| When I decided to enter Delaware s Bicentennial playwriting contest I sat before my typewriter feeling noble, visions of gallant patri- ots stirring in my head, most looking like an 18th-century costume ball. I decided to focus on John Dickinson, a man who had contributed much to Delaware and the nation, and I thought I was well on my way. But as I began to research the story and its presentation, it evolvednot as a stiff historical pageant but as a story of process, process of new,emerging nation mingled with process of new play being created. Read-~ng deeper into Dickinson s life, I found a man of the pen who was alsoa man of action, a man particularly relevant today since he was a po-litical figure who upheld his principles even in the face of great adversity.He has been unfairly represented primarily as the man who declined tosig~n the Declaration of Independence. Yet his motives for not signingand his many contributions to America are quite exemplary. For a setting I did not want one fixed place or a series of scenesin chronological tandem. The format had to be simple and flexible. Imust admit to being inspired by my rather uninspiring 5th period Historyclasses, which were little more than cumbersome recitations on tradingand taxation. It seemed important for me to try to enliven this particu-lar slice of history to show it not as a series of events but as a happen,ing, electric, varied, tempestuous. It was from this thinking that I developed the Revolution Ma-chine, an ensemble of actors performing in the improvisational, storytheatre vein. The actors become a multiple of characters, scenic transi,tions and narration as well as supple background to the actual quotes ofJohn Dickinson. It is important to note that everything Dickinson sayson stage is an actual quotation taken from his various writings. Againstthis colorful tableau vivant of the Revolution Machine, Dickinson isset in his authenticity. |
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