve already achieved.

12. What do you hope audiences will still be thinking about on the drive home after seeing these plays?

I genuinely hope that each of the plays will hit a nerve and spark discussion based on the story and how it was told. I also hope that audience members will be thinking about whether or not they have it in them to write a play and submit it to the Programme.

The Masque

13. The Masque has a long history of nurturing local talent. How does this festival reflect that mission?

The Masque’s mission and reason for being is to support the community - that’s the theatre community and the local Cape Town community. What’s really exciting about the Festival and the Play Reading Programme, is that they focus on giving a voice to people who may not have known that they had one or if they did, how to get it out into the world. There aren’t too many opportunities like this around, and it’s really beautiful to be a part of.

14. How can members of the public become involved with The Masque, whether on stage, backstage or as volunteers?

There are so many ways to get involved at the Masque. Almost everyone you meet at the theatre is a volunteer, from front of house to the tech booth to the stage and behind the scenes. If you’re keen to see how you can contribute your time or expertise, you can sign up on our volunteer page - https://www.themasque.co.za/volunteer

Fun Questions

15. If you had to describe each of the four plays in just three words, what would those words be?

Bottle Service - Heartwarming, gentle, caring

The Black Bird - Intriguing, powerful, haunting

Lady Marmalade - Spooky, dramatic, funny

An Unexpected Guest - Contrast, opinionated, sharp

16. Which character from the festival would you most like to invite to dinner—and which one would you definitely avoid?

I’d probably invite the gents from Bottle Service :)

And I don’t think I’d want Lady Marmalade coming over to my house!

17. If audiences could only remember one thing about this year's festival, what would you want that to be?

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