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A test pilot for a Mrs. Hawking TV series

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videolezioni trading binario The more I developed the Mrs. Hawking stories, the clearer it’s become that they’re probably not absolutely best suited to be plays. They are action-heavy and spectacle-focused, and as they grow in cast size and scope, it seems more and more that they would be best suited to some kind of cinematic format. I’ve heard many responses from audiences confirming this. Right now, producing them on film is beyond my capability, so for the moment I’ve been getting them out as theatrical plays. But I know someday I’d like to work toward some kind of serialized televisual medium.

I’ve been starting to explore what options might be viable to someday take the work in that direction. Producing a web series in installments seems a possibility worth investigating, but also preparing for any opportunity to pitch it to real production companies. To that end, to be prepared to take advantage of any chance of that nature, I decided it was finally time to take a stab at adapting the tale, or at least the beginning of it, to the screen. At long last, now Mrs. Hawking’s first story is available to read in the screenplay format.


This piece is basically a reimagining of the plot of the first play Mrs. Hawking to fit the hour-long American television drama format. This was developed based on excellent feedback from John Benfield, Charlotte Brewer, Nat Budin, Viktoriya Fuzyalova, Matthew Kamm, Tegan Kehoe, and Shannon Moore. I’m so grateful for their input, as discerning eyes in the writing process helps me improve my work so much.

As a pilot, this is probably not a strictly ideal production example. In the context of a series, a pilot should set up the leads and their circumstances and prime the audience’s interest to see more. This version may give away a bit more of the drama that may belong in a pilot, rather than ration it out to set the pace for future episodes. But this is strictly a kind of audition piece, designed to be considered in isolation to demonstrate the potential of the series. Choices were made in this adaptation to not only whet a reader’s appetite for further stories, but also to pack enough narrative punch to make this one installment satisfying on its own. It would have to be adapted and reedited to work better in the context of a full season of episodes.

But consider this new pilot version not only an audition of the work but a test, to examine the potential of Mrs. Hawking in another medium. I think it brought a lot of excitement and color that couldn’t be represented with the limitations of the stage. Why don’t you check it out to see what you think?


New Mrs. Hawking story posted: Base Instruments

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The third installment of the Mrs. Hawking story, Base Instruments, is now available here on the site for viewing! Click here to read it in the Scripts section.

The official synopsis:

dealbook binary option type London, England, 1883— Mary has been Mrs. Hawking’s protege for two years now, learning to the ropes of championing the downtrodden women of London with the intent of one day taking her mistress’s place. When Mrs. Hawking is injured in the line of duty, the press for Mary to master the trade becomes all the more urgent as a dancer in the St. Petersberg ballet approaches them to solve the murder of the prima ballerina. But as the team hunts down the truth, Nathaniel’s determination to be of use in his aunt’s work has consequences he doesn’t expect, and Mary begins to realize the heavy cost of taking on the life Mrs. Hawking leads. Join our team as they seek to reconcile the difficult path of the hero with the unraveling of the mystery and seeing that justice is done.

A few notes on it before you read:

The writing of Base Instruments was begun over the course of 31 Plays in 31 Days 2014, with the bulk of it structured and drafted over the course of summer and fall 2015. This version was finalized this past week.

Special thanks to Jane Becker, John Benfield, Charlotte Brewer, Matt Kamm, Tegan Kehoe, Samantha LeVangie, Shannon Moore, and Circe Rowan for their invaluable feedback in the editing process. Their time, perspective, and review made wonderful contributions to the shape of the final product. And of course, my eternal gratitude to Bernie Gabin, my partner in life and in art, who helped me figure out how the hell this idea was going to work, and without whom I’d never have been able to make it happen. Mrs. Hawking is my brainchild, but we’re very much raising her together.

It is written for ten speaking roles, five women and five men, plus a small nonspeaking ensemble. As written, Miss Zakharova and Miss Sherba are designed to be double cast. It is also possible to double cast Arthur and Lord Seacourse, or Arthur and Kiril Chernovsky.

It takes place about a year and a half after the events of Vivat Regina, the previous installment, in the autumn of 1883.

All related posts on the topic of Base Instruments can be found in this category.

With this, the first planned trilogy of our story is completed. The dream of Mrs. Hawking being a true series has become a reality. This is proof of concept that it can be done, and I can’t wait to see where we go form here. I hope you enjoy it. All comments, questions, and responses to the piece are very welcome.

Read the new script Base Instruments here.

click here Mrs. Hawking by Phoebe Roberts will be performed January 15th at 8PM and January 16th at 4PM and Vivat Regina by Phoebe Roberts January 17th at 1PM at the Westin Waterfront Hotel as part of Arisia 2016.


Finished draft of Base Instruments!

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I am pleased to announce that Base Instruments, part three of the Mrs. Hawking series, has a complete draft!


I had some friends over to read it, as I love to do when evaluating a play, and the response was great. Now I have a direction for the edit! Thanks to Jane Becker, Charlotte Brewer, Matthew Kamm, Tegan Kehoe, and Samantha LeVangie for their great feedback! The stuff I need to fix isn’t huge, fortunately, but it will require some deft tweaking in order to improve, and that level of subtlety will be challenging. And hearing the whole piece together means I learned some interesting things about this new installment of the story.

Jeremiah O'Sullivan as Nathaniel

Jeremiah O’Sullivan as Nathaniel

Base Instruments turned out to be very much Nathaniel’s play. It wasn’t exactly intentional, but with so many of his close family members featuring, it was only natural that he would end up being the most central character. Even though I want the series to mostly belong to Mary and Mrs. Hawking, it became clear in the writing of the previous two plays that Nathaniel was going to serve as the third lead. And since those first two dealt with the two of them primarily, it was all right if Nathaniel came to the forefront by piece three. Not only does he have the most stage time, his arc plays out with more characters than anyone else’s. I like to think he’s getting really developed.

Justin, Nathaniel’s brother, proved to be very charismatic, as I hoped he would be! Similarly to Clara in Vivat Regina, he was the cool new character Base Instruments added to the cast. I’ve become very devoted to the idea that these pieces need comic relief to balance the drama, and both he and Clara brought some of the lightest moments of wit and humor. I don’t know how often he’ll be able to come back, given the direction the series will take from here, but it will be a real shame if I don’t figure out how to fit him in again.

In fact, the structure of the play changed in an interesting way because of the expansion of the world in this manner. While the two previous installments mostly just followed around Mrs. Hawking and Mary, mostly together, Base Instruments had enough threads going on that its scenes skip back and forth between them. It gives the story a breadth and texture, allowing a much more complex series of events to happen, with a more careful pacing as the threads break each other up. And frankly? It’s pretty damn cool that one of the most engaging scenes in the play happens between two secondary characters, one who’ve we’ve only just met in this piece. That can only be possible when the world and its dynamics are very rich.

My plan is to dig into the edit and get it done in the next few weeks. After that I’d like to have a second reading, to make sure the changes improved and tightened things. Then it will be posted here on the website, and I can truly say I’m completed the first trilogy in the Mrs. Hawking saga!


New Mrs. Hawking story posted: opzioni binarie guidate Vivat Regina

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The second installment of the Mrs. Hawking story, Vivat Regina, is now available here on the site for viewing! Click here to read it in the Scripts section.

The official synopsis:

Mary Stone is doing her best learn the trade of her mistress’s work as a covert agent for women victimized by Victorian society. Mrs. Hawking’s nephew Nathaniel, too, struggles to find what contribution he can make to his aunt’s work, and neither one seems to be serving to their mentor’s satisfaction. But when a mysterious lady under a false name comes to them with a next-to-impossible mission, Mrs. Hawking and her assistants must bring together all their varied strengths in order to see that justice is done.

A few notes on it before you read:

The original draft of Vivat Regina was written over the course of 2013, with the bulk completed in December. The revisions and most of the Clara subplot were worked in over the course of January and February 2014.

Significant input on the plot was provided by Bernie Gabin to my gratitude. I also owe a great deal to Gabrielle Geller, Ben Federlin, Aaron Fischer, Ryan Kacani, Stephanie Karol, Frances Kimpel, Samantha LeVangie, Charlotte Oswald, Eboracum Richter-Dahl, and Lenny Somervell for their reading and feedback on this script. Their input was crucial to the editing process.

It is written for seven speaking roles, four women and three men, plus a small nonspeaking ensemble. As written, it is possible to double-cast Clara and Mrs. Braun. It is possible to swap the gender of Herr Gerhard, in which case it could be doubled with Mrs. Braun but not Clara.

It takes place about nine months or so after the events of Mrs. Hawking, in the summer of 1881.

All related posts on the topic of Vivat Regina can be found in this category.

I hope you enjoy it. All comments, questions, and responses to the piece are very welcome.

Read the new script Vivat Regina here.