Clair de Luna: The Trouble With Hills

k21266250The trouble with hills, generally, was that they inclined. Their inclines were not necessarily brutal; indeed they were often subtle and sometimes merely suggestive, and these latter descriptions aptly applied to the hill upon which Ursten and his erstwhile cohort were presently engaged. Still, just as comedy is often the alchemical progeny of tragedy and time, so the combination of time (the truest Philosopher’s stone most any alchemist was likely to come across) and a gentle hill would invariably produce fatigue. Fatigue and time then gendered irritation. Irritation, once incestuously coupled with his grand-parent, would birth that greatest of all bedevilments: second-guessing.

Ursten was second-guessing himself. Could they pull it off? If they failed, would they die? If any should survive, would they happen to recall that they had embarked on this foolhardy adventure on Ursten’s own behest and perhaps, once the proverbial and subsequently literal dust of combat and subsequently funerals had settled, be inclined to point an accusatory finger at the young hero? And, once pointed, might that finger not then be followed by the throw of a fist, the swing of an ax, or the expectoration of a flintlock? These hypotheticals began to weigh heavily on Ursten’s collapsed shoulders as he trudged up the endless hillside, slowly gravitating toward the back of the mob by dint of both his weakening resolve and his weakening legs. Adding to the weight of these concerns and the responsibility of the lives of a few dozen people was the noticeable density of the burning torch in his right hand, which frustratingly seemed to grow heavier as he tired.

Perhaps it would be best, he thought, to allow his gait to taper further, and simply let his slapdash army pass him entirely. But of course, it was not his army any longer.

Once the citizens of Bucolivier had warmed to the idea of storming the tower, it was quickly decided that such a heroic endeavor could not be spearheaded by a short butcher’s son who was small in all the places a man aught not be small and large in all the places a man aught not be large. This decision was initially made by Hugo, the rock-muscled lumberjack, but it was quickly seconded and passed by the mob en masse. Seizing the knacking mallet straight out of the Ursten’s diminutive hands, Hugo hoisted the ersatz weapon on high and declared, “The monster dies tonight!” His rolling baritone, rippling out of a chest that would not have looked out of place on a statue of Jupiter, instantly ignited the villagers’ ire, which had to-date been brought only to a bare simmer by the enterprising Ursten. The Lothario-cum-Beowulf pivoted on the exclamation point and instantly marched out of town, not bothering to insure that his thoroughly riled entourage was well in step behind him. He knew. Such was the virtue of those blessed with square jaws and thick skulls.

Ursten did his utmost to keep pace with the longer legs, stouter muscles, and undeniably fiercer determination of the party’s new figurehead, but he was eventually pulled back by both the cruel caprices of nature and his own ebbing motivation. Only minutes ago, the thirst for vengeance had fired his demure lungs with divine fury, but the object of his passion had infuriatingly decided to erect her home two-and-a-half miles outside of Bucolivier proper. Once again, we see the perverse transformative powers of our old friend Time at work. For while a journey of less than three miles is nothing next to a loved one in danger or even the thrill of bloody revenge, it has quite a dampening power when that thrill is spread out amongst some thirty-or-more people. Particularly when some thews-bound nitwit is going to steal all the glory.

Perhaps if Hildi were still alive, Ursten might have been able to maintain some motivation.

There was no question that Hildi was dead. He had seen it happen, unfortunately. After spilling his heart to her, declaring a deep and abiding love that was born for the ages and that had existed ever since they had taken that bovine cross-breeding lesson via correspondence together, Hildi was tragically murdered by a donkey’s kick to the head. True, Hildi had backed into Dowsabel’s stall, which should not have been left open. True, Hildi’s eyes were wide and glazed, and a rictus smile was painted on her face as she backed away from Ursten’s sincere epistles. True, Ursten may have slightly raised his voice when his declaration was not immediately met with enthusiasm. And yes, true, Dowsabel’s braying and kicking did appear, to the unpracticed observer, to be immediately precipitated by Ursten’s shouting. Fortunately, there were no other observers, practiced or otherwise, save the gratifyingly laconic donkey. So Ursten was free to carry Hildi’s lifeless body out of the stall, bespattered with entirely genuine tears, until his arms gave out and he deposited her upon the ground with a wail that would have compelled Lear himself to ask if he might tone it down just a bit, not twenty meters from the barn. There, the butcher’s son waited patiently for a sufficiently sized crowd of mourners to gather before revealing the tragic details of Hildi’s decidedly prosaic end.

Alas, before a good dozen people could emerge from their homes, an enormous metal giant appeared and stole the body.

The Golem, as it was known in the village, unquestionably had come from the tower. Many a villager had claimed to have seen it late at night, stalking about the perimeter of that shunned place: standing guard against the ghouls and goblins that were surely drawn to such a nest of evil, hunting down and slaughtering the wolves and black cats that could smell the devil emanating from within, and (according to some) tending the turnip garden round the back. Tending a turnip garden at midnight was, according to many villagers, the greatest accusation of evil thrown at the monster’s feet. The question of what exactly these villagers were doing near the tower, two-and-a-half miles out of town, around midnight on what was invariably a work-night, was rarely broached. On those rare occasions, the accuser would rapidly develop an intense interest in their beer, a chemical which was always to hand when such stories were told.

Twice as tall as a man and thrice as broad, built from Hell-fired steel, yellow-bright coals burning where its eyes aught to be, the Golem had always been left to its own devices. There were two such motivations for this remarkably laissez-faire attitude: one, the beast always kept to itself and never traveled more than a hundred meters from the tower; and two, the beast looked quite capable of crushing a human head with one hand. Only now with a mob of about twenty-five concerned citizens, galvanized by its unprecedented invasion into the village proper, did they dare march upon the creature’s home.

Was that number accurate? Ursten felt quite confident that there had been almost three dozen of their task force when they had first set out. Had the master of the tower sent out other, subtler servants to trim their numbers? Or, more likely, had they simply succumbed to the same dark magic that was now threatening to overpower Ursten himself: doubt. Through the crowd, he could still see Hugo’s prodigious arms pumping up and down in time to some Saint-Georgian march that rang only in his head. The butcher’s son took a deep, burning breath and doubled his efforts. He was the hero here. He was going to show that corpse-snatching demon-spawn that its actions had consequences. He was going to show Hugo, Hildi’s parents, and the town as a whole that he was worthy of their (and, were she capable of it, Hildi’s) admiration. And most importantly, he was going to show everyone that this beast was unquestionably the villain here, and no one else.

If only the damn hill would peter out at some point.

Ursten had not even made it halfway to the front of the crowd when everyone stopped, jostling into one another as inertia reassembled the group. The tower stood before them. A patchwork of stone and lime, metal and bolts, wood and nails, and some strange unholy materials that no one recognized, the tower was the epitome of “that which should not be.” The fact that a giant made out of blackened steel lived inside, along with whatever other foul creations, was almost redundant. The tower leaned, and in more than one direction. Narrow, at least ten stories high, and no doubt filled with obnoxiously spiraling stairs, it would be easy and necessary to tear it down. Ursten briefly reflected on how often the easy and the necessary seemed to coincide in Bucolivier. Everyone else, however, reflected only on Hugo’s booming declaration.

“Come out, Witch!” he roared for the second or third time; Ursten had not really been listening. “Foul grave robber!” he bellowed further. “Despicable corpse snatcher!” An awkward pause followed. “Evil…” he added, “… woman…” Desultory applause flittered from the mob, trying to encourage their de facto spokesperson. The profile of his jaw, beautifully silhouetted against a particularly light patch of tower by the setting sun, nodded brusquely. “Come out, Witch!” he demanded again, having evidently exhausted his material and deciding to revisit the standbys with which he had become comfortable.

The mob began to chant, “Come out, Witch!” with rapidly rising intensity. Ursten sympathized with them, but the concept of chanting at a witch seemed somehow counter-intuitive, perhaps even hypocritical, so he kept his own council. It was perhaps unavoidable, then, that the chanting indeed worked.

An enormous boom erupted from the tower’s door, silencing the crowd. Hulking black iron with a dragon’s head embossed upon its front, the door looked as though even Hugo would be unable to move it upon its hinges. Nevertheless, it slowly groaned open. A few of the villagers gripped their pitchforks more steadily. Fewer others held their torches resolutely in front of their own bodies. Fewer still held up knives or axes. The rest suddenly and embarrassingly realized that they had come unarmed to wage war against a witch and her army of monsters, and collectively leaned back on their heels.

A figure emerged from the dark doorway.

Although still terrified, the villagers breathed a collective sigh of relief to find that an enormous metal warrior with titanic arms and a demonstrable lack of concern for social norms was not exploding out of the tower with a draconic roar, ready to tear each of their limbs off and subsequently mix them in a jumble before translating them into modern art. Instead, a tall and narrow but nevertheless un-intimidating shadow appeared, soon to be illuminated by a torch held aloft by Ursten, who had finally forced his way back to the front of the crowd.

There stood a woman in her thirties, a bit worn by time but clearly still vital. Her skin and hair were both darker than was the norm in Bucolivier, but the Bucoliviens considered themselves nothing if not cosmopolitan in their attitudes toward strangers. Of course, they also considered themselves educated and forward-thinking, so their perspectives might be discarded with confidence. The Witch, as she was so called, had large and opalescent eyes that seemed entirely too eager to reflect the hungry flames of the nearby torches. Her decidedly masculine outfit, which appeared to be various shades of blue and gray in the dim light, was of a decidedly western and decidedly dandy-ish cut. She looked almost like a pirate, which would have been cause for suspicion even if Bucolivier were not over five-hundred miles from any significant body of water. But then, the Bucoliviens considered themselves nothing if not accepting of alternative lifestyles in their little village. Of course, they also considered themselves forbearing and democratic in their approach to criminal justice, so again we see how isolation can give a community a false impression of its own progressiveness. Still, it must be admitted that even if the people of Bucolivier were as willing to embrace people fractionally different from themselves as they thought, this woman still had some serious explaining to do. She had, after all, stolen a dead body from the middle of town in fairly broad daylight. Or rather, a gigantic metal man believed to be under her employ had done so. Indeed, now that everyone considered it, the gigantic metal man alone was something for which they felt they were owed an accounting.

Instead, silence followed. The torches guttered in the very gentle breeze. Ursten, being slightly more reflective than his fellow townsfolk, took the time to consider that this seemed like a metaphor for his entire life up to that point.

Long after the silence had stretched past impolitic and just became uncomfortably forced, Hugo cleared his throat and considered his options. “Listen here, Witch.”

“My name,” she countered in a well-supported contralto, “is Doctor Luciana de la Luna. Sir.” The ‘Sir’ was heavily marinated in overtly-insincere polity.

Ursten was close enough to see one of Hugo’s well-defined eyebrows climb daringly up his brow. “Doctor, madam?”

“Correct.” There was, again, silence. A thrum filtered through the crowd, and steadily everyone began to get the impression that they were somehow not as overwhelming a force as their paragon had led them to believe.

Hugo, however, was not one to allow doubt to penetrate his heroically broad skull. “Madam-”

“Doctor,” the Witch reasserted.

Hugo muttered something in response, which a very charitable listener might have discerned as “Doctor.” the Witch gracefully accepted this as sufficient to her needs.

“Yes? How may I help you?”

The Salvation of Bucolivier drew himself up to his full and impressive height and orated, “You have nabbed one of our citizens. We demand you return her to us, so we may lay her in proper Christian burial!”

“Yeah!” said someone in the crowd. Whoever it was, evidently embarrassed by the lack of assistance, added nothing more.

Doctor Witch shifted her weight. “And what good do you hope to effect with this Christian Burial of yours?”

“We mean to save her soul from the Devil, woman; a state of grace I do not expect you to understand!”

Someone in the crowd seemed about to shout something, but quickly stopped themselves short.

“Her soul?” she repeated, dripping with put-upon skepticism. “I should think her life were a rather more substantial concern. Not to mention a more easily substantiated one, but that is purely academic.”

Had Ursten turned around at that time, he would have seen a sea of blank faces, their eyes rapidly running across the words they had just heard and attempting to decipher their meaning. Sadly, Ursten was too busy doing just that himself and consequently saw nothing.

Hugo, ever the proactive sort, picked a word he recognized and pressed on. “Her life is gone, Witch! She has been murdered by your demon Golem… thing!”

“That’s right!” shouted another voice in the crowd. There was a small murmur of agreement, but no one seemed able to revive the furor that had first propelled them up this accursed hill.

“Did he? That was not my impression at all. He assured me that the girl was already unconscious when he, as you say, nabbed her. That boy there was wailing in front of her like some tenor who had failed to properly warm up. At least, according to my, as you say, demon Golem thing.”

Hugo was not known for his subtlety, even by himself, but he had a keen ear for when he was being mocked. Essentially, any time he did not fully understand the purport of someone’s sentence, he assumed a slight was being offered. He responded habitually with physical threat, which up until this very evening had always had predictable and desirable results for him. Sadly, this night was going to have the same perversely transformative effect on his luck that Time seemed to be having on everything else.

“Listen here, Witch,” he bellowed, showing a complete disregard for both manners and social improvisation, “You will return Velma’s dead body to us–”

“Hildi,” Ursten whispered.

“You will return Heddy’s dead body to us, ” he sneered, “or we shall slay your evil giant, tear down your God- and carpenter-forsaken tower, and rescue her ourselves. And I,” he continued, a malicious glint in his eye, “shall use this mallet to properly arrange your foreign, female brain into something more God- and man-fearing.”

There was a collective intake of breath. Evidently Hugo was unaware of just how cosmopolitan and tolerant Bucolivier considered itself to be. At the moment, however, they were far more concerned with how a sorceress with airs of medical pretension would respond to the addition of insult to hypothetical injury.

So intent was everyone on the exchange, that they had failed to notice the cyclopian brute now standing directly behind the Witch herself. Without averting her gaze, she reached up and rapped her knuckles against the giant’s metal hide. “That’s an impressive list of threats,” she proffered. “I believe the first box you need to check off is the slaying of my evil giant, is that correct? I leave you to it.” As she circumnavigated the horrendously humongous humanoid, she continued, “when I hear your conspicuously absent sledgehammers and pickaxes tearing at my tower, I shall return. Or perhaps sooner, depending on how bored I become.” By then, she had vanished into the darkness, well obscured by the long remarked-upon but not-at-all-anticipated monster.

Again, Hugo cleared his throat. He felt it made him seem intelligent, and if he only knew what was to occur over the next ninety seconds, he might have done it a few more times, in order to leave a greater impression of himself. “Stand aside, beast,” he commanded, “or I shall slay thee.

Ursten took a pointed step to the side.

The beast said nothing. Its eyes glowed like molten gold.

Hugo attempted to step around the beast. It intercepted him. He tried again. He failed again.

To his credit, Hugo took a moment to turn and look at the crowd behind him. Perhaps if he had been alone, he might have made a different decision. But then, if he had been alone, he never would have come in the first place. He looked the giant square in its sternum, stuck out his jaw, and reared back the knacking mallet.

The Golem’s claws were clamped on his wrist before he could even swing. It lifted Hugo bodily into the air, easily two meters off the ground, swung him around like the proverbial dead cat, and flung him down the hill. Ursten tried to watch his mallet as it flew off in another direction entirely, but it was too dark, and the relic of a now bygone era was quickly swallowed by the night. Hugo’s scream soon followed.

Ursten turned back to see that he himself had drawn the eye of the Golem. He gulped, very audibly. He could feel everyone’s eyes on his back. He could also very easily feel them all remembering just whose idea it had been in the first place to traipse all the way up here, ruining a pleasant evening of darts or drinking or fasting and repentance, to join this amateur witch-hunt which was evidently a doctor-hunt and now had become some sort of amateur discus competition.

Ursten gulped again, though this was more to stall for time. He took a single step forward. The Golem did not move. He reared back his torch, having no other armaments, and prayed his countrymen could not hear the whimper that escaped his throat.

Then he suddenly realized: he had not whimpered. That sound had come from behind the giant beast. Eyes wide in horrified anticipation, Ursten craned his head all the way up to peer into the Golem’s utterly impassive eyes. The creature was perfectly still. He lowered his torch very slowly, very deliberately, and very carefully, back to shoulder height. In an inauspicious echo of the erstwhile Hero of Bucolivier, Ursten cleared his throat. Then he asked, “Did she say… ‘unconscious’?”

A slim form slunk from behind the Golem. She was wearing a country dress, still stained with cud and other less pleasant things one might find in a barn. Her gilded ringlets were largely obscured by heavy white bandages that were wrapped around her head, but her large and accusing blue eyes were still very visible.

Ursten gawped openly, the monster all but forgotten. “Hildi…” he whispered. “You’re… alive?”

Hildi was still rubbing the back of her head, but she had sense enough to roll her eyes at him. “Obviously, no thanks to you… wait…” He free hand rose slowly and damningly into the air, and it was soon pointing the long-feared accusatory finger at the poor butcher’s son. “You killed me.”

“But,” Ursten sputtered, “I mean… I didn’t…”

“You did!” She shouted.

A voice in the crowd gasped, then exhaled, “No!”

“Yes!” Hildi insisted, “he most certainly did.”

Silence fell like a redwood. Unwillingly but inescapably, Ursten turned to face the crowd. There he saw what was definitely twenty-four pairs of eyes glaring at him. The God-fearing fury, the blood-rising march, the irritation of time, and the frustration of defeat was now transformed, transmuted as though by the scholars of old, into unmitigated hate, and it was all pointed directly at Ursten.

The people of Bucolivier had upset their entire evenings with the intent of performing righteous murder, and now the most convenient of targets had presented itself to them.

Ursten gulped, again. Perhaps, if he had been a little more realistic about this future, he might have vocalized something more dignified.

Meanwhile, up in the highest room of the damned tower of the Witch of Bucolivier, Doctor de la Luna had just changed into her nightgown and was settling into her remarkably comfortable bed. A strange glass globe was emitting powerful rays of light beside her bed, which allowed her to read a book whilst propping her head up upon a pile of pillows. She narrowed her eyes at the pages while enduring the pounding of heavy feet upon a spiral staircase. Eventually, an enormous figure entered her bedroom.

“Every time I read this book,” she said aloud, “I forget the street Harry lives on. No idea why. How far did you throw him, by the way?”

Some gears seemed to be grinding together in rhythm within the giant’s head.

“Two-hundred meters? A man that size? That is impressive.”

The gears juddered.

“Well we can only see so many people buried alive before we do something. I am entirely sympathetic to your actions, David. Entirely. We’ll wait a week for things to die down, and you can go back into town and steal the horseshoes when it’s well after dark.”

The gears continued to grind. The monster approached the bed and laid a small envelope upon the covers. Doctor de la Luna set down her book, using her index finger to mark her place, and examined the delivery with her free hand. “A letter?”

The beast ground some more as it returned to the staircase.

“The postman came to a mob riot? How very derelict of him. And he was carrying this letter? At night? Why is he only delivering it now?”

The monster’s head was just visible, peaking above the lip of the descent.

“Of course,” she nodded, “why would anyone have bothered to learn my name before tonight? Typical.”

The Golem grinded a bit more, with some decidedly upturned inflection.

“Oh? And what could such a small and unimposing young man have done to elicit such brutality?”

The thing called David gave a rather long answer.

“And for that they tore him apart?” She tutted, setting the book aside unmarked. She considered as she opened the letter, then said “I suppose we might as well see just how far my medical studies have deteriorated. Bring him in and stow him in the basement. I’ll deal with him tomorrow. Bloody Frankenstein, I’m turning into…” she trailed off.

The fearsome Golem of Bucolivier disappeared down the stairwell, clumping all the way.

Doctor de la Luna, the Witch of Bucolivier, narrowed her eyes as she read. “Who the hell is King LeMer?” she asked no one.

An unnecessary distraction, answered no one.

“My thoughts precisely.” She tossed the letter into the middle of the floor and clapped her hands twice. The light went out, swathing the tower in shadow. “Damned letters,” she muttered whilst turning over in bed. “Damned peasants… damned time machines…”

Damned everything, offered no one.

“Quite so,” she agreed with no one. “Quite so.”

In less than a minute, she was asleep.

Clair De Luna, Stories

The Farce and Force of Political Theater

1936 Labor Party Poster; Merrill C. Berman collection

1936 Labor Party Poster; Merrill C. Berman collection

I just read an interesting article on Politico about a way off-broadway, political work, “The Trial of an American President.” In it, playwright Dick Tarlow puts George W. Bush on trial for war crimes and invites the audience to vote on his guilt or innocence at the play’s conclusion. Article author Michael Hirsh praises the work, at least conceptually, as a rare effort by contemporary theater to engage with (semi) contemporary politics. Hirsh asserts that the theater world, particularly popular theater and most especially Broadway, has long abandoned the potential controversy of Odets and Miller and now exercises almost exclusively with super-heroes, fantastic musicals, and long-defunct family dynamics.

I am largely inclined to agree with Hirsh, but working almost exclusively in the Chicago storefront scene gives me a slightly different perspective. Long-ignored socio-political issues (with a heavy emphasis on the socio) are now erupting at all levels of Chicago theater: though as always, it’s the storefronts with little to lose that promote the most strident and potentially unprofitable messages. Donald Drumpf, whose bloviation would seem beyond parody, is nevertheless being lampooned all over the place. To me, however, these productions seem at best to be congratulatory back-pats; and as often as not, they are unearned.

PARODYING THE SELF-PARODIED

In his article, Hirsh cites some laudable heavy-hitters in the yester-realm of political theater: Waiting for Lefty, All My Sons, and Angels in America are understandably prominent constellations. The classics, as Hirsh defines them (and I am inclined to agree) differ greatly from modern attempts at political commentary in that they tackle issues rather than focusing on people. The oft quoted (and oft misquoted, and possibly misquoted right here) Eleanor Roosevelt line immediately comes to mind: “Great minds discuss ideas; average minds discuss events; small minds discuss people.”

The most famous political play in a generation is a biopic celebrating a federalist icon. In Chicago, meanwhile, Drumpf parodies are popping up like weeds. Never mind for now the self-congratulatory whiff of preaching to the choir: what exactly is a theatrical indictment of Drumpf meant to accomplish? What can we get from this that we’re not already getting from SNL or from clever Facebook status updates, both of which are far less demanding of our time?

Last decade, a school that I attended staged a production of Threepenny Opera, dressing up Peachum as George W. Bush. One of my instructors rather sharply pointed out that turning a Brecht character into a contemporary luminary was antithetical to Brecht’s theories: almost everyone living already had a strong and emotional opinion about Bush. Putting Bush onstage would make it virtually impossible for the audience to make an objective decision regarding conflicting arguments. This is, of course, why most of Brecht’s plays took place in distant lands and long ago.

I’m also reminded of an episode of SNL from the 90s, featuring Mark McKinney parodying Jim Carrey. It was bland and unfunny, because the punch of parody is the exaggeration, and exaggerating Jim Carrey is not an easy task. Likewise, any potential exaggeration of Donald Drumpf must necessarily be so deflated as to accomplish nothing. I still hear laughter, but it’s the laughter of recognition, the laughter of reaffirming our own biases. Those biases may be very accurate, but displaying them in a room of people who already hold them so we may all clap ourselves on the back strikes me as enormously masturbatory. I’m as big a fan of masturbation as the next person, but I don’t plan on spending hundreds or thousands of dollars on it, along with hours and hours of volunteer artists’ time (or underpaid artists’ time), all to solicit long-expected applause and plaudits of how clever I am: plaudits that were virtually guaranteed the instant the concept first emerged – “Let’s tell people how bad that guy we all hate is.”

AVOIDING THE APPEARANCE OF CONFLICT

On the social side of socio-politico, things seem a little more focused. Building someone up can accomplish a lot more than tearing someone down, especially if the idol in question is relatively unknown or uncelebrated (and I would definitely have put even Alexander Hamilton in that category), but when it comes to the promotion of disenfranchised groups, Chicago Theater’s goals seem both more immediate and more effective. This ultimately comes as little surprise, seeing as the monster we’re attacking in this realm is us.

Equal representation onstage and off. Making room for marginalized groups. Actively preventing sexual harassment. Impressive goals in the early 80s, but now just scrambling concessions that took an embarrassingly long time to effect. The worst offenders, not surprisingly, appear to be institutions that were large enough to exert power over the Chicago theater scene, but small enough to evade the notice of legal precedents and statutes that have been slowly transforming almost every other institution in the US for decades.

I recently worked with a fairly established theater company that wished to hold auditions in someone’s private home. They did not seem to see any problem with this. Even after explaining why new and vulnerable actors (which is exactly the demographic we were expecting to reach) might be made uncomfortable by this, there seemed to be little concern from the company involved beyond the frustration between refusing to please their unreasonably truculent director or spending $120 to secure a more neutral location (that, and a personal conflict with one of the managers of the location). This was a theater company that has recently been very vocal about actor agency and sexual harassment, and has historically shown dedication to inclusion long before its recent rise in popularity.

Although I am no stranger to harassment and disenfranchisement, in regards to more recent issues my role has primarily been one of listening. Even if theater companies are only pretending to take an interest in equity and actor agency, the results (such as they are) are real. I have certainly seen a sharp upswing in requests for actors and artists of color, and I likewise have enjoyed the self back-patting of shutting down semi-successful actors that whine about losing opportunities to these newly presented artists. Ultimately, I suppose insincere progress is certainly better than sincere regression. Some folks will no doubt find immediate parallels with our current election. So there’s some effective and poignant political theater there, even if it is a little too meta for my tastes.

WAGGING THE TWEET

So in my eyes (such as they are), the only real socio-political change happening in contemporary theater has been the relatively quick efforts to fix our own shatteringly enormous examples of racism, sexism, ablelism, really more -isms than I suspect I am aware of, and just good old fashioned oppression of the powerless by the powerful in all its forms. It’s nice, but finally kinda-sorta catching up with everyone else is not what I would call a political renaissance in the theater world. As for American theater’s effects on the rest of the world, they continue to manifest only in small human interest stories. Hillary Clinton quoting an enormously popular lyric months after-the-fact is a nice nod, I suppose, but not what I would call revolutionary.

What message does contemporary theater carry, that cannot be just as articulately communicated by someone’s five-paragraph blog, or even a well-written tweet? When it comes to provoking dialog, social media seems infinitely more effective. Of course, there are millions of arguments and polemics that preach to the choir and that reaffirm our own prejudices while accomplishing nothing more than making the writer feel smart, but there continues to be an infinitesimal number who are convinced to reevaluate themselves, or at least to see their political adversaries as people. Facebook is also perfectly capable of whipping up frenzied crowds of ill-informed pundits, who harass and belittle bloggers and celebrities until they flee from social media; but for good or bad, this medium seems far more effective than theater at accomplishing pretty much anything.

Mostly, what I see in “current events” theater is a marginally clever idea that is milked to exhaustion. I once saw a very ironic performance of Hamlet that turned out to be just two-and-a-half hours of “Remember Hamlet? Am I right?” I did not need to hear that joke, over and over again, for more than five minutes. Chris Jones fairly recently pointed out that parody leaves little room for complex evaluation. “Titus Andronicus meets Gordon Ramsay,” “Snow White meets Princess Zelda,” “Star Wars meets Game of Thrones meets anything.” It took me a while to come up with these examples, cause I had to try really hard not to think of something that I had already heard of or seen, lest I offend anyone. And of course there’s “Donald Drumpf meets whatever dictator hasn’t already been done fifty times, or sometimes that very dictator cause why not?” Then these poor artists, desperate not even for a career but just for something to do, have to invest months of their lives into a cute idea that stopped being funny months ago, exploiting and over-mining a concept what would have been better utilized as cosplay or fan art or even just a tweet, wasting time that would have been better spent even on something as artistically bankrupt as MacBeth on the Moon. Again.

MORE LIBERAL THAN THOU

A peacock’s tail serves no practical purpose. It is a costly encumbrance, and it exists only so its owner can show it off. “I am so well-adapted, I can afford to waste resources on this massive tail.” I like to use this analogy when describing pretense: pretending to be stronger than you really are, pretending to care about something you don’t, basically any use of resources committed solely in order to impress other people. In fact, this expression was part of one of my favorite monologues in A Thousand Times Goodnight, a play I wrote and will probably never stage again as the play and perhaps even the script itself is an excellent example of ignorant cultural appropriation, for which I luckily evaded widespread condemnation and was allowed to (eventually) wise up on my own time; such are the benefits of avoiding powerful institutions.

I imagine some people avoided my show because of its content, but by and large there were zero consequences for my actions. That might be a problem if I had gotten worse, but I think my behavior has improved since them (thanks to online communities, not theater). But for those who enjoy even a modicum of fame, or hope to achieve notoriety one day, there is no forgiveness or even tolerance. A significant part of the fanbase for the outstanding and remarkably inclusive cartoon Steven Universe subjected a fan-artist, part of their own in-group, to enormous levels of horrific online harassment due to some of her art’s regressive nature: this culminated in a suicide attempt. More recently, an actual employee of the show was subjected to similar harassment after being (perhaps understandably) accused of queer-baiting, but disappeared from social media before things became too harsh. Again, this is a significant part of the fandom itself, their own group, which is built around a show whose primary themes are love, forgiveness, and inclusion.

I mention this not as another screed about “liberalism going too far.” Such reactions may be justified; I don’t think they are, but I do not belong to the groups in question so my perspective is necessarily limited. I mention this because this potential for ostracism is one half of the in-group coin that defines contemporary art. Contemporary art, it has been decided, must carry a message, and that message must fall within certain parameters: inevitably, those parameters either make the target audience very comfortable, or discomfort them in safe, predictable ways. Ascribing to these prescriptions can win you praise (and funding) just as readily as straying might earn you death threats. So really, where’s the incentive to challenge anyone anyway? Is it any wonder that immersive theater is every bit as superficial and redundant as it was before Sleep No More came out? Is it any wonder that 1776 is popping up everywhere, with the casts mercifully more inclusive.

Recent experience continues to show me that the Chicago theater scene (and most every other theater scene, I suspect) has very little interest in effecting socio-political change in the community around them. As always, we are interested in what gives us more opportunities to produce, to make money off theater, and to market ourselves. When it comes to historically marginalized groups, it’s very difficult to begrudge anyone, seeing as their marginalization is exactly the issue, and championing inclusion onstage allows them to ameliorate that marginalization. As for evoking change outside the theater community, all I see is theater companies rushing to embrace whatever is popular. On Broadway, according to Hirsh, it’s fantasy and family pastiche. In Chicago, it’s endless parody and deflecting our own sins onto society as a whole. And whatever-is-popular is not an effective means of creating positive change for anyone other than yourself. The only positive change I see is theater slowly correcting its own backwardness, and this is the result of online (and in-person) activism, not the art itself.

That fact that even Hamilton does not seem to be creating any change outside of the theater community itself tells me that the advent of classic political theater is long-dead.

Random Stuff, Theater Stuff

The Safeguard Our Children Act

Inconveniently, the Storii and the Ixylvii were prevented from using their Cataclysmic Doomsday Devices on one another by a national treaty that had to be overturned by a majority vote. Conveniently, there were just enough Storii and Ixylvii in the Parliament to effect this very reversal, thus legalizing the use of these weapons of mass destruction on domestic soil, in the event a threat is sincerely perceived. This reversal was entitled The Safeguard Our Children Act.
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Perhaps unsurprisingly, the very hour this overturn was signed into law, two remarkably similar declarations were made. Twenty-seven minutes after the signing, the Stori speaker declared that a threat had been sincerely perceived as emanating from the Ixylvi party, which justified the use of CDDs. Twenty-nine minutes after the signing, and with no visible awareness of the announcement of two minutes prior, the Ixylvi speaker declared that a threat had manifested in all sincerity from the Stori party. Both speakers pointed to the signing of the reversal itself as clear indication of the intent of violence. Each side declared that they were unshakably sincere in their concerns. Sincere or not, their concerns would prove to be equally justified.
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Inconveniently, both the Storii and the Ixyvlii had greatly underestimated their adversary’s access to CDDs. Perhaps, in retrospect, an examination of the opposing party’s willingness to effect the legal reversal, and the party unanimity and cooperation necessary to effect this reversal, should have given the representatives from each party cause for concern. Inconveniently, it did not.
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It was in this manner that, quite inconveniently, every Parliamentarian of the Stori party and the Ixylvi party was left without any Storii or Ixylvii to represent. Each representative fell into a deep depression, quickly retired, and use their enormous, legally-guaranteed, golden-parachute retirement packages to purchase private islands from the aftermath of their little political blunder.
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Surviving Storii and Ixylvii might justly be perturbed at the actions of their representatives from both parties. Conveniently, however, there were no such survivors save the former-parliamentarians themselves. And thus the whole matter was laid to rest.
Stories

A Heart of Pure Tin

gear-wheel-pixabayThe funny thing about tinker-trogs (or troglodytus mechanicus, as suggested by an overeager taxonomist who would later prove, in the eyes of his employers at least, to be as redundant as the above suggestion), is that they are deliberately built incomplete. Perhaps “funny” isn’t the best term, but then there is a reason that the Theatre is represented by two divergent masks in close proximity.

The average tinker-trog looks something like a goblin or a long-nosed chimpanzee constructed entirely out of steel pipes, gilt wire, bronze gears, and a desperate hope in the tenacity of the subject: along with a pair of old Christmas lights for eyes (usually the same color), and a wool cap. Some were even given tattered cotton cloaks to give them the appearance of age or veneration, and some had little bows obnoxiously perched on their heads, as though gender could be attached as easily as a magnet (which, being a social construct, it technically could, but that was arguably beside the point).

What no tinker-trog was given, however, was a heart. Most machines had no need of such a thing, of course: they were motivated by less poetic means, be it something as complex as a CPU or as simple as a pulley system. And as you might expect, trogs did not require a heart to function. They had everything they needed to perform whatever task was expected of them: cleaning sewers, preparing free meals for un-photogenic orphans, or whatever other unpopular task that neither paid a wage nor interested a celebrity. Most trogs grew bored easily and could not be trusted to manage a bank or raise a child, but since one trog was much the same as another, and since there were placement agencies erected to assign trogs to labor with as little as a half-hour’s notice, the little metal creatures were largely regarded as useful and lovable second-class citizens. All this was accomplished whether or not a particular trog had a heart in its chest.

Yet all the same, trogs were built with a small wire cage in their chests, barely held shut with a tiny latch, inside which could rest a small artifact of mineral. Said mineral could be anything, a ruby or diamond or sometimes even just a lump of bronze, always of very low quality and terribly subjected to the elements. These hearts were prepared at the same time a trog was being finished. The heart was put inside the chest, and the trog was powered up. The little creature was then allowed to play freely for twenty-four hours in the compound where it was built, along with anywhere from a half-dozen to a hundred others of its kind. Afterward, the heart was removed and thrown in the trash, dropped in a river, or given to a stray dog; whatever might transport it an unpredictable distance from the compound in an unpredictable direction.

This was not a painful experience for the trogs, whose memory systems remain questionable not only in their infancy but arguably for their entire service cycle (which was between twenty-five and fifty years, as deliberately vague expiration dates added to the charm of the little creatures). Being robbed of their hearts was not apparently traumatizing or necessarily inconvenient. All the act accomplished was to gift the little servants with an amorphous, ever-present feeling of incompleteness. This absence beautified them in the eyes of their renters, seeming to add to their cute diminution a bittersweet, semi-tragic sheen. And few things were more adorable, more inspiring, and more warming than the sight of a tinker-trog with a scratched and dulled heart in its cage.

You see, every so often, trogs were compelled to drop whatever they were doing and go on a journey in search of their hearts. The trick was, not just any jewel or metal would do; they needed their own. These machines longed with a chasmic pang for the feeling of the long-forgotten first twenty-four hours, and only their own personal heart could recreate that; or so they felt. And since it was not uncommon for a trog to abandon its job anyway out of the simple desire to perform some new menial task, these frequent quests were tolerated or even celebrated by the people who employed them. It added to their charm.

Perhaps even more charmingly, sojourning trogs would often form pairs or small groups in search of their hearts. Teamwork enabled them to stay focused, to climb greater heights, and to defend themselves against territorial rats, cats, and pigeons. It was a disarming sight, and a frequent subject of tourists’ photographs, to find a small cadre of metal gnomes scurrying across a quiet street just before sunset. Most delightful and heartwarming of all, trogs seemed more frequently compelled to attempt these journeys after a snowfall, and especially on Christmas day.

Some trogs, after finding their heart, would immediately leave their party with a fond wave and return to work, secure that their existence did indeed have a unique purpose. Others would stay together until everyone’s heart was found, sometimes spending entire months in the search. It was far more common, however, for all of them to give up and return to the work cycle, either as a group or separately. There was no question, however, that many mechanical ‘friendships’ (for lack of a better term) were formed out of the quest for hearts.

What the rest of us manage to ignore about these creatures who so warm our own hearts, is that most of them never find what they’re looking for. They search, they form parties and companionships, they have as much of a life as a machine can expect, but most of them reach expiration without ever finding their heart. Of course, to the rest of us, there seems to be no difference in a trog’s behavior, whether they have a heart or no, so it would very much seem as though it is indeed the journey that matters most, rather than the goal.

It was therefore maybe just a little tragic that one tinker-trog, whom we will call Goggles (thanks to an unusually large pair of eyes) discovered its heart at an unusually early point in its life. Goggles was slightly more focused and driven than most of its peers, so when three of its compatriots were incapacitated by a feral dog early in a sojourn, Goggles decided to commit itself to their reparation. Because it was not as easily distracted as other trogs, it deliberately chose jobs that would put it in contact with useful scrap; mostly janitorial jobs connected to factories and junkyards. It scavenged, welded, adhered, slotted, and anything else you can name, slowly returning its party back to working order. First to be repaired was Rattle (whose several joints were forever coming loose), who waved in gratitude before immediately heading off in search of its own heart. A few months later, Goggles found a particularly rare cog that allowed it to return Blue to functionality (despite a peculiar but harmless tint in its steel piping). Blue briefly joined Goggles in attempting to fix their final friend (Goldfish, whose head was of a remarkably odd shape), but boredom soon got the better of it, and Blue was off to bigger and better things.

Goggles spent the better part of a year searching for brain-parts that would fit in Goldfish’s unusual head. Finally, one Christmas Eve, it stumbled across a pair of interlocking gears of such peculiar dimensions that they seemed intentionally molded and left in the junkyard just for Goldfish. A light snow was dusting the land, the sun was setting, and as Goggles was scurrying back to their home in the alley a mile away from the junkyard, it tripped over something that had been left in the middle of the byway. After returning to its feet, Goggles looked down to discover a small chunk of tin with which it immediately felt a novel sensation of kinship. It was incredible: trogs could spend their entire lives looking for their hearts, and here Goggles had found its own quite by accident while trying to make another trog whole. Goggles picked up the lump of tin in one hand, carried the unique gears in the other, and hurried home.

The night was young when Goggles reached home, but many living children had already been tucked into bed in anticipation of the following morning. It was a near silent night as Goggles entered the alleyway, whirring and chirping in excitement; it still had not even put its own heart in its chest, it was so elated.

Goldfish, however, did not share the excitement. Goldfish was not moving. It appeared that, whatever those gears were and whatever they did, Goldfish could function only so long without them, and that time had just expired. Goggles inserted the gears all the same. It poked and prodded its friend. It tried to get Goldfish’s brain whirring by main force. It even looked, vainly, for a random power source into which it might plug its friend, but it was all to no avail. Goldfish had expired before finishing its first year.

It was after midnight before Goggles found its tin heart, which it had dropped on the ground shortly after discovering its friend’s expiration. The trog opened its fragile wire cage, delicately placed the lump of tin inside, and closed the latch.

That was how Goggles became the first trog to discover its heart before the age of one.

It has already been said that Goggles was more focused than its peers, so without even having the absence of its heart as a distraction, it quickly became a consistent and reliable worker in the various junkyards, sewers, and factories of the city. Of course, since one trog is largely indistinguishable from another in an employer’s eyes, its superior dependability went unnoticed, but Goggles seemed to harbor no resentment nor even awareness of this.

What Goggles most certainly did notice was all the other trogs still banding together to go on journeys. They would meet each other at crosswalks or alleys and head off into the unknown. They would return from their quests, often empty-handed, chirping and gesticulating wildly about their adventure together. Many would continue to live together afterward, many would take jobs together often or even constantly. And those rare few that found hearts never gravitated toward each other, but rather invested their time more strongly in those who traveled with them, who helped them become whole. Goggles had a heart, but no journey, having lost all three of its companions due only to the inevitability of time. It was, for all that anyone could see, finished with its life, and it still had at least twenty-four years to go.

Goggles began to take solo work: fixing small engines, mopping empty warehouses, organizing small curio collections. It could no longer stand to be around other trogs, listening to them whir and chitter of their adventures. The tin-heart trog had tried a couple of times to join others on their quests, but was met only with shrugs and odd stares.

One night, in its seventh year, Goggles was sitting in an alley that it currently called home. In its hands, it held the heart cage that was all that remained of Goldfish’s body; everything else had been re-purposed by people or trogs. As it glanced out of the alleyway, Goggles happened to spy two trogs scurrying along in the late autumn chill. Its focus had been drawn by the sound of rattling metal, and there its spied two trogs, one of which had an unusual bluish tinge to its steel piping. The two trogs were dancing about, chittering madly. They were holding a large, blood-red ruby in their hands together. Goggles watched, silently at a distance, as the two finally calmed down. Rattles opened its cage and Blue placed the enormous ruby inside. They whirred and chirped a little longer, then continued off into the night, perhaps in search of a sapphire. Goggles looked down at its own heart, a small and severed chunk of tin.

The tin-hearted trog walked through the night, ignoring the adventures of human and machine. No stray could dissuade it, no chore or sudden wonder could charm it from its destination. It walked through the night, climbed onto roads and avoided huge and unfeeling automobiles, ignoring wailing children and desperate fools alike. The near-full moon shown down, oblivious to its journey.

It was nearly morning when Goggles reached its goal. It stood on a precipice, high above the reservoir’s dam, and looked down into the stampeding waters below, churning mercilessly and divinely unaware of the tin-heart trog’s existence. It looked up into the slowly lightening sky. Goggles stood there, and spared a thought for Goldfish. It spared a thought for Blue. It spared a thought for Rattles. It even spared a thought for the vague, mostly made-up memory of the human being that had opened its cage seven years ago and removed its tin heart, tossing it into a garbage can, or perhaps the curious claws of a passing raven.

For the first time, a trog made a wish. Goggles stood and wished that it could breathe like people did, so it might take a big breath before the big moment. It wished its insides could be so much bigger than it, just like the outside was.

The river galloped on. The sky lightened.

Goggles reached into its chest and unlatched its cage. It pulled out its tiny, broken, scarred and scored heart of tin with its delicate, clockwork hand. It left the cage open, unlatched. Goggles held the tiny tin heart out over the reservoir.

The Sun crested the horizon.

Stories

This Month in History: Revels in the Ravine

Four years ago this month, The Unrehearsed Shakespeare Company served as the guest manager/director of the annual Bard in the Barn festival at Western Illinois University. The performances were moved to the campus’ ‘Ravine’ performance space, hence changing the festival title: Revels in the Ravine.

Unstoppable powerhouse Tiza Garland as Cleopatra

Unstoppable powerhouse Tiza Garland as Cleopatra

I had previously performed for Bard in the Barn since 2008: as Voltore in Volpone, Lear in King Lear, and Thersites in Troilus & Cressida in 2010. Also in 2010, I directed Unrehearsed productions of Two Gentlemen of Verona and The Merry Wives of Windsor. At the time, the Unrehearsed Shakespeare Company was only beginning to make headway in Chicago. I returned as a performer in 2011 (as John in King John and the inimitable Apemantus in Timon of Athens), before Unrehearsed was officially invited to direct in 2012.

AnthCleo0052

Me as Jaques. One of my all-time favorite photos

We staged As You Like It and Antony & Cleopatra that year; directed by Zack Meyer and myself, respectively. Not only did I get to play Jaques for the first time, but I also got to witness some indescribable and unique moments in a lesser-done play: Andrew Behling’s Octavian was particularly moving.

Theater Stuff, Unrehearsed Shakespeare

Hell Onstage: The Mammon Machine

October 8th, I’ll be appearing in Accidental Shakespeare’s staged reading of Upton Sinclair’s Hell, an indictment of contemporary capitalism that is still sadly relevant today. I’ll be playing Mammon, the devil of greed who orchestrates large-scale suffering on Earth.

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Theater Stuff

Cast of Steampunk Christmas Carol

Announcing the Cast of 2016’s A Steampunk Christmas Carol:

Juliana Brecher – The Ghost of Christmas Future

Joshua Carroll – Scrooge

Nathan Ducker – Young Scrooge

Sarah Franzel – The Engineer

Gilly Guire – X-2

Katy Jenkins – Barb Ratchet

Kate Lass – The Ghost of Christmas Past

Jacob Lill – Fred

Rick Olson – Marley

Kaelea Rovinsky – Ghost of Christmas Present

Sarah Jean Tilford – The Creation

Lana Whittington – Mad Madam Fizzlewig

Playwright, Theater Stuff

Pinnacle Star: The Seven Failures of The Little Professor

star1PROLOG

There once was a boy named Weather, but nobody called him that; he was called the Little Professor. Necessity compelled him to walk before he could crawl, though he took the time to learn crawling once his schedule had cleared up. He never asked advice from anyone, but learned from observation and reflection even in infancy. Many people admired his apparent intelligence, though many others thought him haughty and pretentious; but Weather carried on learning, then reading, then studying, then experimenting, and finally inventing along with all the others. He even taught students on occasion, though not with any enthusiasm. Many thought it his destiny, though many others thought it arrogant ornamentation, that such a young person would presume to educate others, both younger and older than himself. Yet whether with ebullient admiration or resentful sarcasm, everyone called him the Little Professor.

The Little Professor was born on a long-dead cabbage farm to a mother and father and twenty-seven dogs of various breeds and diverse degrees of pedigree. Since the farm was long-dead, the mother supported their family by supervising the maids at the Golden House, the largest and most palatial home in Solinus. It was on the opposite side of town, so she rode there every morning before sunrise in an old turnip wagon that their neighbor Mister Borgins ran, and rode home every night after sundown on one of a trio of mules that their other neighbor Miz Toonix used to haul rocks from the meteor quarry. The father spent his day taking inventory at the local smithy, which was close enough for him to walk. Neither parent was particularly ambitious, and although neither cared much one way or the other for their jobs, their lives, nor even each other, they were content in that their worlds were predictable, manageable, and relatively free of crisis. When the Little Professor stopped coming home one day, the parents were reasonably pleased with his apparent independent initiative in finding his own employment and home, or relatively bereaved at his disappearance and apparent death, whichever sentiment they found was warranted.

It transpired that the Little Professor had decided one day to erect his own laboratory out of rocks from the meteor quarry and driftwood from the Sea of Stars. To those who asked (and they were few) he intended to study and plot the migration of the stars; to learn where they went when the weather grew colder and predict exactly when they might return as it grew warmer. He thought, given his name, that people might be amused by his apparent interest in meteorological patterns. But of course nobody knew his name, nor did he think to mention it, so the cleverness went unobserved. Still, long before he had reached adolescence, the Little Professor had become master of his own laboratory on the shore. Everyone called it the Lighthouse.

The Lighthouse was a single tower of four or five floors, depending on who one asked, whose frequent rumblings led the unknowing to suppose it held a basement as well. It was a hundred paces away from the shoreline at high tide, when the meagerest of the starlets would wash up and turn the beach into a glittering cascade of dazzling, twinkling delight. Other children the Professor’s age would often run out to the beach just before sunrise after the first high tide had receded, to gather up the starlets, which they would fling into the air to watch their mesmerizing sparkles. Many children would take them home and leave them on the floor near their bedrooms, to guide them to their bathrooms should they be woken in the middle of the night. Others would braid them into their hair or adhere them to their arms or clothes, some would pile them in the center of town for nighttime gatherings or even just toss them into their waste bins. It didn’t matter in the end, because on the next sunrise the starlets would vanish, winking away back out in the farthest reaches of the Sea of Stars, presumably to wash right back onto the beach in a few days’ time. So, even though they were one of the most beautiful things about living in Solinus, no one ever did much of consequence with the starlets, knowing they would soon be gone and soon return.

The Little Professor, it was believed and reported, had little time for such frivolity. So removed was he from playing or idleness that the starlets themselves seemed to avoid the Lighthouse, so much so that a fifty yard radius around it was bereft of the dazzling beauties every morning when the other children came out to gather them. A handful of parents wondered if perhaps the starlets were animals like starfish or muscles, and had simply never moved when anyone was watching. That might explain how they always managed to disappear right from under everyone’s noses. Indeed, many children would stay up late watching a starlet in their bed, sometimes dozens of them, falling asleep trying to see just what happened and where they went. Even a child who managed to stay awake, however, would become frustrated in their hopes. They would doze, or be distracted by an unexpected noise, or otherwise lose their focus for a mere instant, and the starlet would be gone. A blink was never enough, but anything else, and they would wink out of being. No one knew why, and every child would eventually give up wondering. The adults never wondered, of course, because they themselves had stayed up late nights in their own childhoods, watching, wondering, failing, and eventually learning not to wonder about it anymore.

The Little Professor, it was believed and reported, had little time for such frivolity. That is, until the Princess went out early to gather starlets.

She was not actually royalty yet, but she had been betrothed to the young Prince since her birth, so everyone simply called her the Princess. The Prince had been born the day before, and that was the custom in Solinus. Since no one had ever met a betrothed girl who did not want to be a Princess by marriage, no one ever thought to question the practice, nor did they with the current young Princess, whose name was Miricet. Miricet had many virtues: she was brave and did not tolerate injustice, she was intelligent enough to know that she had much to learn and spent many a day rectifying this, she was healthy but dedicated to growing stronger, and she had the remarkable ability to put dogs to sleep with her eyes; a very useful skill on a full moon night, when the baying hounds of the Northside would keep the farmers awake. By happenstance, she also had very large and pointy ears, which was considered one of the most attractive traits a person could have in Solinus, so many conjectured that the young Prince would be very happy with his bride one day. The Princess’ happiness was rarely conjectured upon.

To be sure, however, the Princess was elated this particular morning some time ago. For all her merits, Miricet was a somewhat greedy child, and decided one morning to head out to the beach early so she might gather more starlets than anyone else. It was very dark, but she had the light of the nearby beach to guide here. Despite her auspicious birth, she was not yet royalty and lived nowhere near the Golden House. So she left her pet bloodhound Pericles (who as anosmatic) awake that night, that his rustling and chuffing would keep her from sleeping too deeply. It worked perfectly, and the poor dog’s discomfort allowed her to rush out to the beach long before sunrise even considered encroaching upon Solinus shores. It was there, on this morning so early that it was still night as far as anyone was concerned, that the Princess found the Little Professor gathering starlets around the Lighthouse.

Though she had of course heard of him, Miricet had never actually seen the Little Professor. She was sure it was him, however, because who else would be trundling around the Lighthouse at this hour, and he was after all quite little. Still, she did not want to be rude, and thought it best to make polite inquiries.

As she approached, the Princess was quite certain the little boy had seen her out of the corner of his eye, and seemed perhaps to be ignoring her. Curiosity warred with manners however briefly, but being a Princess by fortune rather than breeding, manners really had little chance in the exchange. “Excuse me,” she offered, “are you the Little Professor?”

“That’s right,” he answered, never interrupting his work. It should be stated that, so early in his life, the Little Professor had not yet served as instructor to anyone; it was just a name.

This was why the Princess next asked, “Who is it that you teach?”

“No one,” he answered, still continuing to gather up starlets. There was a notable tension in his movements, as though he wanted to be moving much more quickly or slowly than he actually was. Miricet was an observant child, and wondered if the boy was fighting the urge to hurry up his work and leave.

To test the proverbial waters, she pressed on. “You know,” she proposed, “everyone thinks the starlets avoid your house. No one had any idea you gather them like everyone else.”

“Oh yes?”

Miricet had once heard that if children do not learn to talk until late in life, then they were tragically incapable of speaking more than two words at a time. She found herself wondering if the Little Professor was one such misfortunate. “Tell me,” she continued, “why do they call you the Little Professor?”

“I’m afraid I don’t really know.” She suspected he did in fact know, but was so happy to learn that the boy did not suffer any apparent verbal disadvantages that she let the perceived deception go unremarked upon.

“I wonder,” she persisted, “why is it they call your home the Lighthouse?”

“Because it’s tall and by the Sea, I suppose.” It was true that, although lights were sometimes seen in the windows, the Lighthouse had never produced light of sufficient intensity to earn the name. But then there had been no ships near Solinus for hundreds of years, so Miricet supposed anyone was free to call anything they wanted a Lighthouse, as the opportunity for confusion was limited.

She considered pushing further, but the boy was clearly set in his mission, and there were plenty of starlets for just two people. The Princess turned and hurried away from the Lighthouse and its well-known radius and began gathering her own. Occasionally she would glance up at the Little Professor, until once she looked up and he was gone, winked out like a starlet after midnight.

By the the time the other children had come out, the Princess had quite a hefty load of starlets and was considering leaving early. A few of the children professed disappointment at her departure, and a handful envy at her morning haul. All were ultimately mollified, however, knowing that the next morning would bring more opportunity and new challenges.

As the Princess departed, her stuffed bag hoisted over her left shoulder, she spared one last glance for the Lighthouse and its bare radius. She had not thought to tell anyone her secret about the starlets, how they were almost certainly not animals and were not avoiding the Little Professor as they all thought, but it seemed unimportant. A small part of her enjoyed having this little secret to herself, and in time she found that others enjoyed the mystery, wondering what starlets ate or how they traveled and why they disliked the Little Professor so. Her secret grew in her over the years, like a small but strong fire on a winter’s night, comforting her hands and stomach and heart and face when she needed it.

Miricet did not go out early again, and as far as she knew no one else did either. The Little Professor was left to gather his starlets in peace.

Until one night, years after but still in their childhood, the Princess came again in the early morning. She had seen and even spoken with the Little Professor many times since, but had never before ventured out again so early in the morning. Her Prince, for all his virtues, was a greedy child however, and she decided to gather starlets for him as a surprise. She again found the Lighthouse’s radius bedecked with the twinkling wonders, but the Professor was nowhere to be seen. Instead, a brilliant, effulgent, glorious, yet gentle light was shining out from the peak of Lighthouse, aimed out to Sea. It sparkled, glittered, and almost seemed to smile down at her while pointing out into the Sea of Stars, encouraging her and promising unknown delights. She looked out into the Sea, her bag forgotten on the sand, wonderstruck. In time, she looked back to the Lighthouse, where the gorgeous illumination burst out in defiance of the stubborn dark. It shown, triumphant in the beautiful night.

Then, all at once, it winked out. The Princess was momentarily blinded as she watched the inert tower for several minutes. In time, she turned to gathering the starlets for her Prince again. She would sometimes glance over at the Lighthouse. After those extraordinary few minutes, it now seemed a little sad and a little dead. The shimmer of the beach, however, and the promise of another day kept her from despair. After several glances, she suddenly found the Little Professor trudging out of the Lighthouse, an empty sack in his hand, to begin gathering his starlets. The two saw each other, stared, but did not speak.

These were the only two times in her childhood that the young Princess, Miricet, journeyed to the Beach by the Sea of Stars alone. There was a third time, when she was almost a woman, but that is her story, one Weather never knew.

Pinnacle Star, Stories

Upcoming Projects

HERE’S HOW I’M SPENDING THE FALL

helOctober: The Accidental Shakespeare Company presents a staged reading of Upton Sinclaire’s Hell, a darkly comic indictment of contemporary capitalism that is still sadly relevant today. I’ll be reading Mammon, the devil of greed.

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November: I (hopefully) start workshopping The Passion of Boudicca, my sixth verse play. Also, my slowly clearing schedule allows me to try NaNoWriMo for the second time (also hopefully).

December: EDGE Theatre produces my Steampunk Christmas Carol (and this time, I get to direct!) in rep with Commedia Beauregard’s A Klingon Christmas Carol. Much sci-fi! So Holiday!

Playwright, Theater Stuff, Unrehearsed Shakespeare

Authentic Dishonesty

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The Knight (Canterbury Tales)

I don’t think what we blurt out in the moment is necessarily more honest than what we say after careful reflection.

I think (and I’m of course not alone here) that there is a growing push for authenticity in our discourse: the idea that there is some amorphous, absolute truth within our individual beings, and that (ideally) anything we say and do should be as clear a reflection of that truth as possible. The celebration of this concept can lead to impulsive behavior, understandably, because things said or done ‘in the moment,’ without reflection, are commonly considered more genuine and certainly seen as more authentic. ‘In vino veritas‘ is a good example of this: that the removal of, or abstention from, forethought means that what we say and do must necessarily be more honest.

But I only think that’s true for that specific second.

I’ll use “I love you” as an easily accessible example. I think it is a commonly experienced or at least commonly understood phenomenon, for someone to say “I love you” to another person, in all honesty, only to have that feeling change shortly thereafter. And sure, “I love you” was true in that second it was said, but if it’s untrue the next minute or even the next hour, what good is it to anyone who hears it?

And for that matter, if you can love someone enough to say it, and then not love someone enough to say it a day later, or even a month later, then what value does this inherent Truth within you really have?

You might argue with this example: if someone says “I love you,” then immediately changes their mind, then clearly they weren’t really in love to begin with. But if that’s the case, that just furthers my point: things said in the moment are not necessarily more true, and may in fact be less true, than things said and done after reflection.

I think things that continue to be true after some reflection, after consideration and time, are more valuable and more meaningful, and certainly more useful.

This is an obvious gray area. You can’t very well wait your whole life to say or do something, just to make sure it’s absolutely true. But on the flip side, doing everything in the moment because you feel it is an extraordinarily selfish exercise that could easily lead to nihilistic sociopathy (as long as we’re following ideas to their extremes, that is).

And that’s just it: in-the-moment authenticity is morally easy. It’s as extreme as you can comfortably get, so you don’t have to weigh and consider the subtleties of every thing you say and do. Like moral absolutism, it’s intellectually un-challenging; maybe not lazy, but certainly in the same neighborhood.

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The Pardoner (Canterbury Tales)

So sure, saying and doing things in the moment is more exciting and more romantic, but it’s also more selfish: unless you luck out and those things you feel continue to be true for some useful stretch of time. And I suppose there’s a time and place for that sort of egoism, but I try to come down on the side of things that is less potentially hurtful to others.

This reminds me of Richard III:
“And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain,
And hate the idle pleasures of these days.”
It’s certainly more romantic and impressive to be a monster when you cannot be a hero, but it is far more considerate and (to my mind) heroic to be nothing at all, to be nuanced and aware of others. It would be great to be a hero, and it’s very unfair that not everyone gets to be one, but that hardly justifies being a monster. Unless, of course, you live in the moment.

It’s sometimes terrifying to me, the thought that I could be getting more out of this life, the only life I get, if only I dared to do more. And if there is only this one life, and no consequences for our actions outside of it, then why shouldn’t I do whatever it takes to get what I want? But those dares require that I hurt other people, that I rob them of their agency, and I’m just not willing to do that.

Most sociopaths are very successful. The rest of us have to deal with the vagaries of humanity.

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