1. Is this my first play?
Gosh, no. It's actually my fifteenth. This one seems to be getting all the
attention these days.
2. How long did it take me to write it?
Not long -- about two months, which included editing. However, I did research it for about two months prior to writing it.
3. Which character is me?
To paraphrase Neil Simon: all of them are. Bits of pieces of me are in all of them, and all of them are seen through my eyes. But none of them are exclusively me.
4. Are the characters people I know?
No. After doing the research I broke down the "types" I was looking for. People who have seen the play insist that these are people they've encountered, and in truth I've encountered similar. I guess this is one of those time where life imitates art.
5. Are the characters using AOL?
Surprisingly, this is a common question. As easy as it could have been to put the characters on AOL, I deliberately chose not to. Let's face it, I had no intention of writing a 90-minute commercial. On the other hand, if AOL wants to invest in a production, I'd be more than happy to make some script adjustments!
6. Did I know all of Plato's quotes ahead of time?
Heck no! Basically, I kept a book of quotes at my side. Whenever Plato was to say something, I'd figure out what he was trying to say and look up a quote that basically says the same thing.
7. How do I deal with the play being so static?
Just because there's no physical action doesn't mean that people are frozen. There is lots of movement on stage: people stand, sit, stretch, scratch, drink, read, type and ESPECIALLY react. They can even enter and exit. It is by no means static. In addition, the bouncing conversations tend to keep the energy up.
8. The play itself isn't very lengthy. Could it be done as a one-act?
Hey, in theory it could be done as a 7-minute cartoon, but I'd never sanction it. Rhythmically, the play needs that intermission. True, the play itself isn't very long, but it doesn't need to be.
9. What's this about a new ending?
It's true. After many successful productions, I totally re-wrote the last scene. I've never been completely satisfied with the ending, and during a particularly bad production of it I realized what had to be done. Granted, it's darker than the original, but I feel it's infinitely more realistic. In addition, it incorporates the sentiment of the old Epilogue.
10. Technology changes quickly. Will I adjust the script accordingly?
I already have. Remember, I wrote it back in 1995. I already updated a scanner reference. I'm working on when Plato announces he's upgraded his computer to Pentium. When I wrote it, Pentium was the Bee's Knees. I'm just afraid it will become a period piece before too long.
11. Hey, wasn't there once an actual dog in the play?
Ah-HA! Yes, there was. In the aforementioned original ending there was a short, one page epilogue that was basically a voiceover playing while a dog sat at a workstation. Its point was to show how the whole process goes on and on. Most productions didn't use it at all, mainly because rhythmically the play ended already. It was used in the initial reading at Queens College, and the folks at Gothic North used it as a projection during the bows. The new ending got to incorporate the sentiment but eliminated the need for a pooch.
12. How can one get a copy of the play?
Funny you should ask! The entire first act is available on this website. If you're a producing company or can somehow expedite a production, drop me an E-mail (remove the NOSPAM part) and I'll snail mail or e-mail a copy out (if e-mail, please specify format or you'll just get it as a .PDF). Currently NKIAD is included in an anthology of winning plays from The Open Book entitled Incisions, edited by Marvin Kaye. The book was once exclusively available to members of Doubleday's Stage & Screen Book Club. Keep in mind that ownership of this anthology does NOT give you rights to produce it.