Just Wrought

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

Tag: Paul Mullin

  • The Great PZK Giveaway

    The Great PZK Giveaway

    Even after a quarter of a century, I still don’t know whom to give my plays once I’m finished drafting them. No one really wants to read a play, and I don’t blame them. Plays aren’t meant to be read. I have less trouble convincing people to come see my plays, but in order for that to happen, someone has to read them first, right? It is this catch-22, multiplied by others, that is nudging me elsewhere, but before I go I have to figure out what to do with my final script, Philosophical Zombie Killers.

    When I am at a loss for what to do in a given situation, I sometimes try to make a game out of it. So here’s what I have come up with:

    I will make 13 hardcopies of Philosophical Zombie Killers, and you will tell me where to send them. If you know of an institution or development opportunity that you think, based on the character breakdown and synopsis attached below, will leap at the chance to produce this play’s world premiere, terrific! Put that organization’s information in the comments. If, on the other hand, you just want a copy of the play for your own personal pleasure, to have and hoard, that’s fine too. Just let me know in the comments, and we’ll work together off line to determine the best way for me to get it to you.

    I will make 13 copies. Just 13. You will tell me what to do with them. First come, first serve. And that’s the end of it. I agree this solution might seem a touch asinine, but really, no more so than any of the other ways I have pointlessly distributed my plays over the last 25 years.

    So, it’s up to you. What should I do?

    PS, if you just want to hear the play read out loud by some pretty terrific actors (and myself) just come to Freehold Theatre, on Saturday night, September 14. Here’s more info on that: https://www.facebook.com/events/181930878655353/

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  • A Friend Visits my Slotin Notes

    A Friend Visits my Slotin Notes

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  • Surplus Titles

    Surplus Titles

    One of the greatest raw delights of writing is getting to name things: characters, imaginary places, titles for the work itself.  I can’t remember how long it took for me to come up with the name of the main character for my play Tuesday—, a few days, weeks, half a year maybe?—but I’m so pleased with the baldly Joycean result, “Audie McCall,” that I still use it sometimes as an alias. I think my favorite coining is “Waldric Rasutabula”, the name of an utterly absurd fellow from my utterly unproduced farce, Gossamer Grudges.  Here he is being introduced to another strangely-christened character.

    RATIO:  Waldric, this is Quince from Rubicon Consultants. She has agreed to an initial tour to determine whether her firm might assist ours in the coming transition.

    WALDRIC (bowing egregiously):  Waldric Rasatabula.  (heel click)  Majordomo of the Pneumotubes.

    QUINCE (tilting her head like a curious terrier):  Quince.

    WALDRIC:  Just Quince?

    QUINCE:  That’s right.

    WALDRIC  How mysteriously titillating.

    QUINCE:  Not remotely.

    ‘RATIO:  Please show Quince every hospitality.

    WALDRIC:  (suddenly and alarmingly lecherous):  Every hospitality?

    ‘RATIO:  Every hospitality she requires.

    WALDRIC:  Requires?

    ‘RATIO:  Requests.

    QUINCE (Offering a hand):  Pleasure, I’m sure.

    WALDRIC (molesting it):  All pleasure is mine. 

    I often begin a piece— script, poem or essay— with just a title.  A lot of the essays I’ve presented here at Just Wrought over the last few years started as nothing but a few scribbled words. I keep a slush fund of them on my computer, and with me stepping away from the fray, I have a surplus I can’t hope to ever flesh out. So I present them to you here and now, gentle reader: your dubious inheritance, reward for years of reading, to do with what you will: surplus titles for a free, fresh theatre. 

    Why Craft Won’t Save Us

    Change the Culture

    Go After the Boards

    Is it Really the Audiences’ Fault?

    It’s not about Money, it’s about Power

    Live Girls Quickies Makes me Wish I Were a Woman

    When Expansiveness Equals Retreat

    Preferably Dead: The Lives of Playwrights in America

    Is Actual Human Speech Impossible to Stage?

    How do We Hold the Boards Accountable?

    Since When are Directors Indespensible?

    Museum Theatre: The Whiff and Grip of Necrophilia

    Reasons to Be a Playwright

    It is Our Job to Be Foolish

    You have Spinach in Your Teeth

    Why Trolls Troll

    I like Intermissions

    Things are Important

    I am Not a National Playwright

    On Guts and Assholes

    Experimental Lip Service

    An Open Letter to the Minority of Journalists We Managed to Piss Off
    (This one is from the Newswrights United days, when we covered the demise of The Seattle Post-Intelligencer in It’s not in the P-I: A Living Newspaper.)

    Keep the Dark Night Sacred

    Plays are Finicky Fragile Seeds

    The MFA Virus

    Quit Bingeing Fear

    Pay us Shakespeare’s Royalties

    Food for the Minotaur

    Live by the ____; Die by the ____

    Upping our Numbers

    Buddhism versus Theatre

    Bergson Essay

    Seattle, Theatre Town of Many Hats

    Glen Gary Glen Wrong

    The “Let’s-do-that-Play-I-didn’t-get-Cast-in-Back-in-College” Syndrome

    Stop Trying to be Respectable

  • Falling Behind on Sandbox Radio Live

    Falling Behind on Sandbox Radio Live

    I am here to assuage your guilt for falling behind on Sandbox Radio Live, because the sad fact is I too have been slacking. Of course, in my defense, I have caught every single show live in the theatre, just as you can and should catch the upcoming Episode 9: The Naked Truth  on Monday, July 29 at West of Lenin in Fremont (tickets available here). I also usually listen to the podcast recording of each show as soon as it comes out. This time, however, between SOAPFest and vacation, I only got around to it yesterday. It’s brilliant; stocked full of goodies like:

    • Susan Corzatte, my recent SOAPFest cast-mate, reading poems by Dorothy Parker.
    • Another episode of “Cousin Katie” by Scot Augustson (featuring special guests Cliff Mass and Nancy Pearl! Favorite book recommendation: “Try The Pussy Brushers of Bristol”.)
    • Another all new super-fun, super-hard-rocking blues original from Charles Leggett. Listen to the tart, exquisite interactions of lead and back-up singers.
    • Then of course there’s my latest Markheim episode. Read along with the script below the fold. (Didge has joined the Seattle Super Hero scene, and Markheim’s realizing that the renegade clockwork’s more complex that he first thought.)

    Chuck Leggett IS Markheim photo by John Ulman

    • And absolutely do not miss, my very favorite of all these favorites, Wayne Rawley’s blast from everyone’s middle school past, “Portable 5 & the First Day of the Rest of Our Lives”.

    Give the podcast a listen!

    Get your tix for the upcoming live show!

    And get caught up on the amazing original awesome sauce that is Sandbox Radio Live!

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  • Local TV Gives Local Theatre a Glance

    I have not been on television since my brief, ill-fated appearance  on Romper Room in Baltimore, circa 1972. Miss Sally was asking the circle of kids what their favorite drink was and when she got to me, I said, “Whiskey”. Even Mr. Do-Bee looked shocked. (In my defense, my dad had once given me a sip and I wasn’t as horrified by the taste as everyone expected me to be.) When the broadcast was done, my mom yanked me out of WBAL’s studio so fast I thought she was going to dislocate my shoulder. Oddly, I was not asked back.

    Happily, last week I made my triumphant return, along with Amy Love, to talk about Sandbox One-Act Play Festival (or SOAPFest, as the kids are calling it.) The festival opens tomorrow night and runs for only this weekend.  It features brand new plays by  Scot Augustson, Emily Conberre, Elizabeth Heffron and myself , presented by some of Seattle’s very best directors, designers, technicians and actors.

    Now that Amy and I are tv stars, tickets to the three night run are unlikely to last long.  I recommend getting some while the getting is good. (Order tickets here.)

    And if you’re wracking your brain for a gift to bring to celebrate these world premieres, just remember: whiskey’s still my favorite drink

  • Damned Fugue

    DAMNED FUGUE
    by
    Paul Mullin

    Characters:
        SOMEONE– A man
        SOMEONE ELSE– A man
        SOMEONE DIFFERENT– A woman
        SOMEONE ELSE DIFFERENT– A woman

    SOMEONE:  This is a shotgun.

    SOMEONE ELSE:  You are a hero.

    SOMEONE DIFFERENT:  She is heroin.

    SOMEONE ELSE DIFFERENT:  That is the story.

         (beat)

    SOMEONE:  This is a shotgun.

    EVERYONE ELSE:  — kissed.

    SOMEONE ELSE:  You are a hero.

    EVERYONE ELSE:  — missed.

    SOMEONE DIFFERENT:  She is heroin.

    EVERYONE ELSE:  –blissed.

    SOMEONE ELSE DIFFERENT:  That is the story.

    EVERYONE ELSE:  –sold.

        (beat)

    SOMEONE ELSE:  This is a twelve-gauge pump-action sawed-off.

    SOMEONE DIFFERENT:  You are the owner/operator.

    SOMEONE ELSE DIFFERENT:  She is somewhere else.

    SOMEONE:  That is the bottom line.

         (beat)

    SOMEONE DIFFERENT:  This is–

    EVERYONE ELSE:  Life.

    SOMEONE ELSE DIFFERENT:  You are–

    EVERYONE ELSE:  Life.

    SOMEONE:  She is–

    EVERYONE ELSE:  Life.

    SOMEONE ELSE:  That was–

    EVERYONE ELSE:  Life.

         (beat)

    SOMEONE ELSE DIFFERENT:  This is a–

    SOMEONE ELSE:  Hero–

    SOMEONE DIFFERENT:  Harrowing–

    SOMEONE:  Shotgun–

    SOMEONE ELSE DIFFERENT:  Life she blessed you with.

    SOMEONE:  You are a–

    SOMEONE ELSE:  Sawed-off–

    SOMEONE DIFFERENT:  Heroin–

    SOMEONE ELSE:  Pumping–

    SOMEONE ELSE DIFFERENT:  Missed-gauge–

    SOMEONE DIFFERENT:  Operator–

    SOMEONE ELSE DIFFERENT:  Somewhere else.

    SOMEONE ELSE:  She owner-sold–

    SOMEONE:  Bottom-line story.

    SOMEONE DIFFERENT:  This is–

    SOMEONE:  Do you?

    SOMEONE ELSE DIFFERENT:  You are–

    SOMEONE ELSE:  Do you sing?

    SOMEONE:  She is–

    SOMEONE DIFFERENT:  do you sing now?

    SOMEONE ELSE:  That was–

    SOMEONE ELSE DIFFERENT:  Do you sing now in the shower?

    SOMEONE DIFFERENT:  Life.

    SOMEONE (overlapping):  Life.

    SOMEONE ELSE DIFFERENT (overlapping):  Life.

    SOMEONE ELSE (overlapping):  Life.

    SOMEONE DIFFERENT:  Do you sing now in the shower of blood foamed bone and brain–

    SOMEONE ELSE:  Heavy metal rain crashing up through your cranium–

    SOMEONE:  Shattered–

    SOMEONE ELSE:  Cranium through down crashing rain metal heavy–

    SOMEONE DIFFERENT:  Brain and bone foamed blood shower now sing!  You do.

    SOMEONE ELSE DIFFERENT:  Now you do, do you?

    SOMEONE DIFFERENT:  This–

    SOMEONE:  You–

    SOMEONE ELSE DIFFERENT:  She–

    SOMEONE ELSE:  Was–

    SOMEONE ELSE DIFFERENT:  Is–

    SOMEONE DIFFERENT:  Are–

    SOMEONE ELSE:  Is–

    SOMEONE ELSE DIFFERENT:  Was–

    SOMEONE:  Shotgun–

    SOMEONE ELSE:  Hero–

    SOMEONE DIFFERENT:  Heroin–

    SOMEONE ELSE DIFFERENT:  Story.

         (Rest.)

    SOMEONE DIFFERENT:  Go….  Baby, go!

         (Beat.)

    SOMEONE:  The writer was thinking of play he wanted to write called “The Septarchy” the day the window fell on him.

    SOMEONE ELSE:  “Septarchy”.

    SOMEONE:  “Rule of Seven.”

    SOMEONE ELSE:  All day he was figuring significances of the number seven.

    SOMEONE DIFFERENT:  But there were four horseman riding out of Harlem.  Four project buildings in the skyline to the north which seemed to stand out for him.

    SOMEONE ELSE DIFFERENT:  Darker somehow.

    SOMEONE DIFFERENT:  Riding in a row, same height, same features.

    SOMEONE ELSE DIFFERENT:  He kept seeing them in the February wind mist like grim relentless riders.  Not really moving, mind you–

    SOMEONE ELSE:  But closing in… as he went from vacant apartment to vacant apartment, popping out seventy-five pounds of framed glass from the sliding window tracks, mop squeegee swiping clockwork, then popping it back in.

    SOMEONE:  They jammed.

    SOMEONE ELSE:  All the time.

    SOMEONE:  All day.

    SOMEONE ELSE:  Relentless.

    SOMEONE:  Who fitted these fucking windows?

    SOMEONE ELSE:  They’re the worst.  Every fucking frame misaligned.

    SOMEONE DIFFERENT:  No lunch but a slice and a can of coke.

    SOMEONE ELSE DIFFERENT:  Up all nights working a graveyard as hotel porter.

    SOMEONE DIFFERENT:  Aunt who’s a nun coming to see his play about abortion and dreams about nuns in lace lingerie–red, of course, bright blood red.

    SOMEONE ELSE DIFFERENT:  Oxygen.

    SOMEONE:  Couldn’t get them back in without help sometimes.  Had to ask Big Al, the Puerto Rican super’s assistant who followed him keying him into the apartments, to help muscle them back in sometimes.

    SOMEONE ELSE:  He thought about it.

    SOMEONE ELSE DIFFERENT:  “What does that mean?”

    SOMEONE DIFFERENT:  “Four riders into seven.”

    SOMEONE:  Four-thirty.

    SOMEONE ELSE:  Last apartment.

    SOMEONE:  Breeze through the living room.

    SOMEONE ELSE:  On to the bedroom.

    SOMEONE:  Clean the inside glass.

    SOMEONE ELSE:  Then do the outside lean work.

    SOMEONE:  Saving the bitch pop-out for last.

    SOMEONE ELSE:  Pop it out.

    SOMEONE:  Clean it.

    SOMEONE ELSE:  Pop it in….  Pop it in!…  Pop the bitch in, fucker!   Don’t get weak.  Don’t let the arms go.  You fucker, you lose this window you’re fucked, y’hear?  You’re fucked.

    SOMEONE:  Get it in.

    SOMEONE ELSE:  Shit.

    SOMEONE DIFFERENT:  The writer props it up on the ledge, and walks to the door to call Al in to help him.  He walks back towards the window.

    SOMEONE ELSE DIFFERENT:  There’s a gust.

    SOMEONE DIFFERENT:  There’s a crash.

    SOMEONE ELSE DIFFERENT:  There’s glass everywhere.

    SOMEONE ELSE:  Great, you broke the fucking window.  That’s got to be a hundred bucks easy.

    SOMEONE ELSE DIFFERENT:  Al’s freaking.

    SOMEONE:  Al, why are you freaking?… What?

    SOMEONE ELSE:  Oh shit, I’m bleading.

    SOMEONE DIFFERENT:  Dark.

    SOMEONE ELSE DIFFERENT:  Vein blood?
        Al’s freaking.

    SOMEONE DIFFERENT:  Al…

    SOMEONE ELSE DIFFERENT:  Al…

    SOMEONE ELSE:  Al!… 

    SOMEONE:  Get me to a hospital.

    SOMEONE ELSE:  Al.

    SOMEONE:  We got to find out how bad I’m cut.

    SOMEONE ELSE:  Take it easy.  It’s all right.  You got to get me to a hospital.  I don’t know where I’m cut

    SOMEONE:  Could be bad, Al.  So I don’t want to lose too much, you know?  Got to stay in.

    SOMEONE ELSE DIFFERENT:  Can’t go out.

    SOMEONE ELSE:  So just get me to a hospital.  Okay?

    (Rest.
    Someone comes center and kneels.  Someone Different stands over him from behind.  Someone Else approaches one side of the audience while Someone Else Different approaches the opposite side.)

    SOMEONE ELSE DIFFERENT:  Ever wonder how to get the taste of dying out of your mouth?

    SOMEONE ELSE:  Oh, come on.  Everybody dies.  All the time.

    SOMEONE ELSE DIFFERENT:  Did you get that?  That’s an important point.  Everybody dies all the time.

    SOMEONE ELSE:  Don’t deny it.  You just did it.

    SOMEONE ELSE DIFFERENT:  And you… just now.  What just went away in your eyes?

    SOMEONE ELSE:  It happens.

    SOMEONE ELSE DIFFERENT:  All the time.

    SOMEONE ELSE:  Want to know how to get the taste of dying out of your mouth?  Okay.  I figured it out.  Take the barrel and point it at your face.

    (Someone Different takes Someone’s chin in her hand and lifts his face.  On the next line, she puts her mouth to his.)

    SOMEONE ELSE DIFFERENT:  Now put your mouth to it.  And… yeah… explore.  It’s got a shape.  It’s got a flavor.

    SOMEONE ELSE:  Now run a hand down the length.

    (She finds his zipper.)

    SOMEONE ELSE:  Now wait a second.

    SOMEONE ELSE DIFFERENT:  Take it easy.

    SOMEONE ELSE:  No need to rush it.  It’s all there in your hands and in your mouth.

    SOMEONE ELSE DIFFERENT:  The shape.

    SOMEONE ELSE:  The flavor.

    SOMEONE ELSE DIFFERENT:  The trigger.

    SOMEONE ELSE:  The last thing anyone truly experiences.

    (Rest.
    Everyone returns to their original places.)

    SOMEONE DIFFERENT:  Baby, go.  You’re on.

    (Rest.)

    SOMEONE ELSE:  When the doctor pressed the needle of lidocaine into the writer’s face was the only real pain he felt from the shattered glass.

    SOMEONE ELSE DIFFERENT:  Like bliss.

    SOMEONE DIFFERENT:  Like heroin, he sucked the pain in.

    SOMEONE ELSE:  It felt so good… real… like hell.

    SOMEONE DIFFERENT:  Feel it.

    SOMEONE ELSE DIFFERENT:  You feel it.

    SOMEONE DIFFERENT:  You’re alive.

    SOMEONE ELSE DIFFERENT:  You’re alive.

    SOMEONE DIFFERENT:  You feel it.

    SOMEONE ELSE DIFFERENT:  You wouldn’t if you weren’t.

    SOMEONE DIFFERENT:  A bargain.

    SOMEONE ELSE DIFFERENT:  Bliss.

    SOMEONE:  His then future wife now soon to be Ex told the writer later–

    SOMEONE DIFFERENT:  That after the she got the phone call from his boss saying he’d been in a window cleaning accident–

    SOMEONE ELSE DIFFERENT:  She sat in the dark apartment for an hour and did nothing.

    SOMEONE:  The writer wondered what took her so long getting to the hospital only twenty blocks away.

    SOMEONE ELSE:  Years later the writer would have a really bad reaction to some really strong pot and had to be rushed to the hospital.

    SOMEONE:  Thought he was dying insane.

    SOMEONE ELSE:  Praying to himself.

    SOMEONE (repeating underneath the following lines):  Be the hero of this….  Be the hero of this….  Be the hero of this….

    SOMEONE ELSE:  But the words twisted, deteriorated.

    SOMEONE DIFFERENT (sotto voce at first, then gradually crescendoing to dominate Someone’s chant):  Be thee here or this?…  Be thee here or this?…  Be thee here or this?…

    SOMEONE ELSE DIFFERENT:  The writer’s wife stood for a moment on the back porch of their triplex wondering if she should go along in the ambulance.

    SOMEONE DIFFERENT:  After all what could she do to help?

    SOMEONE ELSE DIFFERENT:  Everyone dies alone.

    (Rest.
    Someone Different steps forward.)

    SOMEONE DIFFERENT:  Go….  Baby, go….  You’re on, baby.  Go.

    (Someone steps forward.)

    SOMEONE:   Why?

    SOMEONE DIFFERENT:  Why?…  Baby.

    SOMEONE:  I don’t love it.

    SOMEONE DIFFERENT:  What?

    SOMEONE:  The roar.  It just roars… all the time.  And I don’t love it.

    SOMEONE DIFFERENT:  Baby.

    SOMEONE:  I’m out there singing about gang rape; I’m out there singing about dying–“Polly Wanna Cracker”.  And they got their lighters lit like it’s fucking “Freebird”.

    SOMEONE DIFFERENT:  They don’t get it.

    SOMEONE:  Right.

    SOMEONE DIFFERENT:  That’s why you’re singing, right?

    SOMEONE:  What?

    SOMEONE DIFFERENT:   So why’d you become a rock star, asshole?  Isn’t that what this is about?  Jamming your fingers into narrow cherry minds?  You wanna preach to the converted, go write little self-important plays and put ‘em on in fringe theatres downtown somewhere….  But baby, you got to go now… you’re up.

    (Someone steps forward.
    Beat.
    Someone steps back.  Then both Someone and Someone Different step back to join the other two.
    Rest.)

    SOMEONE:  This is a shotgun.

    SOMEONE ELSE:  You are a hero.

    SOMEONE DIFFERENT:  She is heroin.

    SOMEONE ELSE DIFFERENT:  That is the story.

    (beat)

    SOMEONE:  This is a shotgun.

    EVERYONE ELSE:  — kissed.

    SOMEONE ELSE:  You are a hero.

    EVERYONE ELSE:  — missed.

    SOMEONE DIFFERENT:  She is heroin.

    EVERYONE ELSE:  –blissed.

    SOMEONE ELSE DIFFERENT:  That is the story.

    EVERYONE ELSE:  –sold.

    (beat)

    SOMEONE ELSE:  This is a twelve-gauge pump-action sawed-off.

    SOMEONE DIFFERENT:  You are the owner/operator.

    SOMEONE ELSE DIFFERENT:  She is somewhere else.

    SOMEONE:  That is the bottom line.

    (beat)

    SOMEONE DIFFERENT:  This is–

    EVERYONE ELSE:  Life.

    SOMEONE ELSE DIFFERENT:  You are–

    EVERYONE ELSE:  Life.

    SOMEONE:  She is–

    EVERYONE ELSE:  Life.

    SOMEONE ELSE:  That was–

    EVERYONE ELSE:  Life.

    (beat)

    SOMEONE ELSE DIFFERENT:  This is a–

    SOMEONE ELSE:  Hero–

    SOMEONE DIFFERENT:  Harrowing–

    SOMEONE:  Shotgun–

    SOMEONE ELSE DIFFERENT:  She blessed you with.

    SOMEONE:  You are a–

    SOMEONE ELSE:  Sawed-off–

    SOMEONE DIFFERENT:  Heroin–

    SOMEONE ELSE:  Pumping–

    SOMEONE ELSE DIFFERENT:  Missed-gauge–

    SOMEONE DIFFERENT:  Operator–

    SOMEONE ELSE DIFFERENT:  Somewhere else.

    SOMEONE ELSE:  She owner-sold–

    SOMEONE:  Bottom-line story.

    SOMEONE DIFFERENT:  This is–

    SOMEONE:  Do you?

    SOMEONE ELSE DIFFERENT:  You are–

    SOMEONE ELSE:  Do you sing?

    SOMEONE:  She is–

    SOMEONE DIFFERENT:  do you sing now?

    SOMEONE ELSE:  That was–

    SOMEONE ELSE DIFFERENT:  Do you sing now in the shower?

    SOMEONE DIFFERENT:  Life.

    SOMEONE (overlapping):  Life.

    SOMEONE ELSE DIFFERENT (overlapping):  Life.

    SOMEONE ELSE (overlapping):  Life.

    SOMEONE DIFFERENT:  Do you sing now in the shower of blood foamed bone and brain–

    SOMEONE ELSE:  Heavy metal rain crashing up through your cranium–

    SOMEONE:  Shattered–

    SOMEONE ELSE:  Cranium through down crashing rain metal heavy–

    SOMEONE DIFFERENT:  Brain and bone foamed blood shower now sing!  You do.

    SOMEONE ELSE DIFFERENT:  Now you do, do you?

    SOMEONE DIFFERENT:  This–

    SOMEONE:  You–

    SOMEONE ELSE DIFFERENT:  She–

    SOMEONE ELSE:  Was–

    SOMEONE ELSE DIFFERENT:  Is–

    SOMEONE DIFFERENT:  Are–

    SOMEONE ELSE:  Is–

    SOMEONE ELSE DIFFERENT:  Was–

    SOMEONE:  Shotgun–

    SOMEONE ELSE:  Hero–

    SOMEONE DIFFERENT:  Heroin–

    SOMEONE ELSE DIFFERENT:  Story.

    (End of play.)

  • September 13, 2001

    September 13, 2001

    8:57 am

    Sitting here in Bryant Park. First time back in Manhattan since the tragedy. It feels good to be here. Just to feel it still here under my feet. To see the Empire State standing tall to the South (in spite of a harrowing bomb threat last night. Heather said then exactly what I was thinking: “I don’t know if I could take it if that goes down as well.”

    Been reeling through my brain trying to think of what I can do to be of some use. Oh to be of use! The best I can come up with— it struck me this morning— is to switch gears and start thinking about my most ethereal idea of all, The Good Ship Manhattan.

    9:51 am

    Sitting on one of the benches at 51st and 6th. Things seem lighter and quieter than usual as far as foot traffic goes in this part of the city. People seem stern for the most part. And whatever conversations I do overhear are all, without exception, related to the attack….

    10:56 am

    Waiting for the library to open. It must be at 11 ‘cuz so many people are standing outside. I just wanna return Typee.

    Went by H’s office just a few minutes ago since I couldn’t reach her by phone. The day’s going normally hectic busy for her and she says she’s vaguely offended by that.

    1:28 pm

    Heather’s building got a bomb scare serious enough apparently to result in the authorities shutting down the building until further notice, at least until Monday.

    Air still has a slight taint of acrid smoke that was so strong this morning that it woke me up, poisoned my dreams.

    Still no access to internet from home. Got a glance at my emails from Heather’s desk at work, but was only able to reply to DSP. Might try the Woodside library today later or tomorrow.

    5:51 pm

    Had a run in with some adolescent boys at the library this afternoon that I’m not terribly proud of but, given the frustration I was feeling after trying to deal with my huge backlog of email, seems inevitable. They were back-sassing an older lady librarian who had asked them to leave. I told them, among other things, that they should shut up and do as she says, and that given what’s going on, it was time for them to start acting like citizens. Silly, I know, but it inspired me to come home and write an open letter to community organizations (schools, fire houses, police stations,) offering whatever services I can….

    9:59 pm

    Guess we all have to ride this terrible wave for as long as it holds us under.

    Caring for each other is the beginning and undoubtedly the end.

  • The Politics of Playmaking

    The Politics of Playmaking

    The last time I taught Freehold’s New Play Lab  I explained up front what I think makes this particular course unique: it gives the student playwright the opportunity to explore the politics involved in actually taking a play from page to stage. One of my students muttered, “Politics? I don’t like the sound of that.”

    I understand the feeling, but making plays has always been, and always will be, an inescapably political process. We can savor that fact, or bemoan it, but we cannot abrogate it. Now to be plain, the kind of politics I am talking about are usually little more than the affable affairs of a small town assembly; but, in my quarter century-plus producing new plays, there have been times when the struggle took on a much more Machiavellian flavor. I even admit now that on rare and retrospectively embarrassing occasions I have both threatened, and have been threatened with, physical violence. Let’s be honest: the deceptively innocuous sentiment “the show must go on” contains at its core the quintessence of a Corleone threat. Plays, like revolutions, get perpetrated by the tenacious.

    Freehold’s New Play Lab helps fill a playwright’s tool box with some of the more pragmatic (and peaceful) implements needed to push through production log jams. It also helps a playwright understand: (1) what is possible to do in the theatre; and, (2) what is not. (Answers: (1) everything you can imagine; and, (2) nothing you aren’t willing to fight for.)  Here’s the skinny straight from the Freehold horse’s mouth:

    This dynamic class is designed for eight writers who are in the process of writing the first draft of their play and are ready to explore the rewrite and rehearsal process. Working with a produced playwright throughout the month of August, you’ll shape, refine, rewrite, and hone the story you’re telling. Then, in September, you’ll meet with an experienced director and actors for four hours of intensive rehearsal, culminating in two public staged readings of a portion of your play, as a part of Freehold’s New Play Lab Showcase in mid September. Auditions and rehearsal will be scheduled in two weeks prior to the showcase.

    Go here for info on how to register for Freehold’s New Play Lab. 

    This could be the last class in writing for the theatre I teach for a long while, maybe ever. Many are my reasons for my impending step back from theatre, not the least of which my own personal need to take a break from the politics: good, bad and indifferent (mostly indifferent). However, if elected as your Play Lab instructor, I promise I will make it my mission—and pleasure—to help you navigate the Machiavellian machinations to make your good play great.

  • The Crease

    The Crease

    I wrote this story when I was nineteen. I dug it out a few weeks ago—been doing quite a bit of digging lately—and I decided to dust it off. I have edited it only minimally, for clarity and flow, as if it were someone else’s, which in many ways it is. Oh, and I changed the title, which was execrable.

    “A child is born.” 

    The man lifted his face from his drink again… slow and thick with whiskey. He gazed up to a string of tiny colored lights hanging above the smoked mirror, but his eyes lost focus after a moment or two, and then dropped back down to his glass.

    Sean and me watched it all from the back corner of the bar. Me on a stool; Sean behind the bar, leaning on the liquor rail, chin in one hand, while the other twirled a beer rag.

    One of the two down at the other end called him. So Sean straightened up, jammed out his cigarette in the ashtray we were sharing, and strode down there pulling a draft on the way. When he passed the whiskey drinker coming back, he gave me a look. I shrugged. He shook his head and grimaced.

    Couldn’t have been more than maybe ten, twelve people in the bar all night, but at least Sean would make some tips. The restaurant had been entirely dead, and I had made zilch busing. Twenty years old and still busing tables. Sean had let me off from bar-backing, so he wouldn’t have to tip me out. Made sense: there was nothing to do. And I was not going to bitch for five percent of twenty-five bucks … a liberal estimate of what Sean was going to make. I knew I’d drink way more than that with the Stoly and cranberry juices he was so generously feeding me.

    ‘Tis the season. Fa la la la la.

    And Carson mugged his way through a re-run monologue on the boob tube bracketed to the ceiling. And Sean and me talked; and Jack Kelley, too, butting in sometimes from two stools down. Mostly it was waitresses, especially Laura. Me and Sean had her nailed as a pricktease. Jack said he could break through given half a chance. Sean asked him what he planned to do with no chance. Jack told him he’d have to settle for Sean’s mother. Sean said his mother was dead. Jack got a serious look on his face; said he was only playing. Sean shook his head and laughed.

    “You’re an asshole, Sean,” Jack grumped.

    “You’re a stupid asshole,” said Sean. He was quite pleased with himself. He knew every trick, every bar joke, and every bar story. There are only three or four. The rest are variations just like great literature. Sean lit a cigarette and began an in-depth analysis on the Laura situation as he saw it.

    “A child is born.”

    We turned to the whiskey drinker. Just like before, and before that, he lifted his eyes to the lights and dropped them when his stare went blank.

    “Hey.” Sean said.

    The man just sipped his drink gently.

    “Hey!… What the hell is this? Midnight Mass? Tell you what, we’re all Jewish in here, so we don’t know what you’re talking about.”

    Jack Kelley grinned, and the old fart Mr. Heneghan snorted into his beer another two stools down. The whiskey drinker said nothing.

    “Who’s he bothering?” I asked Sean,

    “He’s bothering me. Is that alright with you? He’s been saying the same goddamn thing every twenty minutes since ten o’clock. Not a word else. When he wants another drink he just shoves his glass in front of him like I’m his goddamn slave.”

    “Well, how much has he had?”

    “Enough.”

    “Well, maybe you should cut him off.”

    “Screw him.” Sean said, and then walked down to the other end to check on their drinks. On his way back this time the whiskey drinker pushed his glass out in front of himself just like Sean had said. Sean stopped, and after glancing at me he pulled the J&B off the shelf under the mirror. He poured the whiskey with customary style. That’s one thing Sean always had, style behind that bar. He touched the metal spout to the rim of the glass with a clink, then, as the liquor poured out in a thin stream, he lifted the bottle an arm’s length off the bar suspending the stream, turning it into a gleaming caramel icicle. When he brought the bottle down to the rim again, a perfect double of whiskey sat in the glass.

    He pushed the glass back under the man’s face.

    “Just Jews here, guy.”

    He walked back over to me. “You want another, Kevin?” He pointed to my glass, nothing but ice now.

    “Yeah, man,” I said, not looking the gift horse. Just lucky for me, I guessed, that Sean had no women to lube up. Otherwise I probably wouldn’t have gotten the time of day. Busboys being lower than dirt, and all. As it was though, there seemed to be no limit to the holiday cheer flowing.

    Stolyandcranberry juice. Stolyandcranberry juice.

    And so Sean chewed my ear: small price for the booze, I guessed. He told stories, and he complained, and he preached; and Jack Kelley butted in sometimes.

    And the regular pastel bar lights mixed with the light from the twinkling string of colored sparks above the mirror; and this mixture hung on the smoke in the air with a thick, dim, red-orange glow. Something stabbed through my alcohol blanket. My brother at the window peered over to me on my bed, his face painted orange by the plastic electric candle masking-taped to the sill. “Come over here,” he whispered. “Look at the sky. He’s up there somewhere. Listen, if you cover the other window, that doubles our chances, right?”

    I had to swallow before I could speak to bum another cigarette from Sean. He drew one from his pack, tossed it to me, and finally lit me up after I had fumbled long enough in my pockets for a book of matches.

    “I don’t care how good you treat me, Sean,” I said smiling as I blew out my first drag. “You ain’t taking me home tonight.”

    “Get away from me, you faggot-ass,” he said. He pulled himself a beer and then leaned back again among the liquor bottles, propping his one leg up on the beer bin. It was then, or just a second or so after, that all eight or so of us that sat drinking, noticed the man move. We watched as he climbed from his stool on to the bar: first on his stomach, then scrambling to his knees, and then finally pushing to his feet shakily. Lifting his arms with open palms up to the tiny bulbs, he spoke.

    “Oh, for Christ’s sake,” Sean muttered, blowing out smoke with his words.

    “Be not afraid. Behold I bring you tidings of great joy.”

    “That’s it.” Sean hissed, as he shifted off his perch between the liquor shelf and the beer bin. “Jerry!” he hollered.

    “… For to you is born this day in the city of David a…”

    “JERRY!”

    Jerry poked his head around from the foyer. “What? “ Then he saw the man. “Oh.”

    “Oh, is right,” Sean said. “You want to get off your butt and do your job for me? Just this once?”

    Jerry played lacrosse and football on scholarship. Big guy. Good looking and always dressed real nice. I never had any problems with him. He sauntered to where the man stood. He looked up kind of like he was bored and shook his head.

    “And suddenly there was with the angel a multitude of the heavenly host praising God and saying—”

    In a clean synchronous motion Jerry slammed his fists into the backs of the man’s knees so that he crumpled like a puppet and fell gently into Jerry’s arms as if they formed the most comfortable chair. Brian Kilte tossed the man’s coat on top of him so that we could only hear mumbling underneath. Jerry walked him out easily, no doubt setting him on the nearest mound of trash bags.

    “Another?” Sean asked me.

    “Naw,” I said. “I’m finishing this one and then I gotta split. Miles to go before I sleep, and all.””

    “Whatever.” Sean took his perch.

    I drained my ice after a few minutes . It was almost midnight now. I slipped off my stool and went back to the kitchen where I put on my cycle suit, packed my stuff into my knapsack, grabbed my helmet and then, as an afterthought, punched out.

    “I’ll see you all, later,” I said as I walked past the bar.

    “See ya,” they said.

    Sean said, “Later on, Wise-ass.”

    “See ya, Jerry,” I said as I walked past him leaning in the foyer.

    “See ya, Kevin,” he said.

    And then I was outside with the freezing air smacking my face—the only part of me open to it. The moon shone from a gap in the thin clouds and lit those surrounding it. The buildings, the street—everything was quiet. Maybe no more so than any normal slow night, but the power of persuasion splashed in my stomach and creeped up my throat in halted burps, leaving a sour taste. Under my feet, the ground, the concrete felt harder–like it was frozen for yards down into the earth. It seemed to ring with each step I took.

    A heap of trash bags and boxes sat on the curb near the fire hydrant. I looked on top of it, but no Whiskey Drinker. I wondered if I was disappointed.

    My cycle sat in the alley behind the kitchen. It hadn’t been as cold when I rode over that afternoon; I knew the clutch would be stubborn. It took me five minutes of pumping the kick-starter before she fired to life. I sat with the engine vibrating underneath my butt as the cycle warmed up: where was I going? I hadn’t thought about it really. My parents had extended the invitation but I had told them not to expect me. I had said I had to work: sort of a lie; sort of the truth. Now I thought I would go up to the house. None of my roommates would be at the apartment.

    I twisted the gas, squeezed the clutch, kicked down into first and I was riding through the alley under the sky. I remembered my conviction as a kid that if I ran fast enough looking up at the moon I’d take off. Flying. I thought of her. The feelings came so close. I must have had some moonlit time with her. I couldn’t dig one up.

    She was at school down in Florida now; not coming home for the holidays, her mom had told me when I saw her at the mall. I didn’t ask her why.

    We didn’t write. We didn’t phone. I had cut her off neatly after we talked for the last time last summer. She wouldn’t say good-bye to me. She cheated me.

    In the country now: the watershed of the reservoir. Curving through roads, I switched off the head­light and drove the power lines. (An old country roads game: watching the wires for the gleam of headlights coming from even three-­quarters of a mile away: you can own the road doing this, swinging through the bends from one side of the asphalt strip to the other. Dimension.)

    A thought crossed: my bike hits a patch of ice and I hurl off the road, smashing my rib-cage against some grand oak tree. I’d die on impact; then slide down the trunk into a bed of leaves and small dry bushes by the road. I’d look so beautiful in the quiet, frozen moonlight–but then I remembered morning would come and the picture of my crushed body in dark blue and silver would be spoiled by the harsh and ugly bruise colors that daylight would bring. It pissed me off.

    I spun the twenty miles beneath me in about the same number of minutes, and reaching my parents house, I pulled off the road onto the gray gravel driveway. In it, right in front of the garage, sat a black, shiny, new Corvette. It dawned that my parents had moved, at least a month ago, to the next county over. Jesus Christ.

    So like a third millennium man from space I sat there on my vehicle in my helmet and suit; the moon watched; I watched the house.

    I saw my Dad—more than a little fat; more than a little loud and red-faced. (He was old now, and he hadn’t had a drop since the stroke in ’83—almost skinny, gentler definitely.) But there he was, from some year I didn’t know for sure, leaning out the storm door surrounded by the big colored outdoor lights that went around the shape of the door and continued into the bushes on either side. The living room windows had been thrown wide open, and the stereo speakers had been placed in them facing out to play to what I guessed was the universe and the face of God HimseIf. They trumpeted Mahalia Jackson, “Go Tell It On the Mountain.” My Dad grinned wide and then he transformed his face into a deep fake frown. He stepped out the door onto the front stoop, turned around back towards the house and shouted up: “I don’t care who you are; get those goddamn reindeer off my roof!”

    I sat there. I sat there until the image had all the way faded back to just a house with a shiny new Corvette outside.

    I had plenty of gas. I could hit a bank machine and I’d have plenty of money. I twisted the gas spitting gravel as I turned the bike around to the road. Maybe by Virginia or North Carolina I’d sober up and think twice; but then I’d already be a couple hundred miles below anywhere where it would make any sense for me to turn back.

    Maybe I’d get picked up by some hard-assed state trooper for speeding and D.W.I. Didn’t matter. Maybe I’d freeze to gangrene driving a thousand miles on a motorcycle in this weather, but I took my own dare. It gets warmer as you go, going south.

  • The SOAP Poster!

    The SOAP Poster!

    I have said it before: one of the most exciting moments for this playwright is when the posters for a world premiere drop into circulation. Something about it says, “Yup, this is happening all right.” And I really love this one for SOAPFest. (Thanks to Sean Williams of Gigantic Planet for the evocative design.)

    I plan on writing more later about why this upcoming festival of short world premiere plays is particularly special for me, but for now, let me simply share SOAPFest’s press release below the fold so you can have all of that important information now.

    Remember, SOAPFest is three nights only in a small venue.  Tickets are on sale here, now!  So . . . you know what to do.

    (more…)