November 3 (made-up): The Tricepted Crown

A spotlight rises to reveal three queens: GONERIL, REGAN, and CORDELIA. They are standing shoulder to shoulder. Each has her right arm stretched out and up before her. They are grasping a single brilliant coronet between them. After a moment’s struggle, the coronet breaks in three. Each queen clutches a fragment to her chest.

Slowly, the lights expand to reveal a barren heath. There we see three resplendent kings and three resplendent coteries of nobles. Conveniently, they are color-coordinated: green for Goneril, red for Regan, and (disappointingly) gold for Cordelia.

They look at each other.

GONERIL
Let’s never let power come between us.

REGAN
Seems like an odd thing to say right out the gate.

CORDELIA
Charles. (her king approaches) Expand our troops to the northern and western lines. Recreate the third division as my personal guard and bring them up at once.

CHARLES, the King of France, nods and leaves, taking two French soldiers with him.

GONERIL
Expand your troops?

REGAN
Don’t you trust us?

CORDELIA
“Trust, but verify” is the motto de jour. I am seizing central Britain. The contested lands are contested no longer. Goneril, you and your lord Albany shall march North and return to Scotland: you have ruled there happily for several years and may continue to do so. Regan, you and your lord Cornwall shall reboard your ships and turn back to Ireland. See that no rebellion is fomented on that green isle. I shall reign in the central Britain and Wales. Any disputes that arise between the two of you shall be mediated by me, here on our central throne. Seeing as there is a literal sea dividing you, no such contentions are anticipated.

GONERIL
Why come you get France and England and Wales?

REGAN
Daddy said the land should be divided up equally.

CORDELIA
Equality is a myth, or at best a philosophical axiom. It has little application in the real world.

GONERIL
Nuh uh!

CORDELIA
While we stand here bickering, my forces are solidifying. I have made my decisions. You are free to make yours. We shall see whose worldview prevails.

CORDELIA’S private guard arrives. They are intimidating.

REGAN
Well, my worldview is that you’re a asshole!

CORDELIA
Noted.

GONERIL
How come you get the throne?

CORDELIA
I am the only queen who makes decisions using reason. Because of this, I believe I deserve central power. I will make more rational and balanced decisions than either of you.

GONERIL
Are you calling me stupid?

CORDELIA
If that’s the word you want to use, then fine.

GONERIL
I can’t believe you called me that! You are so mean!

CORDELIA
Do you think you would make a better ruler than I would?

GONERIL
Yes!

CORDELIA
Why?

GONERIL
Cause I wouldn’t be such a cock-head!

CORDELIA
And that’s your definition of a good ruler? Someone who is nice?

GONERIL
Yes!

CORDELIA
Well let’s test that theory. Men! Hold this ground (indicates a spot). Repel my sisters from this immediate area.

The French troops advance and drive the other sisters away.

REGAN
Stop!

GONERIL
Don’t be a cock-head! Why is everyone such a cock-head! You’re all head-cocks.

CORDELIA
It appears my methods are more effective.

REGAN
Can’t we all just get along?

CORDELIA
If you are content with Ireland, and you with Scotland, then yes, we can get along.

GONERIL
That’s not fair!

CORDELIA
I already addressed that issue.

REGAN
Come on, be real. Why are you being this way?

CORDELIA
It is effective and efficient.

REGAN
Why are you so upset?

CORDELIA
I am not upset. I am a superior ruler, and I am taking this land. I have already explained why.

REGAN
Is it cause Goneril called you a cock-head?

GONERIL
Cause she is one!

CORDELIA
That didn’t happen until after I made my claim.

REGAN
So what’s wrong?

CORDELIA
The only thing wrong is that you are refusing to accept my terms, yet you have offered no justification for your counterclaim.

REGAN
I think this would all smooth over if we could all just be respectful of one another.

GONERIL
Yeah, fucker!

CORDELIA
I am not the one calling anyone names.

REGAN
There’s no need to be offended.

CORDELIA
I am not offended. You are making irrational and unfounded claims, and I am pointing them out. Moreover, you are distracting from the central point of this argument. You want the central throne, but still have offered no justification for why you deserve it.

REGAN
Why are you being this way?

CORDELIA
I want the throne, and I believe I deserve it. If there are not counterpoints, I will consider it mine.

GONERIL
Fuck you, you fucking Nazi!

REGAN
Why are you being so inconsiderate?

CORDELIA
I have already addressed that issue. You are refusing to listening to me while simultaneously projecting your own irrationalities onto me.

REGAN
If you would just apologize, we could lay this whole thing to rest.

CORDELIA
I have done nothing that warrants apology. I have work to do, and I want to get to it.

REGAN
Well fuck you! You fuckin’… Cock-head! Cock-head!

CORDELIA
All right, well, when you’ve calmed down, we can reopen negotiations. Until then, I insist you retreat to your own seats of power. Men!

The Troops push the sisters back. They continue to shout the same insult over and over. Eventually, they vanish.

CORDELIA
Oh, what a fertile promontory.

END

November Scripts

November 2 (Imbalance): The Washing Machine

Lights up on a five-tiered stage: a ground floor and four bridge-like platforms. The top tier is paved, the rest wood. On the bottom four tiers are several WASHERS, each of them part of an elaborate circle. Used towels are taken from the railings of the top tier at SR, slowly handed along, cleaned, inspected, and so forth, passed along to the bottom tier, where tubs and washboards are used to clean. They are then passed back up along the SL side, where they are dried and folded by various other WASHERS. Eventually, they are handed to a tall WASHER on the fourth tier, who stands and holds towels up toward the top tier. Along the top tier, 19th century french aristocrats promenade along, SL to SR. Each one takes a towel, uses it to dry their face, then dumps it on the railing near the SR side before exiting.

Post-industrial, vaudevillian music is playing, evoking the spirit of the assembly line.

Time passes, and the rate of passing aristocrats increases, producing more used towels. The WASHERS increase their pace, and it soon becomes impossible to keep up. The music speeds up to highlight this. In time, the aristocrats start to notice imperfections in their towels, but merely sneer at them. Soon after that, they respond to the outrage by spitting on the WASHERS as they arrive. It is worth nothing that most of the spitting is reserved for the Tall WASHER that is handing them the towels.

Soon after, a WASHER collapses from exhaustion. Those nearby attempt to help, but cannot stop for more than a second or two. Again, the job becomes more exhausting. More WASHERS collapse and are glanced at then ignored. The job becomes unsustainable, and the music reflect this.

Finally, halfway across the top tier, an ARISTOCRAT notices a stain on their towel. The ARISTOCRAT howls in horrified terror mingled with a touch of outrage. Foppishly, the ARISTOCRAT flails about the top tier, expressing disgust, horror, and utter disbelief. Other Aristocrats eventually come to understand the situation and express similar terror. Examining their towels, the minor imperfections that caused them to spit are now reviling poisons that cannot be endured. One by one, each ARISTOCRAT starts to flail and fop about in haute horror and dandyish disbelief, even as more ARISTOCRATS clog up the line behind them, taking towels and joining in the tempest.

Finally, the WASHERS have run out of towels. Several ARISTOCRATS have taken extra towels, dumped towels in places they don’t belong, worn towels as hats, etc. The WASHERS no longer have work, and are now staring up at the ARISTOCRATS and their histrionics. Some WASHERS reach up for towels. Some slowly emulate the foppish flailing. Some sit and ponder. Some lie down with their exhausted brethren.

One ARISTOCRAT bends over the railing to wretch and notices the WASHERS below. This ARISTOCRAT, a true HERO, stands up and throws out their arms.

HERO
My brothers and sisters!

Silence. Everyone looks at the HERO.

HERO
Why do we flail and fop amongst ourselves? Why do we bewail our misfortune, to suffer a befouled and bespattered towel, when we might turn our ire upon its rightful source and just recipient? (points down) Look at them! Indolent! At rest! Lounging about as we suffer! Do we ask too much of them? To wash a towel? Is this so terrible that they, so many they, cannot endure it? I say no!

ARISTOCRATS
Quite, yet, very quite, quite yes, hear hear, very much quite yes, etc…

HERO
Do not go quietly into that good night, but stand up for your rights! Boooooooo…

ARISTOCRATS
Boo, yes, quite boo, very boo, quite quite, boo boo, very quite boo, etc…

WASHER
We need towels.

HERO
What? Hold, hold my heroic brethren!

Quiet is restored.

ANOTHER WASHER*
We need towels. To wash them.

*No WASHER is allowed to speak more than once.
Disbelieving, insulted silence. And then…

HERO
You need towels!? There are towels everywhere! Look that them! All over! Here for the grabbing. And you say you need towels!? Boo! Boooooo…

ARISTOCRATS
Boo, yes, quite boo, very boo, quite quite, boo boo, very quite boo, etc…

ANOTHER WASHER
We can’t reach them.

HERO
What? Speak up!

ANOTHER WASHER
We can’t reach the towels.

HERO
Learn how to speak, you cretin. Hold, my friends, hold.

Again, quiet is restored.

ANOTHER WASHER
We can’t reach the towels from down here.

HERO
What what! What!? Now you want us to do your job for you? Now they want us to do their job for them? Why should we give you towels when you can’t even be bothered to clean them?

ANOTHER WASHER
We can’t clean them if we can’t reach them.

HERO
Bosh! Flimshaw! They’re everywhere! Everywhere for the grabbing! Boo! Boooooooo…

ARISTOCRATS
Boo, yes, quite boo, very boo, quite quite, boo boo, very quite boo, etc…

ANOTHER WASHER
Just put the towels on the railing where they belong!

HERO
Speak up, for the love of God! Speak up you subhuman!

ANOTHER WASHER
PUT THE TOWELS ON THE RAILING WHERE THEY BELONG!!

Shocked, indescribable silence.

HERO
How… DARE you!? The impertinence.

ONE ARISTOCRAT
Boo–

HERO
No no! Not this time. THIS time… oh, ho ho ho… THIS time… We have attempted to be reasonable. We have attempted to be merciful. We have extended the hand of friendship, upon which you spat. We have extended the olive branch, which you have soiled. But now… now… I demand… to speak to your manager!

Gasp!

A rumbling. Then, divine light shines down from the heavens. The clouds part, and the DEVIL descends from fly wires. It is obviously the DEVIL in a business suit, every bit the cliche.

DEVIL
Good morning. What seems to be the trouble?

HERO
The trouble is this creature (points to a random WASHER), in addition to refusing to do a simple job, that is its job let’s not forget, has responded to my polite parley by insulting my person! Harumph, sir! Harumph I say!

DEVIL
I’m very sorry to hear that.

The DEVIL points at a random WASHER, maybe the same one the HERO pointed out. There is a flash of light, and the WASHER collapses, writhes in pain, and dies. Only the WASHERS notice this.

DEVIL
First of all, I would like to being by saying that I am sorry.

Again, the DEVIL points to a WASHER, to dies in a flash of light and agony.

DEVIL
We’re a family here, and I recognize that by hurting you, we have hurt ourselves.

Again, the DEVIL murders another WASHER.

DEVIL
I have taken definitive steps to ensure this mistake does not happen again.

As the DEVIL speaks, a DEMON in a suit emerges on the top tier. The DEMON, silent and unnoticed, collects some (not all) of the errant towels and places them on the railing at SR. When this work is finished, the DEMON quickly vanishes offstage.

DEVIL
We are a family, and we are sorry, and we have taken definitive steps, and we are a family, and thank you for being part of our family. Family.

There is an enormous flash of light. As the DEVIL ascends back into heaven, a single ARISTOCRAT is struck by the light and tumbles over the railing. This single ARISTOCRAT falls onto one of the lower tiers. Drunk with disorientation and injury, the long ARISTOCRAT looks around. Slowly, the reality of the situation dawns. The ARISTOCRAT tries to shout and express the horror, but find they have no voice.

As the shock subsides, the WASHERS slowly get back to work. They are fewer in number and have fewer towels, but they are quickly able to provide fresh towels to the backlogged Aristocrats. The Aristocrats slowly get back to promenading. The HERO stands at the center of the top tier, looking out over everyone. The lone ARISTOCRAT in the lower tiers continues to shout and resist, but eventually is taken over and becomes part of the Washing Machine.

A passing Aristocrat hands a large hat to the HERO, which the HERO dawns. It is a huge, Napoleonic hat, with the word “HERO” on it. The HERO looks out over the audience with great dignity.

There is now a backlog line forming at SL as Aristocrats wait for towels. Each Aristocrat now has their own personal towel that they wear as a piece of clothing, possibly two, in addition to the towels they take, use, and discard. The WASHERS below have never worked harder: there are fewer Washers, fewer towels, and the lone ARISTOCRAT is jamming things up with their whining and incompetence. The post-industrial music returns, but now a glorious anthem is drowning it out.

The HERO looks out nobly over what they have wrought. Divine light shines from above.

Slowly, the lights fade out.

END

November Scripts

November 1 (Fantasy): Berethrax and the Fear of Success

We hear screaming winds and manic chanting. Red lights rise on a jutting black promontory at CS. Surrounding the promontory are numerous figures in black robes, their hands stretched up; unsurprisingly, they are the source of the chanting. Standing atop the promontory is a single figure, presumably their LEADER, whose robes are purple.

The chanting reaches its apex. Lights flash. Flames shoot from US. The storms and shouting climax with a final brilliant flash of light, and suddenly there this Blackout and silence.

The silence goes on for several seconds.

Dim, golden light slowly fades up on the same promontory. The same people are there, their hands limp at their sides, staring up at the LEADER. More silence follows, until…

LEADER* 
Now… I realize of course that last night was… disappointing. I’m sure I need hardly append that this has never happened to me before. I think it’s important we all recognize as well that the Book of Berethrax, though inspired by our perfect and malevolent master, was after all, written by people, and people are after all, fallible. That is, after all, why we hope to summon the Dark Beast Berethrax into our world, that he or she or it might subdue and consume the human race: we are, tragically, only human.

*It is the playwright’s opinion that the Leader, regardless of age, sex, gender, or type, should resemble, in action and speech, Robert East in his performance as Prince Harry in Series 1, Episode 1 of The Blackadder: “The Foretelling,” with a special focus on his monologue to the troops during the Battle of Ralph the Liar’s Day.
Sparse, half-polite chuckles from the crowd
.

LEADER 
I’m reminded of something Berethrax said to me when only a child. This was, of course, before the Dark Beast rallied his or her or its infernal armies of revenants and shadow serpents to march against the tall and haughty Gates of Heaven. He, or she or it, said to me, “Chris,” he or she or it said (we were on a first-name basis, even then), “Chris, being a mere and petty mortal, you will of course find yourself prone to frequent mistakes. You are imperfect, which is after all why I intend to one day expunge your petty and insignificant species from the Earth and cast you down into eternal torment. Until then, however, it is vitally important that you do not allow your obvious shortcomings to shunt you into despair. One day you will summon me, and I shall return – or not! – but until that time, you’ll just have to muddle on as best you can, always put a bright face on things, and never let yourself become discouraged.” Inspiring words, I felt, and still feel. So, I think it’s in our best interest if we all gather up our things, return to the compound, and settle in for another quick decade of servitude, worship, and of course preparation. We’ll try this again on the next third blue moon. Not to worry, the time will flow so quickly, I expect we’ll feel as surprised and unprepared as we did for Gladys’ birthday party last week. So in summation: stay positive, put your noses to the grindstone, and let’s make this next decade even more productive than the last! Hands in!

The LEADER puts an outstretched hand down toward all the cultists. They do not react. Another tense silence follows.

RANDOM CULTIST
This is bullshit!

ANGRY CULTIST
I been working on this for seven years!

FURIOUS CULTIST
I’v been working on this for twenty-three years!

RANDOM CULTIST
When the hell is Berethrax gonna get here already?

DISGRUNTLED CULTIST
Yeah! I told my ex-girlfriend I was gonna experience the ecstasy of my ego-death by Berethrax’ sublime mastication. If she sees me next week while she’s out getting smoothies with that douche-bag lawyer, I’ll look like an idiot!

Suddenly, more jets of fire burst up. The LEADER hits the floor. Everyone else stairs in awe. Great, brassy trumpets sound a clarion call, and the rattle of marching boots can be heard. As the trumpets let out a final sennet, BERETHRAX appears on the promontory. The Great Beast’s features are largely obscured, as he or she or it is clad (yes clad) in armor the color of blood and bones. Choral music, the sort found in modern fantasy movies, is now playing. BERETHRAX reaches down and partly lifts up the LEADER. The cultists all kneel before the sight as BERETHRAX inadvertently creates a quasi-imitation of The Lion King. This moment is soon quashed, however, as BERETHRAX tosses the LEADER down into the throngs. The LEADER is, presumably, caught and, presumably, unharmed.

BERETHRAX
My people! I have returned from conquest!

Silence. Much shuffling of feet. In time, the LEADER leaps up and cheers emphatically, clapping hands and stomping feet. Eventually, everyone takes the hint and starts cheering. This goes on for some time. When satisfied, BERETHRAX raises a fist in the air and stops them cold.

BERETHRAX
Heaven has fallen!

Again, uncertainty. The LEADER again gets everyone to start cheering. When satisfied, BERETHRAX opens the closed fist into a “stop” command, silencing everyone.

BERETHRAX
The Kingdom of Heaven is mine. The few that remain of the holy shall be cast down upon your despoiled land and kept imprisoned as befits their station. You creatures shall be charged with the erection of the fortresses, strongholds, and (for the meanest among them) keeps that will house their lot.

Yet again, silence.

RANDOM CULTIST
Like… construction workers?

BERETHRAX
What?

LEADER
Yes, we… construction, in a sense, I mean. I’m sure the Great Beast Berethrax intends for us to rule over the peasants and wards who will do the actual lifting and building and… construction… ing. Yes?

BERETHRAX
I don’t care.

LEADER
Yes! See? Of course. And naturally, once the Earth gets a taste of Berethrax and the eternal fury of holy hellfire, I’m sure we’ll have little trouble convincing them of just who’s calling the shots here.

BERETHRAX
I do not intend to stay.

LEADER
Yes great – what, huh now?

BERETHRAX
Heaven is mine. I ascend my golden seat. Do what you want with this pit, so long as I get my prisons.

LEADER
… Yyyyyeeeeesssss… I wonder, uh, Great Beast Berethrax, if we might–

BERETHRAX
Farewell!

More gouts of flame. BERETHRAX leaves. Utter silence ensues. Everyone slowly turns to stare at the LEADER. Silence. The LEADER tries to climb back up onto the promontory, but fails, several times. Eventually, the poor LEADER has no choice but to turn and face the unimpressed throng.

LEADER
So… the great day has come at last! We’ve got a lot of work ahead of us, but I think it’s important we take time to celebrate our victories. Let’s all return to the compound for a thirty-minute Tex-Mex luncheon–

DISGRUNTLED CULTIST
Where’s the hellfire!?

FURIOUS CULTIST
Where’s the smiting of our enemies!?

ANGRY CULTIST
Where’s the illusory sense of importance and the inflated impression of vindication that comes from watching others outside your immediate sphere of influence suffer misfortunes from a pedestalled ideologue with whom you loosely associate?

Silence.

ALL CULTISTS
Yeah!

LEADER**
I think it’s important that we of course remember that the Great Beast Berethrax… has a lot on his shoulders… or hers… or its… And I think we must once again reflect that the Book of Berethrax, although inspired by our infernal and now (let us not forget) divine leader, is in fact written by humans, who are (as we agreed) fallible. So it is entirely understandable and, I should dare say, expected, that certain of the prophecies and predictions may come out slightly differently than we may have been led to what are you doing? Wait!

**During the above, the CULTISTS slowly close in on the LEADER. By the end, the LEADER is completely swarmed by followers. The lights quickly fade out as they seem to rear up as a single unit, ready to collapse on their erstwhile LEADER.

END

November Scripts

The Passion of Boudicca: Casual Reading

Boadicea Haranguing The Britons. John Opie, R.A. (1761-1807). Oil On Canvas.

Boadicea Haranguing The Britons. John Opie, R.A. (1761-1807). Oil On Canvas.

Join us November 12 (Saturday) at 11am for a casual reading of The Passion of Boudicca, an Elizabethan-style tragedy.

DATE: Saturday, November 12
TIME: 11:00am to 1:00pm, with a discussion afterward
VENUE: Pendulum Theater Space: Stage Studio (1803 W Byron Ave, #216)

We’re looking to get feedback on how to improve the script, both as an exercise in Elizabethan drama and with a specific eye for production.

Synopsis: Queen Boudicca wished to maintain rule over the Iceni (who lived roughly in the Suffolk region) after the death of her husband, King Prasutagus. The Romans felt they were now the rightful owners of the region, and supported this argument by sacking her town, scourging her, and sexually assaulting her daughters. Boudicca countered this point by gathering the local tribes and completely kicking the nine shits out of the Roman army for several years. Taking its inspiration chiefly from Antony & Cleopatra and As You Like It (with a tiny sprinkling of King Lear and Henry VI, and particles of others), The Passion of Boudicca pits Pride against Love, Law against Integrity, and Nature against Individuality.

PLEASE BE FOREWARNED: This play deals (among other things) with sexual assault. It is not depicted onstage, but it does happen during the course of the play, and it is discussed frequently.

CHARACTERS (In speaking order)

Catus, a Roman lord (Read by JD Whigham)

Maeve, the Queen’s daughter (Read by Katy Jenkins)

Cassio Dion, a Roman captain (Read by Nathan Ducker)

Brigid, the Queen’s daughter (Read by Sarah Jean Tilford)

Tacit, a Roman captain (Read by Charlie Baker)

Boudicca, Queen of the Iceni Britons, sometimes called the Queen or Lady of Suffolk (Read by Jessica Goforth)

Scyllia, A Braggart, who tromps about the Leafy Wood (Read by Kaelea Rovinsky)

Suetonius Paulinus, the Roman Governor of Briton (Read by Christopher Elst)

A Clown, called Modred, who lives in the Leafy Wood (Read by Bill Daniel)

Ester, a Briton shepherdess who lives in the Leafy Wood (Read by Gilly Guire)

Helio, a Briton shepherd who lives in the Leafy Wood (Read by Kamron Palmer)

Beatrice, a Foundling who fights in the Briton army (Read by Taylor Barton)

Random Stuff, Theater Stuff

Robert Liston’s Snickety Snack

Robert Liston. Photo by Hill & Adams, c. 1845

Robert Liston. Photo by Hill & Adams, c. 1845

ROBERT LISTON’S SNICKETY SNACK, my first micro-epic poem, was debuted at Living Room Vauntgardia’s Vaunted House on October 21, 2016.

ROBERT LISTON’S SNICKETY SNACK

Rob Liston, my specialty’s amputation.
I’ve acquired a grandiose reputation.
You lie down on your back,
And with snickety snack,
You discover your leg’s on vacation.

Each pound of flesh, a nest,
A home to a’ planet’s worth
Of tiny, vicious, hungry… things;
Invading aliens, in your flesh,
They bite, and eat, and swallow,
And out they shit your pound of flesh.

Infection was the Devil of my Time,
And Time our great adversary.
My smock, my frock, my trousers, locks,
All spatter-gored, a sign of my success.
I, a’ demon of speed, red, blooded, proved
Upon the field of vicious, hungry bites.

We manly men, we gloried in our gore,
We boasted of incaridined coats.
By butchery saved we dozens, though often still
E’en our admired appetites, our flash
Could not redeem from He our Savior that
Last ten percent: the tithe He took from Me:

Rob Liston, my prayer is Amputation,
God gave me a marvelous grand Vocation,
You lie down on your back,
And with snickety snack,
You pray that I’ve said my Novations.

I smiled as they held him down, frothing.
Time Me, Gentlemen, Time Me,
I cried with a West End wink,
And dove in to dine.
Fast, Faster, fair enough to think
That I’d outdo myself, insatiable for slices.

Time Me, Gentlemen, Time Me,
A flurry of ferrum, but then I seized
That green and fateful saw
That sharp-toothed maw.

He screamed, he writhed, I grinned
A barb’rous grin: Scratch, Bite, Rip,
My jaws of life bit into him,
To break him, to save him,
Perhaps… to kill him.

Rob Liston, my drug, she is Amputation.
Addicted? I’ll make no Protestations.
You’re held down on your back,
And with snickety snack,
You may die from my Ingestation.

Oh, he is fighting, Oh he is roaring,
And so roars God,
And so roars Death,
But so roar I,
My metal jaws are stronger than them all.
I Scratch, Bite, Rip,
They hold him down,
I Bite, I Rip,
They hold him down,
I Bite, Bite, Bite,
They hold, hold, hold,
I Rrrrrrrrrrrrrrrrrrrrrrip!!!!!

Gouts! Of red Victory explode!
Dangling Failure tumbles to a barrel
And Plop. Plup. Plip.
—-
Poor Richard’s fingers fall upon the floor.
Old Doctor Desmond’s fallen on the floor.
I bit his coat, not him, but tell his old Heart that.
Old coat, poor hand, sick leg;
I bit them all.

A pound of flesh, a nest,
Each home to a’ planet’s worth
Of tiny, vicious, hungry… things;
Invading angels that hate we mortal men.
Their holy light turns the stump to shit,
Their holy love the hand to shit,
Their holy song the heart to shit,
And my tithe’s three-hundred percent.

Rob Liston… Slice.

snickety-snack

Living Room Vauntguardia, Oct 2016

Random Stuff, Theater Stuff

“Dali’s Liquid Ladies” Proves Unsettlingly Relevant

DaliMilwaukee’s Truepenny Theater Company presents a vibrant and entertaining dip into the pool of Absurdism in their production of Savannah Reich’s Dali’s Liquid Ladies. Although much of their time is spent in cloyingly light (and consistently hilarious) performances that might more accurately be called parodies of Absurdism (or Dadaism, or whatever “weird” you choose), those parodies are refreshingly entertaining throughout. The brief moments of sincerity are effective if a bit weakly performed, but it is in fact the overarching comedic plot that displays a darker truth about the real relationship between absolute freedom and art in the real world.

Reich describes her script as “A dark and disturbing comedy about three mermaids plotting to kill Salvador Dali at the 1939 World’s Fair.” Both the title and description attempt (I think) to cast the mermaids as the central figures of the premise, but this ultimately proves an impossibility with Reich’s plot. The Ladies (Molly Corkins, Keighley Sadler, and Kat Wodtke) provide excellent, physically informed, and polished performances; it is the script itself that prevents any of them from standing out. But more on that later.

The production itself is outstanding and refreshing. Staged at The Fortress, this studio of challenging accessibility is transformed by set designer Luke Farley into a beautiful, whimsical, and cozy environment, conducive to relaxing entertainment but featuring enough of the overblown and the weird to keep the audience primed for the unusual. Much of the set is decorative (and amazingly so), but the trophy and triumph of Farley’s work is Salvador Dali’s throne: an office chair adorned with huge papier-mache backing in the shape of wings (formed, one assumes, from newspaper clippings about Dali himself), crowned by a three-pronged, stylized crown; in case there was any doubt of who was considered the god of this world.

Don Russel’s lighting is similarly beautifying and unique. Floor lights are a rare feature in unconventional spaces (usually due to budgetary concerns), but there is no substitute when looking to create striking artwork out of the human face.

Leslie Vaglica’s professionally executed costumes, in addition to their physical beauty and functional quality, served to highlight the Ladies as both the objects of an artist’s control and the subjects of their own view on art. Each ‘mermaid’ spends most of her time in a monochrome robe that is uniquely secured and (in more than one case) serves a double function. Sadler’s robe zips up, for example, allowing her to dive entirely inside like a cotton womb and operate a flashlight, essentially becoming a spectral blob. Each of Dali’s models is at least partially nude during at least one point in the play, and the body suits underneath each robe (by their absence or presence) strongly demarcate everyone’s nakedness as either an artistic expression or a moment of honest vulnerability. This is equally true of a fifth, yet to be revealed character, whom I’ll mention in a moment. Dali, meanwhile, the allegedly unique and extraordinary artist, spends nearly the entirety of the play in a suit and tie (and, it must be said, the comically exaggerated mustache), casting him at least to our eyes as little more than another contemporary authority figure. This proves vitally important to another point I hope to make later.

The actors themselves, meanwhile, are well-cast for the super-normative environment of Dali’s Liquid Ladies. The Ladies are frequently demanded by the script and Dali himself to make statues of themselves, leaping into seemingly spontaneous collaborations of human-machinery. Director Tessara Morgan stages oft-exciting and oft-amusing conversation-pieces from her actors, in an eerie but still hilarious echo of Dali’s own directorial work.

Dali himself, or a reasonable approximation thereof, is brought to life convincingly and compellingly by a committed performance from Nick Narcisi. Under Morgan’s direction, Narcisi’ Dali is a Brechtian gest infused with a little more subtlety than either Brecht or Dali might seem to desire, but which is happily accepted for this performance. Dali is the counterpoint to everyone else onstage in every way: still when they are animated, sure when they are uncertain, slow and enunciated when they are flustered and stammering, and (almost) always in total control. Dali even commands the lights, frequently ordering their alteration as it serves his presentation, speeches, and musings.

It is in this respect, of Dali’s total dominance over others in the name of his alleged freedom (both artistic and social), that Dali’s Liquid Ladies gives the impression of being either woefully out of touch or searingly relevant: the fact that I am still unsure which is the case says a lot about the role of irony and self-awareness in contemporary art.

Ages ago, I read a blog criticizing scripts for almost exclusively relegating women to the role of observer and reactor. This blogger suggested that in the vast majority of plays, whether romantic or political or absurd, it is a woman’s lot to watch, fascinated, a unique and idiosyncratic man make his mark on the world. Most damningly, this blogger laid this allegation squarely at the feet of woman playwrights: that they were equally if not more likely to perpetuate this stereotype. Even in plays where the central characters are all women, even in lesbian love stories, the lead is frequently an observer watching a more interesting person who defies convention (and often, relatability).

Dali’s Liquid Ladies is the epitome of this trope. The three women (Dali himself proclaims their names irrelevant) obey, react, idolize, resent, and counterattack. They appear to have little or no motivation or identity outside of their relationship to Dali. Even the play’s climax, wherein the Ladies presumably free themselves from the artist’s amorphous hold on them, requires that they work as an inseparable unit, free of personality. They are a Greek chorus for any purpose, and each one’s very rare opportunities to stand apart from the others is quickly drowned in Dali’s enormous personality.

Of course, you can’t very well write a play about Dali without focusing on the title character. It would seem to make sense that this level of idolatry exists in a play about Dali and his artistic possession of three women.  However, the play has a fifth character. A young member of the 1930s Nazi party (the Lost Nazi, played with precise naivete and immediately disarming charm by Ben Yela) stumbles into Dali’s experimentation and is quickly seduced into becoming the fourth cog in the genius’ creative machine. Even so, the Lost Nazi is the only character Dali spends time with as a person: they eventually share stories of their childhood. The Ladies, meanwhile, chase after Dali with the blind worship of a pollyanna pursuing a Byronic hero, to the by-turns contemptuous and unseeing disdain of the man himself. Even the show’s use of nudity reinforces this sexual divide. The Lost Nazi has a nude scene in which he embraces a new identity, literally shedding his old one, and recreates himself as someone more confident, more open, and more at home in his own body. The Ladies, meanwhile, get naked because a man told them to, or because they wish to elicit the attention of a man. There is one exception to this, where Opal (Corkins) tells a moving, silent story with the application of blue paint to her nude body (again, I think we see here Vaglica’s delineation between sincere nakedness and costume-accentuated nudity), but even in this, we see a stark contrast. Opal communicates seemingly to herself, while the Lost Nazi’s sequence allows him to very openly and boldly communicate with the audience. Even the costuming highlights this: the Lost Nazi, nameless though he largely is, has an identity separate from everyone else, and no matter how lost he becomes in Dali’s world, that identity remains, as does the new one he adopts. For the Ladies, meanwhile, their uniqueness doesn’t extend much farther than the color of their robes.

But Dali’s Liquid Ladies doesn’t just present the misogynist dehumanization of women; it is also an hour-long display of a self-proclaimed auteur and advocate of absolute freedom using artistic absolutism to emotionally enslave others. Several times Dali praises himself for being free: he has no filter between his feelings and their expression, he does not allow the public to tell him what to create, and (he ironically proclaims near the show’s climax) he does not need anyone. This last and most obvious untruth is immediately undercut, as the lights refuse to obey him the instant he makes this final boast. That stumble gives me great hope that this play is in fact far subtler than its broad send-ups of modern art imply.

In Dali we see every egoist hypocrite with a compelling personality, proudly celebrating their own independence, blithely unaware of the people they enslave by their own freedom. It’s very easy for a wealthy celebrity to say he doesn’t need anyone: he can wait for people to come to him. It’s very easy for a powerful and privileged person to advocate freedom, and if lesser people give up their freedom in the hopes of getting a crust of bread from your own largess, well it’s hardly your fault now is it?

In its climax, Morgan’s direction appears to give us a man consumed by his own art rather than his own enormous hubris, though Reich’s script does at least lay the groundwork for either conclusion. Certainly the Ladies’ hand in things suggests that Dali’s ignorance of the consequences of his actions is self-destructive, but these mermaids’ lack of personal identity leaves me wondering how much this play actually cares about lesser mortals.

Leaving aside the socio-political, however, Truepenny Theater provides a compellingly entertaining evening that is exactly as challenging as you choose. Physical performances are consistently more sincere and committed than verbal, particularly the rare opportunities for sincerity offered by the play’s soliloquies, but considering that over ninety percent of the play is predicated on physical commitment, this is clearly a smart decision to make. It’s well worth your time and money (suggested donation of $20, and a firm commitment to not turn anyone away due to financial hardship), and even featured a smoothly delightful pre-show music act. Dali’s Liquid Ladies is a hilarious, unique, and quite possibly unsettling time that I recommend to anyone.

Reviews, Theater Stuff

Vaunted House: Snickety Snack

Living Room Vauntgardia returns with its Halloween show: Vaunted House.

I’ll be there to perform my new poetic monolog: “Robert Liston’s Snickety Snack.”

Dr. Robert Liston was a famous surgeon who specialized in amputations. Check out Vaunted House to hear my five-minute fantasia on his legendary mishap that resulted in a three-hundred percent mortality rate.

Robert Liston. Photo by Hill & Adams, c. 1845

Robert Liston. Photo by Hill & Adams, c. 1845

Theater Stuff

Rehearsal Shots from The Skywalker Cycle

The Skywalker Cycle is opening soon. Check this out!

Playwright, Theater Stuff

David Wong on Cruelty

“Every living being has but one need: power. Power over other living things. You need it to grow, to eat, to reproduce. And cruelty is the ultimate expression of power. To impose needless, extreme suffering and humiliation on another. It is the purest demonstration of strength. Toddlers learn it in the nursery.

“Therefore every organism, from the microbe up, wears its cruelty as a badge to mark its upward progress. Prey must be subdued, competition must be starved, enemies must be wiped out. One would thus assume that we find the same among the gods, only more so. That at each level of the heavens we find higher and higher levels of greed, brutality and mindless spite. How else could they have become gods?”

– From John Dies At The End

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King Lear, Unrehearsed

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Theater Stuff, Unrehearsed Shakespeare