Customer Reviews

Power of One, The: The Solo Play for Playwrights, Actors, and Directors

5 star:		(6)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

I had been struggling to make my own one-woman show work for several years and it just wouldn't get off the ground. Then, a friendly theater critic, told me I really ought get this book and just to please her, (always be polite to critics!) I got it and saw mistakes I had in my script and got new ideas to improve it. Okay, so I'm not on Broadway yet, but becuase of this book I fixed my play and improved my acting so I'm now getting many chances to do my script and audience reaction is great! The book inspired me to write a new solo play that I'm opening soon. There are complete actual one-person plays in the book and excellent comments on what makes them effective so you can examine your own play. Even better is the advice about vocal work and how to make the voice dynamic. That hit me right where I live and I know I'm a better actress now. The book gives you a historical perspective about these solo plays that I didn't know and it makes you respect doing htem. "The Power of One" is exactly the right title to make you see what you can accomplish by yourself. I've never written a review of a book before but this has been the most helpful theater book I've read yet. Five stars? At least!

I have been a (very) part-time freelance writer and author for a number of years. Recently, I decided that I wanted to write a one-person show, though I had absolutely NO idea how to begin. While researching for advice, I stumbled upon Dr. Catron's book. While waiting for its arrival, I corresponded with people who had success with this medium and got some good, general advice. When I received Dr. Catron's book, I devoured it. Not only was it a complete, step-by-step guide to creating a one-person show from start to finish, but it was an incredibly compelling read. I had little interest in the history of this medium ... until I began reading the book. My copy is now filled with yellow highlights that I refer to over and over again ... something I have rarely done in the past! In addition, it was a crash course in playwrighting and presentation. Now, I feel absolutely clear on how to proceed, and have a map of exactly how to do so. He also presents a strong message that this medium is not just for experts, but for anyone with something to say. And even if you are clueless to begin with, Dr. Catron guides you to find your inner voice so you HAVE something to say by the end of the book. In addition, Dr. Catron fills his chapters with encouragement. His passion for the subject and his ability to inspire are a winning combination. I hope more people like me will take his advice and go for the stars!

If you've ever wanted to create a solo show, but didn't know how to go about it, then this book should make for an enlightening read. The overviews of the tradition of solo performance, and the brief artist breakdowns help to jog the imagination of the solo performer. Read this book along with EXTREME EXPOSURE, OUT OF CHARACTER, GETTING YOUR SOLO ACT TOGETHER, JAIL'S HOSPITALS AND HIP HOP, FREAK to get a great solo performance cross-section.

"The Power of One" is a must for any actor wanting to explore the genre of monodramas. I found this book just when I was about to give up writing a solo piece. I read the book. I read it again. I studied the examples. I completed the exercises. And then I was able to go back to my monodrama and complete it. I was named one of the best 10 theatrical productions of 2003 and one critic said that the monodrama was "masterfully written." I could not have done it without the
guidance, insight and encouragement found in the book by Dr. Louis. Catron. I am deeply grateful for having come across this treasure.

If I only had such a reference prior to embarking on solo work I'd have been spared myself the pain of solo-ing without a mentor. Catron's text provides excellent mentorship and education to those questioning the art of the soloplay. Soloplaying is seldom chosen by young actors and playwrights because the art is seldom taught or given as a challenged to growing artists. Louis Catron's "The Power of One" affirms this courageous, ancient art of the lone storyteller, and provides outstanding dramatic guidance while demonstrating the pitfalls, and highlighting where the a soloplay meets creative success. Catron shows us that the traditional elements of playwriting can certainly be embodied by a single actor. He confronts the popular objections to soloplaying as he--himself--approached the solo with certain skepticism. He proofs to himself and his readers this is important work for all actors serious about their stage craft. The monologue is the foundation of the actor's work. But, this is NOT just another monologue book. It's not a monologue book at all. "The Power of One" goes beyond soliloquy to break new ground in playwriting for those willing to take upon this work. If you think your a soloplayer, then you best read this text to rethink your craft.

I highly recommend this book for experienced and amateur playwrights. It's a complete guide on the solo play craft as well as a deep reflection on the nature of theater. Excellent solo plays presented as examples, thoroughly analyzed and a complete and well documented history of monologues make of this book the most valuable companion for all who have already discovered the expressive richness of this drama genre. Louis Catron establishes a powerful dialogue with the reader with the same dramatic level he recommends to writers. This book is unique, not only because it covers a topic which has not been sistematically studied before, but because of its high literary quality. If you are a playwright, an actor or a director, don't miss it!

This book has helped me so much in creating my own monodrama. The quote's that he chooses to begin and end each chapter are powerful and meaningful. I would recommend this book to anyone looking to create their own one-person show. The exercises at the end of each chapter blew my writer's block out of the water.

Completely theoretical and repetitive, should not be used as an aid in directing the monodrama.

A guy I work with read it and says it was a good story and very inspirational