Are you in Southern California?

If you are, or plan to be, in the Los Angeles area on Thursday, November 13, you owe it to yourself to head down to Casa 101 Theatre in Boyle Heights to see Teatro MOZ.

@Jules Dee Photography 2014. Jeanette Godoy and Katie Ventura in rehearsal.
@Jules Dee Photography 2014. Jeanette Godoy and Katie Ventura in rehearsal.

Tickets are now available for a showcase of Latino-American love for the man whose voice helped redefine masculinity, Morrissey.  The short plays are all culled from a nationwide call for submissions. I took a gamble with my friend, DJ and cultural connector, Rhienna Renee Guedry.  We wrote a play about bicycles, not having sex, and woman-loving-women who love Morrissey, and sent it in, crossing our fingers and clapping our hands because we believe in fairies.

A few weeks later, we were fortunate enough to have our play, Pretty Petty Things, chosen as a finalist.

Unfortunately, I’m unable to get to Los Angeles from Philadelphia right now. BUT, if you can, you should! The cast is not only talented and skilled, but also gorgeous. The show promises to be a tour de force, complete with live musical performances and a lot of sweet and tender hooliganism. It’s only playing for one night, Thursday, November 13, at eight pm.

@Jules Dee Photography, 2014. Jeanette Godoy and Moises Rodriguez in rehearsal.
@Jules Dee Photography, 2014. Jeanette Godoy and Moises Rodriguez in rehearsal.

How often do you get to see a theatrical event that combines Latino contemporary life and California culture with the Anglophilic pop sensibility of the former frontman of The Smiths? Come to Casa 101 Theatre, 2102 East First Street, Los Angeles, California, 90033, for a singular dramatic event.

Tickets available at this link!  Go get ’em, Tiger!

 

 

 

 

You have never been in love until you’ve seen the stars reflect in the reservoirs

140514-morrissey-twitter-follow-tweet  Earlier this summer, I was browsing through different lists of playwriting opportunities, and I found one that reached out to me like a beacon in the dark.

TEATRO MOZ,  sponsored by Real Women Have Curves Studio, is sponsoring a short play contest. Do you have a dramatic memoir about the first time you fell in love with this Charming Man? Do the lyrics or title of a Smiths/Morrissey song inspire a story in your soul? Submit a short MOZ-themed play for a chance to win prizes and a staged reading of your piece by professional actors later this year!

I thought, that sounds so crazy it has to be fun.  I know next to nothing about Morrissey, but I bought “You Are The Quarry” when it first came out, and loved “Irish Blood, English Heart.”  I listen to The Smiths’ older hits quite a bit, and the sense of desire and longing, maybe desire for desire itself more than fulfillment, speaks to my inner gay man. Usually themed play contests and showcases are about heavy topics, but I’ve never seen anything like this before. I thought, I love this.

Morrissey blue satin jacket  So, I sent a quick e-mail to my friend Rhienna. She is a DJ and creative connector (as DJs tend to be) in Portland, and every year she runs the annual Morrissey Mobile Disco bike ride as part of Pedalpalooza.  Basically, a lot of people get together and ride a pre-planned course, with decorated bicycles, Morrissey look-alike outfits, and, of course, music, music, music.  I thought if anyone knows anything unique and fun about the phenomenon that is Morrissey, she does.

We had a cross-country confab. Oddly enough the deadline for the play contest was immediately following the next annual ride, so she had plenty of fresh material. We talked about Morrissey, his cancelled tour dates, loving him from afar, how his appeal transcends boundaries of sexuality and gender, and how the ride is a really fun time.  and how riding bikes with a group on a gorgeous summer evening is a fun young and in love or in love with love thing to do.  Their course’s goal was the Joan of Arc statue in Coe Circle, and since it’s beautiful and Philadelphia also has a Joan of Arc statue, I had to work that in.

She gave me a lot of information, helped me sort through ideas, and I typed it up and sent it.

Today, we got an e-mail from Teatro MOZ that Pretty Petty Things was picked as one of ten finalists! Which means it’ll be in the showcase!

Morrissey and good-looking men on bicycles

 

Not only am I excited about this, I’m excited about what this means. Basically:

Someone in LA loves the phenomenon that is Morrissey and his music to say, “let’s put up a short play festival about this thing I love.”

And a professional theatre said, “Sure. This is new, this is different, yes, we’ll back it.”

And they sent a call for entries out.

Meanwhile, in other cities in other parts of the country, two women said, “You know what, that sounds like fun and it’s something I know a little bit about, I’ll work on something and send it in and if they like it, they like it.”

Basically, once again, as Lorna Howley said, what is theatre but a big party?

I love the idea of people getting positive ideas and putting them together to make something bigger and better. which, in my opinion, is what theatre is all about. 

and I can’t wait to find out why the celebrity judges are. I’m secretly hoping for Thomas Lennon.

tumblr_ltw84b5cng1qafrh6

 

 

 

 

 

an august return

ompf-logo-2-copy  I hate admitting to being excited about plans at the outset, because I’m always afraid I’m going to jinx myself. But, I have to say I’m pretty excited about The Second Annual Philadelphia One-Minute Play Festival. 

Last night, Dominic D’ Andrea sent out the e-mail explaining the groupings of scripts and pairing with directors, and just reading it feels really, really good. Dominic D’Andrea is one of the hardest working men in show business: he produces these One-Minute Play Festivals all over the country. They’re not just specialized by city or state; INTAR Theatre has partnered with the OMPF to create the One-Minute Play Festival of Latina/o Voices twice. The focus and energy of last year’s Philadelphia show was contagious enough to sell out all three performances. Remembering how much fun it was to watch and be part of, and looking forward to this new show, is making me feel all twitterpated.*

One of the goals in writing a piece for the One-Minute Play Festival is to reflect or explore a issue or trait unique to the host city, in a simple, powerful theatrical moment. So, basically, it’s a living haiku about our experience right now. They take longer to cook up and picture in your brain, than they do to actually write. When you write them, you have to write them so they’re actually much shorter than a minute, to give the actors room to breathe and be aware in the experience.

This is why we write plays, so we can take a plan and hand it off to other artists and see what they do with it.

Anyway, I’m excited, and based on the names and information I’ve seen so far, this promises to be a really good show. It takes place on August 3, 4 and 5 at 8pm, at the Adrienne Theatre. Yes, they’re school nights, it’s summer, deal with it. All the good stuff happens on weeknights anyway.  I get more excited over new plays than babies or jewelry.  This is going to have over a hundred new plays.  Whee!

——————————-

*Don’t know the word “twitterpated?” Neither does Autocorrect.  Walt Disney’s 1942 movie, Bambi, provides a pretty good working definition.

Illness, health, and creativity

I know nobody’s looking at the Internet on a Friday evening in Spring (and if you are, please, step away from the screen and go enjoy some fresh air). But, I’ve had a cocktail, and since I haven’t posted anything here for a while, now seems like a good time as any to post.

Plague Doctor, Rome, 1656  I’ve been way underground for a while, and here’s why. First of all, I had the black plague. It’s possible I may be exaggerating for comic effect. I had pneumonia for a little bit over a week, probably a by-product of the weather vacillating wildly from warm to cold and back. In any case, I lost several days in bed manufacturing sputum of many colors. I learned something very interesting in the course of this illness.

If you take an SSRI, as many of us do (I think Zoloft will be OTC by 2020, but that’s just my opinion), you may want to consider its interaction with your over-the-counter cold medication, specifically, dextromethorphan (a cough suppressant). It clearly states on medications such as DayQuil and Mucinex DM that this medication should not be taken in conjunction with any medication that is an MAOI. I may be the exception to all of this, but, to make a long story short, the combination of dextromethorphan and sertraline resulted in a case of restless leg syndrome which should have made me eligible to join the Rockettes. Hence, what should have been a 5 to 7 day recuperation period stretched into 10 days because I had to take 36 hours with no medication which suppressed symptoms (other than antibiotics)  to let things get out of my system, which meant I couldn’t sleep. The moral of the story is, Cough Syrup Is No Joke.

Know your drugs, know your doses. It’s elementary.

But I digress. Here’s the heavy lifting which I’ve been doing this semester.

Walter Lowenfels  I’ve been writing a play about poet and journalist Walter Lowenfels. He lived in Paris during the 1930’s, hobnobbing with such literary luminaries as Anaïs Nin and Henry Miller. After the Depression hit, he returned with his wife, Lillian, to New Jersey, where he worked in his father’s butter business by day and wrote poetry by night. In the 1940s, he moved his family to Parkside, in West Philadelphia. There, he edited the Pennsylvania edition of The Daily Worker and was active in the Communist Party and the Civil Rights movement. In 1952 he was arrested for violation of The Smith Act, allegedly for trying to overthrow the government, and briefly held at Holmesburg Prison. The case was thrown out for lack of evidence; apparently the FBI does believe the pen to be mightier than the sword.

Lowenfels lived a multifaceted life, stretching between the demands of his family, his community, and his art. In the play created for my Seminar in Community Arts Practices, we’re exploring how he maintained that balance, via the metaphor of  his kitchen table. The play, Walter’s Table, will be presented as part of the Radical Jewish Culture symposium, at Paley Library, on Temple University’s main campus, on April 25 and 26. This production stars Philadelphia veteran actor David Ingram (most recently on the Wilma Theater stage in Cherokee).

Georgia O'Keeffe, photographed by Alfred Steiglitz.  My thesis project is the real elephant in the room. The working title is Dream Of Wide Open Spaces. To make a long story short, from the fall of 1932 to the spring of 1934, Georgia O’Keeffe stopped painting. During that time she had a physical and emotional breakdown, lost all her appetite for creativity, and gradually found her way back to become the visual powerhouse we know and love.  As I’m working on this play, I am madly in love with The Beinecke Rare Book And Manuscript Library at Yale University, which holds much of Georgia O’Keeffe’s correspondence. Reading her letters in her handwriting, and interpreting the nuances with which she wields fountain pen or pencil is an adventure in and of itself. I’m also reading My Faraway One: Selected Letters of Georgia O’Keeffe and Alfred Steiglitz by Sarah Greenough, Portrait of an Artist: A Biography of Georgia O’Keeffe by Laurie Lisle, Georgia O’Keeffe by Roxana Robinson, and O’Keeffe and Steiglitz: An American Romance by Benita Eisler.

Black Hollyhock, Blue Larkspur, 1934
Black Hollyhock, Blue Larkspur, 1934

My process has been to read, read, and read, either before going to sleep for the night, or while on the train commuting, and then either sleep or go for walks, and let the data roll around in my head. Unfortunately, I know what it’s like to be creatively frustrated, as O’Keeffe was during that period, and what it’s like to be in a relationship with un-chosen non-monogamy. I also know what it’s like to be sick, and not to trust one’s own body,  and have to regain that trust. So I let things marinate, and then get up early in the morning and write what makes the most sense.

It’s a slow and painful process, but so far, I feel pretty good about it.

Coming up in the next month, Liz Carlson and I are banging our heads together again, for Temple University’s MFA Playfest. Liz will direct the play which I wrote as an independent study with Ed Sobel this past fall, The Wreck Of The Alberta. It’s a family drama about the weight of history, mental illness, puppetry and the secret life of objects. I love working with Liz, and our previous collaboration, Fox Haven was very successful, so this should be a good time.

Finally, if all goes well, I get to graduate in May. I will be wearing a cap, gown and hood made from the equivalent of approximately 23 recycled plastic bottles. I’m pretty tall, so let’s say 25.

So. That’s all the news that’s fit to print right now. Hopefully, I’ll make it through to the other side with two good scripts, and I can write about something other than balancing art with one’s mental health, someday. Right now I’m really feeling the experience of being on the fence between mentally healthy and productive, and crazy and frustrated. But, I’m walking the fence one step at a time.

 

 

Recommended listening for lonely Saturdays

This morning, my friend Clarence Wethern posted on the Internet that listening to the Doctor Who Season 5 soundtrack made everything seem much more urgent and important.

Temple U Bell Tower Early Morning Fog
Temple University’s Bell Tower in the early morning fog.

When I read this, I was sitting in a 7-11, waiting to be let into the library so I could start my lonely early morning work shift. Because, when you ask yourself, “what does a dangerous, destructive thug look like?” automatically, you think of me. And, that’s why the security guards want nothing to do with me before 9 on a Saturday.  I thought, heck yeah, I could use a sense of importance and urgency. Also, not only is Clarence one of my favorite actors, he’s one of the kindest, funniest, smartest people I know, so how can any advice from him possibly be a bad idea?

I mean, where could it possibly leave me?  In a library basement in North Philadelphia, trapped while the rest of the city enjoys its one breath of Spring before another blast of Winter?

Media Bear sits alone in the dark. He's not scary at all. No sir.
Media Bear sits alone in the dark. He’s not scary at all. No sir.

So, as I went into the library (apropos) I cued up Clarence’s link to Spotify, and “Honey, I’m Home” by Murray Gold and The BBC National Orchestra of Wales started playing.   It starts out light and airy, pleasant, but gradually increases its minor key to become more threatening. As I turned keys in locks, logged into the computers with pass codes, turned tumblers for secret combinations and unlocked the door to the room where the DVDs are shelved, the suspense was palpable enough that I sincerely questioned the silent, staring eyes of Media Services Bear, sitting on the trolley in the darkness.

And the piece of music is exactly the same length of time that it takes to open the library’s Media Services desk. So, that was fun. I kind of wished that Christopher Eccleston would suddenly grab my hand, look deeply into my eyes and say, “Run,” as an alien creature hatched from an egg laid deep inside Media Services Bear’s stuffed tummy.

Doctor Who Original Television Soundtrack Series 5
Doctor Who Original Television Soundtrack Series 5

Of course, once the alien invaders have been vanquished (probably via my secret skill of getting lost or being late*), that means inevitably that I’d have to explain to him that I can’t possibly go travel through all of space and time with him, because of course he’d want me to, duh.

LINDSAY: I’m married.
THE DOCTOR: I’m not the marrying type.
LINDSAY: I have cats and dogs to take care of.
THE DOCTOR: They’ll never know you were gone.
LINDSAY: I have a thesis to write.
THE DOCTOR: What’s it about?
LINDSAY: Georgia O’Keeffe’s break from painting between 1932 and 1934.

CAMERA TRACKS IN CLOSE TO THE DOCTOR’S WIDENING BLUE EYES AS THE CLOSING THEME BEGINS

THE DOCTOR: Oh yeah?… You want some help with that?
MUSIC: DOONKETA DOO, DOONKETA DOO,  DOONKETA DOONKETA DOONKETA ooo-WEE-ooo!

Because, obviously, I have had a hole in the space-time continuum tethered to me since birth. Every now and then I fall into it and have to find my way back out again. Or other things fall into it. That’s why I’m always late, lost, or losing things. Or early. Sometimes.

SEE HOW WELL I AVOID WORKING ON THE SHORT PLAY, AT WHICH I AM TEMPORARILY ANGRY, TODAY? I’ve just set up an entire season of Doctor Who. BAM. Hire me, Moffat.

And then we go to 1960s London because Harold Pinter also has a hole in the space time continuum tethered to him, except he sucks whole lives into it and spits them out again as plays (because The Homecoming is scary). But Pinter doesn’t know it (because after it becomes a play, all memory of the life having ever existed disappears. QED).  At the end of the episode, he’s inspired to write Betrayal. For some reason. To be determined.

And  Clarence has to be cast as the brilliant mathematician and astronomer Phillipe Van Lansberg, or Martin Van der Hove, or something, which I will invent. and it will be fantastic.

All right, I have to go work some more on this short play at which I am angry right now. It happens.

Knock knock. Who’s there? Hamlet.

My brother, Ted, with some of the puppets he's made.
My brother, Ted, with some of the puppets he’s made.

Many years ago(okay, ten or so), my brother Ted asked me to write a script for him to perform with his puppets.

So I adapted Hamlet into a five-minute version for him. The script was lost, found, lost again, and now found again, so I’m putting it up here.

My father says it’s terrible, but he hates Shakespeare, and slept through the Lantern Theatre Company’s production of Much Ado About Nothing once (which Ted and I both loved), so this can’t be all that bad.  If you read this and it makes you laugh, great. Comments and feedback are all welcome.

If you want to perform this, with or without puppets, go right ahead. Let me know, because that would make me really happy, but please give me credit in writing for creating this adaptation.  Now I have to get back to reading and writing about Walter Lowenfels and Georgia O’Keeffe.

HAMLET IN FIVE MINUTES

OFFSTAGE VOICE:
Knock knock. Who’s there?
(GHOST puppet comes up.)
GHOST:
AWOOOOO!
(GHOST puppet disappears. Hamlet puppet comes up)
HAMLET:
I’m really depressed.
(HORATIO puppet enters)
HORATIO:
Hamlet, there’s a ghost on the balcony! Come see it!
(HORATIO exits)
HAMLET:
Sure, whatever.
(GHOST re-enters)
GHOST:
BOO-YAH!
HAMLET:
OH! Jiminy Christmas, Dad, don’t scare me like that.
GHOST:
HAAAAMMMLEEETTTT, my brother killed me and married your mother. Now he’s king and you’re not. Do something!
HAMLET:
Dad! You’re really upsetting me! Why shouldn’t I just lie around and slob out my trust fund?
GHOST:
Because I’ve got news for you, kid.
OFFSTAGE VOICE:
Knock, knock!
HAMLET:
Who’s there?
OFFSTAGE VOICE:
Fortinbras!
HAMLET:
Fortinbras who?
OFFSTAGE VOICE:
Fortinbras of Norway! I’m amassing soldiers on the border and we want baked Danish for breakfast!
HAMLET:
Great.
GHOST:
Hamlet! Do something with your life!
(GHOST disappears)
HAMLET:
Well, this sucks.
(POLONIUS enters)
POLONIUS:
What is the matter, my lord?
HAMLET:
Leave me alone, I’m trying to think.
POLONIUS:
Oh, tell me all your problems, I’m here for you.
HAMLET:
Really?
POLONIUS:
No.
HAMLET:
You know what? I’m crazy. Hopping mad! Boogedy-Boo! Leave me alone!
POLONIUS:
What are your intentions with my daughter?
HAMLET:
Your daughter?
(POLONIUS exits, OPHELIA appears, she is an adorable bunny rabbit)
OPHELIA:
Hi, Hamlet.
HAMLET:
Hi, Ophie.
OPHELIA:
Whatcha doin’?
HAMLET:
You don’t wanna get mixed up with a guy like me. I’m a loner, Ophie. A rebel.
OPHELIA:
Just wait till my brother finds out what a head case you are.
(she exits. CLAUDIUS enters)
CLAUDIUS:
Well, well, well, if it isn’t Hamlet. Still crazy and useless?
HAMLET:
If I stopped being crazy and useless, you’d have me killed, right?
CLAUDIUS:
Now, Hamlet, whatever makes you say that?
HAMLET:
Ok, Uncle Claude, I have a joke for you. Knock knock.
CLAUDIUS:
Who’s there?
HAMLET:
Guys that kill their brother, marry their sister in law and make off with the crown.
CLAUDIUS:
I don’t think that joke’s very funny, Hamlet.
HAMLET:
Neither do I.
CLAUDIUS:
Go to your room and stay there till I think of something to do with you!
(exits)
HAMLET:
How about if I go to Mom’s room instead?
(GERTRUDE enters)
GERTRUDE:
Hamlet, baby, why can’t you get along with your uncle and your stepfather?
HAMLET:
Mom. Don’t tell me that you cannot see how there is something completely, intrinsically wrong with that sentence.
GERTRUDE:
You always were a strange boy.
HAMLET:
No I’m not! I am not a strange boy! Look around you, Mom! Everything else is very, very messed up!
(rod puppet pops up of ROSENCRANTZ AND GUILDENSTERN)
R&G: (singing)
Oh, we are the boys in chorus, we hope you like our show, we’re really glad to be here, but now it’s time to go!
(R&G disappear)
HAMLET:
You see?
GERTRUDE:
Maybe you need some Ritalin.
HAMLET:
No.
GERT:
Prozac?
HAMLET:
No.
GERT:
Zoloft?
HAMLET:
No!
GERT:
Tofranil? Tegretol? Riseprdal? Ex-Laxx?
HAMLET:
No, no, no, no!
OFFSTAGE VOICE:
I’ll take some Ex-Laxx.
HAMLET:
Who was that?
GERT:
It must be a mouse because there couldn’t possibly be anyone spying on you!
HAMLET:
Ok, well, I’ll just stab the tapestry with my sword, then! Take THAT!
(rod puppet of DEAD POLONIUS appears. Eyes like X’s, tongue hanging out, etc. GERTRUDE exits, replaced by CLAUDIUS)
HAMLET:
So that’s what dead really looks like.
CLAUDIUS:
HAMLET! What did you do this time?
HAMLET:
Oops. My bad.
CLAUDIUS:
Congratulations! You’ve just won an all-expense-paid one-way trip straight to England!
HAMLET:
You know what? If it gets you out of my sight, FINE.
(Exeunt. OPHELIA, still an adorable bunny rabbit, but now a crazy, scary bunny rabbit, appears, singing to the tune of “I Met Him on a Sunday.” GERTRUDE sings backup)
OPHELIA:
I met him on a Sunday.
GERTRUDE:
Oo-oo-oo-oo
OPHELIA:
And his dad got killed on Monday,
GERTRUDE:
Oo-oo-oo-oo
OPHELIA:
Lost his marbles on a Tuesday,
GERTRUDE:
Oo-oo-oo-oo
OPHELIA:
Dissed me off on Wednesday,
GERTRUDE:
Oo-oo-oo-oo
OPHELIA:
Killed my dad on Thursday,
GERTRUDE:
Oo-oo-oo-oo,
OPHELIA:
Disappeared on Friday,
GERTRUDE:
Oo-oo-oo-oo,
OPHELIA:
I said, Bye-bye- Baby…
Doo ron, day ron, day ron, day ron, day, poppa doo ron, day ron, day ron, day ron, day poppa doo, oo-oo-oo-oooo.
Splish splash, I was takin’ a bath, long about a Saturday night, rub a dub, just relaxin’ in the tub, thinkin’ everything was all right…
(OPHELIA exits. HAMLET enters.)
GERTRUDE:
Hamlet! You’re back! Where were you?
HAMLET:
Well, I was going to go to England, but I changed my mind.
GERT:
What happened to Rosencrantz and Guildenstern?
HAMLET:
Oh, they decided to stay and hang out.
(Rod puppet of ROSENCRANTZ & GUILDENSTERN, dead Xs for eyes, tongues bugging out, nooses around their necks, pops up briefly, with a riff of “Rule Brittania” on kazoo.)
HAMLET:
Where’s my girlfriend?
GERTRUDE:
Oh, she went for a big swim.
HAMLET:
How big?
GERT:
Six feet under.
HAMLET:
Well, hope she reserves us all a good table and pre-orders the appetizers.
GERT:
I’ll bring the wine!
(GERTRUDE exits. a little skull on a stick pops up.)
SKULL:
Knock, knock.
HAMLET:
Who’s there.
SKULL:
Yorick.
HAMLET:
Yorick who?
SKULL:
Tag, Yor-ick!
(SKULL drops away.)
HAMLET:
I knew him.
(LAERTES pops up, mad as hell)
LAERTES:
HAMLET! I just got here from Paris-
HAMLET:
And boy are your arms tired.
LAERTES:
And everyone I love is dead!
HAMLET:
Boo hoo. Join the club.
LAERTES:
I’m gonna kick your ass!
(LAERTES exits, GERT returns)
HAMLET:
Good.
GERT:
Hamlet, your uncle brought some wine, wasn’t that nice of him? It’s got pearls in it! And it’s mighty tasty too!
HAMLET:
Mom, wait, stop, don’t you know what they say about pearls soaked in wine?
GERT:
No, that’s pearls before- GAK.
(she dies. Disappears.)
HAMLET:
Okay. Well, everyone that’s left I don’t like very much, so this should be easy.
(CLAUDIUS enters)
CLAUDIUS:
Hamlet, I’m betting on Laertes to pulverize you!
HAMLET:
Hey, Uncle Claude, guess what.
CLAUDIUS:
What?
HAMLET:
Never get in a fight with someone crazier than yourself.
CLAUDIUS:
What’s that supposed to mean?
HAMLET:
Look, a flesh-eating vulture.
(CLAUDIUS looks up)
CLAUDIUS:
Where?
(HAMLET head-butts him. CLAUDIUS dies, disappears. LAERTES pops up, holding a sword)
HAMLET:
Yeah, I learned that from Mel Gibson.
LAERTES:
Hey, Hamlet, wanna see my new sword?
HAMLET:
What’s so great about it?
LAERTES:
Well, your uncle gave it to me. It’s got deadly poison all over it. Tag, you’re it!
(whaps him with the sword)
HAMLET:
Oh well, I guess that means I have to kill you RIGHT NOW.
(HAMLET beats LAERTES up until he disappears)
HAMLET:
Ok. Well, I think that about wraps it up.
(HORATIO enters)
HORATIO:
Hey, um, Hamlet, someone’s at the door.
HAMLET:
Can it wait a minute? I’m dying here.
(HAMLET slumps, dead, over the puppet stage. FORTINBRAS enters)
FORTINBRAS:
Knock knock.
HORATIO:
Who’s there?
FORTINBRAS:
Norway.
HORATIO:
Norway who?
FORTINBRAS:
There ain’t Nor Way that Denmark isn’t mine, all mine! Hah hah hah!
HORATIO:
And I alone am escaped to tell thee, “The End.”

END OF PLAY

I also have to add: This play is much, much funnier when Ted performs it. He reads so fast that you can only understand about 60% of the words, but the intention is clear, and the enthusiasm and determination are like a galloping horse toward Horse Heaven. It’s like Andy Kaufman breaking a land speed record.

Good things, small packages

I’m very happy to say that I’m part of the Philadelphia Installment of the One-Minute Play Festival. 

ompf-logo-2-copy  It’s exactly what you think: an evening of short plays, all of them one minute or less, a highly concentrated, haiku-esque dose of solid theatre.  Creator Dominic D’Andrea has been making this happen in cities around the country, and I’m pleased as a pig in mud to be included on the same bill as these playwrights and directors. Some of them are longtime friends, some I’ve admired from a distance, and some of them are people I’ve never met, and we’re all crunching ideas into delicious tasty cake pops of emotional substance. Or, you know, coal into diamonds. Your mileage may vary.

I have created this kind of super-short theatre before, and “short” never means “simple.” For several years I was a contributing playwright to Night of 1000 Plays, produced by The Brick Playhouse.  In that case, each performance piece was three minutes or less. Some of my favorite work came out of writing for N1K, especially Juliet Balcony, Let’s Call Him Matt, Not Without My Pumpkin, and Car and Driver.  Writing Car and Driver let me play with a vocal style to give a car a personality, which later became the voice of the Lotus in Phoebe and the Lotus.  So, I sort of knew what I was getting into when I started creating pieces to submit, and how they could help me in the future. It’s not that you’re creating a sketch: these are full, finished, stand-alone works. They exist best as a smaller piece of something big and diverse. and provide great opportunity for imagination, because your limitations are so severe.

So far, I have to say, writing a one-minute play is harder than writing a three-minute play. Basically, you get in, make meaning, and get out. Then remove the first and last ten seconds. Then condense, and condense, and condense. “Excuse me, but I need to buy a plant, can you help me?” has to become “Can you help me buy a plant?” which in turn has to become, “How much is the green thing?” or, “Please help me.”

Alternately, you just come up with the most concentrated dose of meaning you can think of. BAM.

So, anyway. Writing this kind of thing is fun, and it looks like the performances will be, too. They take place on Monday July 29th, Tuesday July 30th, and Wednesday July 31st at 8PM, at Interact Theatre Company, at The Adrienne Theater, 2030 Sansom Street, Philadelphia. Tickets are $20 and the significance is all-you-can-digest.

Free Range Theatre!

Guess what, folks, I, Lindsay Harris Friel, Crazy As A Loon Playwright, am having a CRAZY LINDSAY’S GIVING IT AWAY FOR FREE SALE!  Are you looking for a  short play for your theater company, church, school, speech class, ESL class, whatever, with four characters, a simple setting, and a timely conflict to perform, but can’t afford the royalties? Well, WORRY NO MORE!  With all the hubub and froufrou about reproductive rights, pregnancy as the latest fashion accessory and tabloid cover headline, and personhood, this play guarantees that your audiences will have plenty to laugh or complain about for weeks! Just read the following and copy or paste it into the text editor or word processing software of your choice, print it out, memorize the lines and let theatrical MAGIC ensue! All I ask is that you credit me as author.  I own the copyright, and you can’t change the script, but I’ve left you plenty of room for subtext, and all you have to do is pay me in exposure!

Thanks, and have a super day!

BREAKFAST IN AMERICA

CHARACTERS:

MICHAEL: a man in his late 30s to early 40s

KATE: a woman in her late 30s to early 40s

FREDDY: a waiter, a beefy, overly-jovial lad in his early 20s

EILEEN: a waitress in her 50s

SETTING: A diner in Northeast Philadelphia. Typical diner accoutrements: formica and chrome table and fittings, so on & so forth. Television on the wall broadcasting the news.

TIME: The present day, a lovely Saturday in springtime, noonish.

AT RISE: MICHAEL and KATE sit at a table sipping coffee. The table is right next to a wood and glass partition, slightly higher than the diners’ shoulder height. MICHAEL is playing with his cell phone.

KATE: I’m so glad we have this time together.

MICHAEL: What? You’re as bad as I am with the whole cell phone thing.

(FREDDY comes bouncing up behind the partition)

MICHAEL: Oh, crap.

KATE: Don’t say anything, stay low.

FREDDY: Hi, guys!

MICHAEL AND KATE: Hi.

FREDDY: How y’seguys dooin’?

MICHAEL AND KATE: Fine.

FREDDY: So, y’seguys gettin’ breakfast or lunch?

MICHAEL AND KATE: Breakfast.

FREDDY: Ehh. Y’seguys go out last night?

MICHAEL AND KATE: No.

FREDDY: oh, Y’seseguys goin’ out tonight?

MICHAEL AND KATE: No.

FREDDY: Yer not?

KATE: Nope, this is our big adventure for the day.

FREDDY: Why not?

KATE: I have a research paper to do.

MICHAEL: Yup, we’re got stuff we have to do.

FREDDY: Ah, I hearya. I never get out any more either. I won’t be gettin’ out for a while neither, cause my girl, she’s havin’ a baby.

MICHAEL: Yup, we know.

KATE: You told us.

FREDDY: yeah, my girl’s havin’ a baby. I’m so scared. I’m terrified.

KATE: mm-hm.

MICHAEL: mm-hm.

FREDDY: An’ this time, it’s not like the las’ time, cause this time, it’s a boy, and my daughter, I don’t know, I mean I see her, but she’s a girl, and-

KATE: Wait a minute. How many kids do you have?

FREDDY: Well, I got the one, my daughter, an’ like I see her sometimes, an’ her mom, we’re like, friends and stuff, but-

KATE: Oh, look, the president’s on TV. (starts playing with her fork)

FREDDY: -but like, now, you know, I got a son, and it’s with my girl.

MICHAEL: Mm-hm.

FREDDY: You guys got kids?

MICHAEL AND KATE: Nope!

FREDDY: Ah, come on! No? No kids?

(KATE starts stabbing the palm of her hand with her fork)

MICHAEL: Nope!

FREDDY: Why not? What’s wrong witchyew?

(KATE starts corkscrewing the fork into the palm of her hand to keep from stabbing FREDDY in the eyeball)

MICHAEL: Cause we have stuff to do. We’ve got projects. Right, honey?

KATE: Right!

(MICHAEL and KATE high-five)

FREDDY: yeah, but I mean, come on, what would you guys do if you had, like, an accident?

(KATE continues stabbing herself in the hand with her fork, looking at MICHAEL)

MICHAEL: You cross that bridge when you come to it.

KATE: What kind of accident? Like a car accident?

FREDDY: No, you know, you know what I mean, if it happens?

MICHAEL: You just cross that bridge when you come to it.

FREDDY: Cause, like, my mom, she had my brother when she was forty-six-

(EILEEN comes rushing out with a tray of food, talking just a little bit too loudly.)

EILEEN: Here we are!

KATE: Oh, scrambled eggs! That’s me!

MICHAEL: There’s our breakfast! Yum!

EILEEN: Can I get you two some more coffee?

KATE: That would be lovely! Thank you!

EILEEN: Is there… anything else I can get for you?

(KATE dives into her food. MICHAEL looks up, FREDDY is gone.)

MICHAEL: I think we’re fine now, thanks.

EILEEN: I’ll be right back with your coffee. (she exits)

KATE: That is absolutely not okay. That is not okay AT ALL.

MICHAEL: It is not okay.

KATE: I mean, what if you asked someone why they were using a cane? Or told them to just drop the cane? It wouldn’t be appropriate. It would be rude.

MICHAEL: Honey, I just want to have a nice breakfast.

KATE: I wanted to have a nice breakfast too.

END OF PLAY

And SCENE. Questions? Comments? Anecdotes? Let me know!