Hashing out "Learned Ladies"

The process of "Learned Ladies" has been strange to say the least. I've been working on it in small doses, writing small scenes based on "ingredients" given to me by two of my friends. The result was about five scenes at about 40 pages. What I've been doing lately is crafting a play out of these scenes-- how do they go together? What can be combined? What can be altered? Today, I reworked the last scene written from "ingredients" and molded the play into the first 40 pages. What's interesting is that here I am at 40 pages and the real "plot" hasn't fully taken form. This is all necessary build up to the climaxes.

Now, here's where things get tricky. Today, I was looking at what I've done and what I felt was missing. There are small moments that aren't in the script, things that would connect scenes together in theme and purpose. In short, there is a sense of cohesive disjointedness in the script as it stands. What could I do to bring the story together without losing the cohesive structure of the story that was evolving? I don't want to add full scenes, the play's structure wouldn't hold up with more scenes. The answer? Well, I had asked myself-- what is this story? It's not a societal satire, though that is part of it. Deep down, this is a love story that is twisted and complicated by those involved. Henrietta (Hen) and Clint want to get married, but the path isn't straight. If this is their love story... Could they "narrate?" Images from those interview segments of "When Harry Met Sally" flowed into my mind. Could Hen and Clint talk about their marriage, how they met, and how they got married? Could other characters tell their sides of the story? Is there room for other "narrators?" At what points could other characters take over the narrative? I started to see the play as hinged upon characters' monologues, perhaps like those moments at a wedding, when someone points a camera at you, shoves a microphone in your hand, and asks you to say something to the happy couple... Could this be at Hen and Clint's wedding?

My mind raced and raced, the possibilities erupted. Then, I went back to Moliere's original. Moliere structured his play on the imminent arranged marriage of Henrietta to a man named Trissotin. That marriage is the climax of the play. Now, here we are in, my God, 2006. Arranged marriages aren't typical in American society. Why would Hen's mother reject Hen's marriage to Clint? The answer: Hen is only 17, and Philomena (Hen's mother) would want her to get an education before getting married. Education is much more important than love... So, Hen wouldn't be betrothed to Trissotin, but what if she actually falls for Trissotin? What if she really WANTS to marry Trissotin? Then Clint would have to work even harder to stop the wedding. This is an interesting turn for the story. In Moliere's original, the story was centered on money-- Trissotin wanted to marry Hen to get the wealth of the family... But what if Hen is allowed the CHOICE-- intellect or love? That's much more interesting nowadays than having the story boil down to money.