Trisha Sugarek is a writer after my own heart. Her work is an ode to life meant to introduce children to the wonders and horrors that make life worth living. Ranging in length and production value, many of her plays invoke the feel of the old morality plays, and inherit their sense of distinction. They have been collected under the aptly titled, “Ten Minutes to Curtain”, and reading them back to back encourages them to be performed together as they flow exceedingly well from the first story of 1920’s poverty, to her final comedy about a loving, and unusual, modern housewife’s bizarre meeting with a multi-millionaire.

“Ten Minutes to Curtain” contains ten mini-dramas meant for middle school or high school production. They are appropriately simple in construction and complex in conflict, lending great emphasis on the characters established in each play. While Sugarek offers brief explanations on the stage sets, she sharply leaves them open to interpretation, allowing for many of the plays to be performed on a blank canvas as might be necessary in a class room or school yard.

“Love Never Leaves Bruises” is the pinnacle of Sugarek’s dramatic angle, and occurs at the peak of the book’s arc. It revolves around an abusive high school relationship between a boy and girl, and the emotional battle that the girl fights with her mother. While being representative of a classic case of high school hormonal imbalance, the play puts a major problem on its face and demonstrates to kids how harmless dating can quickly turn dangerous.

But Sugarek is not content to keep all of her plays in a setting familiar to the children who will be performing them. Her plays encourage an exploration of both time and emotion. “Pan of Potatoes”, “La Verne and Mr. Service”, and “The Waltz” all take place during the 1920s, and while dealing with situations that children can relate to; poverty, dance parties, and poetry, they also introduce them to the work of Robert Service, as well as the social constructs of other periods.

Sugarek’s master work can be cut up and performed in the segments that make up the larger work, but I believe that they would be best served in performance back to back.  The over arching theme is that of children’s natural conflict with parents as they grow older.  It’s an astonishing work that finds a way to say so much with so little, and turns the bare stage into every young man and woman’s living room. A perpetual battle ground for issues of trust and mistrust, laughter and misery, overwhelming loss and astounding triumph. ~~BookReview.com

We writers are very self-critical……but remember to stop and enjoy the successes….something that you know is well written….your book sales….or a review that tells you that you are on the right track.  You deserve it!!