Just Wrought

Recovering playwright, once won a STRANGER Genius Award for theater. Now writing a bloated novel about… G-d help me! Theatre.

  • What I Wanted You to Say When I Told You I Was Retiring

    Reaction to my decision to retire from theatre has been varied, but the dominant themes have been disbelief, derision and dismissal. For every one friend or colleague who has said, “Seriously? Oh, well then I wish you the best on whatever it is you do next,” there have been four who have said something along the lines of:

    “Oh, sure Paul. Retiring. Right. I’ll believe it when I see it.”

    Or…

    “That’s hilarious. How can you retire from something that makes you no money? You know what? I’m retiring from poverty. LOL!”

    Or…

    “I give it six months.”

    Perhaps the most perplexing response is…

    “But I just saw your post about [your play being translated into French / your play being read at ____ / a possible production of your play at ______].  How is that you being retired?”

    As if I would stop allowing the plays I’ve already written to be performed or read or translated. Is there a playwright in the history of theatre who has done this?

    (more…)

  • “The Perfect Experiment”: Chapter 3 of THE STARTING GATE at St. Andrews

    “The Perfect Experiment”: Chapter 3 of THE STARTING GATE at St. Andrews

    On Monday, April 14 at 8pm, at The St. Andrews Bar and Grill, I will do again what I have done twice before: read a chapter from my book in progress, The Starting Gate, to a small group of close friends, so I can hear it out loud and also gather their reactions.

    (more…)

  • My Farce Finds a Foster Home

    My Farce Finds a Foster Home

    Every work of art is a message in a bottle, a hope that whatever it is you were trying to share when you created it makes its way to someone who can use it, ideally to make their lives, if only for a moment, a little bit better, clearer, nobler, happier, or more hopeful or truthful, or at the very least, more fun.

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  • A Thought on Survival after Seeing a Proliferation of Cherry Buds

    A Thought on Survival after Seeing a Proliferation of Cherry Buds

    If you are talking about survival as an artist you’re already done or you’ve never begun.

    Being an artist has never been about survival. Never. Not once going back 30,000 years to the caves of Lascaux and Chauvet.

    Making art has always been about defying the survival imperative, and transcending it.

    So when an artist or arts institution tells you: “This is how things need to be in order for us to survive,” rest assured that as artists they have already died.

  • Does Dawson Nichols Prove me Wrong?

    Does Dawson Nichols Prove me Wrong?

    When I was writing a lot about theatre here at Just Wrought several of the points I brought up irked people, show people especially:

    • MFA’s behave like viruses;
    • The primary pursuit of a living wage makes artists complicit in their own co-option;
    • No one at Seattle’s Big Houses really cares about developing new work. (Thankfully this one seems to be changing (a tiny bit, but for real, (but only time will truly tell.)))

    But nothing I said was more certain to piss off particular people like my contention that one-person shows are not, strictly speaking, theatre. My award for favorite counterstrike, if only for prolixity and opacity, goes to Omar Willey:

    Mike Daisey’s [work] is not theater[?] Behind this sort of nonsense is a childish territorialism. The artist here believes he is a High Priest in charge of the cosmic order, and that the entire world would suddenly whirl off its axis if He did not continue to fight for his own narrow definitions, categories and hierarchies–and, by implication, his own place in those hierarchies which, doubtless, is above everyone else he despises. Those who do not accord with his gospel become enemy troops to be extirpated in his Holy Crusade for the One True and Good Art. Such belligerence may be a defense, but it is primarily a defense of human ego. Yet artists cling to such silly notions as though they were essential for craft.

    Despite Willey’s daunting hyperbole (heck, I haven’t donned High Priest robes since my college days), I haven’t changed my mind about one-person shows (nor do I delude myself to believe I’ve changed anyone else’s). I still really do think theatre is defined by genuine dialogue between two or more human beings, in the presence of at least one third observer; and I stand by the second and more crucial associated argument made in my original essay, The Solo Show: A Risk Averse Artistic Administrator’s Best Friend”:

    [Artistic Administrators] defend their solo performance offerings like a richly-endowed sculpture gallery might defend an exhibition of paintings.  “We love sculpture.  And of course we are a sculpture gallery, but sculpture itself is expensive and difficult to maintain.  Instead, why not enjoy some lovely paintings of sculptures?”  Paintings of sculptures can indeed be lovely, but not even an idiot would call them sculptures, any more than Mark Twain would have referred to himself as a theatre artist 130 years ago.  Solo performance billed as theatre is a pig in a poke.

    Still, no matter how carefully one build one’s boldest arguments, there will always be an example that seems to fly in the face of everything asserted. So when I say solo shows aren’t really theatre, my long time colleague and often collaborator, Dawson Nichols simply puts on a show or two to prove me wrong. Unlike most solo performers, Nichols doesn’t just tell you a story, with a few different voices thrown in for “dramatic effect”. Instead Dawson, himself a consummate playwright as well as actor, director and professor, plays you a play. He’s as adept at transforming himself into other human beings as, say, the vaunted Anna Deavere Smith, but unlike her, he’s no monologist. Dawson creates dialogue up there, real theatre between two or more people, because freakily enough, he actually appears to be able to become two or more people at one time, right in front of our eyes. All the risk that is removed by having only one person on stage is strangely, magically, mixed back into the cauldron.

    But don’t my word for it. (I mean, there’s no point in starting NOW, right?) For the next two Fridays, you can go see for yourself, and decide if he succeeds in smashing my “childish territorialism.”

    Here’s the skinny, direct from Dawson . . .

    (more…)

  • After Rumi


    Don’t struggle, just struggle. 
    Don’t just be, be. 


    On second thought, forget I said anything.

    You’re perfect. Be that.
    Just don’t be perfect.

  • Your assumptions are more articulate than you, more adept at providing a richly detailed description of you than you are in describing the person you’re making assumptions about.

  • Melinda and the Ice Cracking

    The abyss doesn’t divide us.
    The abyss surrounds us.

    –Wisława Szymborska

    She didn’t want to leave the car.  So I left her there and went down the path to the look out by myself. I tried to explain to her how beautiful it was going to be: Loch Raven, frozen solid as it so rarely was, in the light of the full moon. I told her about how if you waited and listened you could hear the ice crack, like a rifle, not because it was melting, but shifting. 

    “Are you sure?  You’re gonna miss out?”

    “It’s okay.  You go.”

    “Really?”

    “Really.”

    She smiled, not unpleasantly, but her body remained stiff in the passenger seat.

    So, yeah, I went down without her.The full moon gleamed off the snow and the ice-sealed lake. It lighted up the night like one of those Fifties movies when they shot the night scenes in the daytime but then messed with the exposure or filters or something. The sky wasn’t black, but a deep, deep, deep black blue.

    I don’t remember whether, in the short minutes I sat on the cliff’s edge, I heard the ice crack. I was nervous about leaving Melinda behind.  But I hadn’t wanted to cave to her. I wanted to show her that I would witness beauty, even if she couldn’t or wouldn’t.

    It was our first date. And as it turned out, our only one. I don’t remember asking her out, or even how I summoned up the nerve. In my mind she first shows up in biology class, having moved to my high school from Minnesota. Everything about her was a little bit more dark and lustrous than we were used to in whitey-white suburban Maryland. Her skin, her eyes, her hair were all glowing brown, like she harbored the blood of the Cherokee beneath her preppy layers of sweaters, oxfords and polo shirts.

    That night I had picked her up in my Mom’s new Nissan. Melinda’s house was next to the golf course, up in one of the nice new developments, where the rich people, new to northern Baltimore County, had started living. I remember being polite to her dad. We went to the mall, but I can’t remember if we saw a movie. We probably just walked around, talking, but not much. I was convinced I would only screw things up if I blathered on and on like I usually do. The only way I was going to get anywhere with a nice girl like Melinda was by behaving like someone I wasn’t.

    Oh, sure, I had hopes we would make out when I turned off Warren Road onto the gravel by the side of the bridge. But more importantly I wanted to impress her with my deeply sensitive artist’s appreciation of the sublime. She would first see the beauty of Loch Raven frozen over through me. She would be moved. And we would kiss. This was my theory, and my theory seemed to me, while admittedly ambitious, essentially sound.

    Like I say, I didn’t linger at the cliff. I hustled back to the car and took Melinda home. There was no good night kiss. Without my galactic backdrop of Lock Raven cracking in the blue black, moon and star-filled night, I simply didn’t have the game for it.

    Of course I didn’t blame her for not coming down to the lookout with me. It was the sort of situation that teenage girls are wisely warned against putting themselves in. But I do believe it was my failure to crack her code that discouraged me from asking her out again. Shortly after that she started dating this skinny preppy kid Steve pretty steadily. I heard she lost her virginity to him on prom night, though I harbor my doubts. Even if it’s true, I like to think she did it with the same kind of doggéd faithfulness to tradition with which, earlier in the evening, she pinned his boutonniere to the lapel of his tux.

    After we all graduated, we headed to Ocean City for Senior Week. Melinda was sharing a condominium in one of the nicer high-rises with three or four other girls. One afternoon it was just me and her in the apartment: everyone else was down at the beach. We stood facing each other, maybe two feet apart. I had come to pick up a hat I’d left behind at a big party the night before. We were chatting. The electricity between us caught me off guard. I had long since moved on in my infatuations, now chasing a girl that had liked me through all of high school, but whose affections cooled once I finally showed an interest.

    Melinda was smiling at me, and she knew the effect of that smile, relaxed and supremely confident. Our chatting came to the subject of that one date we had. I sought to set the record straight. “I didn’t even want to kiss you. I just wanted you to see the ice in the moonlight. Hear it cracking.”

    “You didn’t want to kiss me?”

    “Well, sure I wanted to but…”

    “But what?”

    “I don’t know.  I didn’t want to spook you.”

    “You didn’t spook me.”

    “Okay.”

    “You could’ve kissed me in the car.”

    “I could’ve?”

    “Sure. Why not?”

    “I don’t know.”

    “So what are you going to do now?” She was close to me.  Smiling.  In control this time.

    “I’m gonna go.”

    “Ah. Too bad.”  She was still smiling.

    “It was great seeing you.” I managed to say.

    “Was it?”

    My heart was huge and hollow as I walked away from her condo door.

    “Fuck!”

    I thought I was being noble. That’s how I excused my cowardice: fidelity to some other girl who was holding me at distance.

    I forgive myself now.  The fact is I didn’t completely trust Melinda.  She ran with a crowd that for the most part hated me.  It seemed inevitable that at that moment, in the condo, after all the time that had passed since our date, she had to hate me too.  Maybe she was mocking me?  Taunting me?  I was petrified she’d pull away if I made a move.

    She’s right there.  Still smiling.  Seventeen. Clear as moonlight.

    I invited Melinda to be my Face Book friend, after I started writing this. She never responded.  I am as much relieved as anything. I suspect the person she has become would be just as leery of the person I have become as we both were of each other as teenagers.  I picture her driving to work, not riding a bus like me.  I picture her with good looking kids, but none as darkly captivating as her.  I cannot doubt she’s well off, probably even better off than her well-off parents were when I drove past the golf course that night. I wager she loves her husband quite a lot, but with a touch of her unique reserve, which will always leave him wondering, and fascinated.

    I don’t want to push contacting her. I certainly don’t want to go back in time and kiss her in Ocean City, or… well, I do, but only if I get to keep my own brimming life back here in the future: my own sons and crappy job and gorgeous wife holding me captive with her own unique reserves.

    It’s the wanting we survive in, and what I want, even more than another chance at that summer kiss, is to have Melinda hear the ice cracking in that blue black night.

  • Scratch for B-Sides

    A liar speaks the truth. Trust me.
    It’s dark out there. You need to know this stuff.
    Every particle knows every other, position and momentum,
    since that very First Charlie Brown Christmas Big Bang.
    Don’t let that uncertain German snow you.

    It’s cool, actually. Nothing but solipsism.
    You. Carving yourself out of nothingness. Me.

    And I can’t just give you my love, my love.
    I have to watch it roll on edge, spinning tighter
    and faster round the black hole it’s headed for,
    until at last it’s just a levitating flash
    a moment before it—winking—drops
    apparently forever. But physicists know shit
    poets don’t: postulate white holes,
    which spit instead of swallow.

    I stumble. You stumble. You hope I hope.
    You fall, I’m lost: both spinning ellipses.
    A penny’s a good as a quarter.
    It doesn’t matter how much the coins are worth.
    A Sacajawea no better/worse than a washer,
    or a slug forged to fool the washing machine.

    It’s the spin and the ellipses. It’s the arc
    you trace and the flash and the drop.
    I can’t describe why to you. No kid could.
    A kid would say what I’m saying now:
    Give me a nickel. I’ll show you. It’s cool.

    Trust me.

  • Spilling the B-Sides Beans

    Spilling the B-Sides Beans

    I’m going to tell you a secret and you’re going to thank me for it later.

    There’s a lot to hate about the kind of entertainment that gets perpetrated this season, but Christmas: B-Sides & Rarities is not on that naughty list. Curated by Jim Jewell B-Sides has become the Seattle performance insiders’ insider holiday event: a super small, super secret, super bitter and dark (in the best sorts of ways) scrumptious “antidote to the overly cheery, relentlessly commercialized traditional Christmas fare.” 

    I started coming as an audience member a few years back, but Jim, in his questionable wisdom, asked me to participate in subsequent years. In fact, this time when he asked I pushed back and I asked if I could read some poetry and prose instead of the playwriting I’m better known for. Jim was kind enough to sort of shrug and say, “Sure.  Whatever.” To honor his insouciant beneficence (I promise the poetry won’t be that insufferably overwrought), I have written two original pieces especially for the occasion. Next Monday I’ll be reading them for the very first time ever, along with other much more fabulous acts, such as:

    – rock’n’roll from Joey Kline (formerly of The Squirrels and The Plaintiffs);

    – “Magi” written by Jim Jewell and directed by Dan Tarker, featuring Jaryl Allen Draper, Fox Rain Matthews, and Madison Marie Rengli;

    – “Yule Log” written by Dan Tarker and directed by Jim Jewell, featuring Megan Ahiers and Mark Fullerton;

    – “Redneck” written and performed by Jennifer Neel, Paul Shipp and Joe Zavadil;

    – buffoonery from UMO Ensemble vets Christine and Lyam White;

    – magical, maniacal storytelling from the inimitable Jennifer Jasper

    – ukelele mayhem from E-Ray and the LPs;

    – and more from Scot Augustson, Kymberlee della Luce, John McKenna, and Colleen Roberston.

    Tickets for this one-night-only event are $15 online or $18 at the door.

    Get Tickets ahead at  xmasbsides.brownpapertickets.com

    B-Sides & Rarities receives marketing and logistical support from The 14/48 Projects, producers of 14/48: The World’s Quickest Theater Festival and Theater Anonymous, so 14/48 vets get $10 tickets online with the usual code.