The Wayward Women Cast

THE WAYWARD WOMEN (OR: NOTHING TO DO)

CAST (in speaking order)

Jack Sharkey as CORDELIUS

Jack Sharkey as CORDELIUS

Adrian Garcia as JULIAN

Adrian Garcia as JULIAN

Nathan Ducker HS

Nathan Ducker as FLACHEL

Amanda Carson as THE DUCHESS

Amanda Carson as THE DUCHESS

Sarah Liz Bell as DAME ANU

Sarah Liz Bell as DAME ANU

Alexandra Boroff as DAME GRENDELA

Alexandra Boroff as DAME GRENDELA

Lauren Miller as THE MAGISTRESS

Lauren Miller as THE MAGISTRESS

Gilly Guire as AQUILINE

Gilly Guire as AQUILINE

Katy Jenkins as PINNE

Katy Jenkins as PINNE

JD Whigham as THE SWITZER

JD Whigham as THE SWITZER

Theater Stuff, Wayward Women

The Wayward Women Auditions

Auditions for The Wayward Women have come and gone. Thank you kindly to everyone who came out to be seen and heard! Stay tuned for the cast announcement!

W3 Flag WW

Theater Stuff, Wayward Women

Teach Me, Triforce

zelda triforce the legend of zelda 1680x1050 wallpaper_www.wallfox_net_3Here’s three really simple things The Legend of Zelda teaches us.
1. Power will overwhelm Wisdom; it takes Courage to rescue it.
2. Courage exists only to challenge Power.
3. Only when Wisdom is safe, is there Peace.

Random Stuff, Video Games

A Steampunk Christmas Carol

A Steampunk Christmas Carol is back for its sophomore year in Chicago. EDGE Theatre remounts this classic-by-way-of-robots for one weekend only!

Dates & Times:
December 3rd – 8PM
December 5th – 3PM
December 6th – 3PM & 8PM

Steampunk Christmas Carol 15

Theater Stuff

We Three Has Launched!

Howdy friends! I made up a new theater company to produce plays that are neither Unrehearsed nor Shakespeare.

We Three is producing The Wayward Women and Countess Bathory next year. Feel free to check that stuff out.

Theater Stuff

The Wayward Women (Or: Nothing to Do)

Unre IconTHE WAYWARD WOMEN (Or: Nothing To Do)

We Three (a sister of the Unrehearsed Shakespeare Company) is looking to cast four roles in The Wayward Women, an Elizabethan-style comedy.

Rehearsals start February 20, Teching March 15 & 16, running March 17th to April 2nd (Thur/Fri/Sat).

Auditions will take place at 4001 N Ravenswood Ave (Ste. 405)

Dec 11 (Friday): 6pm to 10pm

Dec 12 (Saturday): 12pm to 4pm

Or by appointment, as necessary

The production will be staged in Mary’s Attic at 5400 N Clark St.

Synopsis: Cordelius, a banished lover, and his bondman Julian wash up on a strange land, where women rule and men are the weaker sex. Duchess Penti Celia welcomes them to Amosa’s Festival of the New Moon, but the celebrations are marred by the hilarious dueling (physical, verbal, and psychological) of the wastrel knights Dame Anu (the virtuous) and Dame Grendela (the flatulent). Paying homage to Twelfth Night and featuring overt nods to Hamlet (and a handful of other Shakespearean masterpieces), The Wayward Women is a light-hearted exploration of what people do after outliving their proscribed purposes.

LOOKING TO CAST

Dame Anu (F, 20s or older): A pious and proper knight, Dame Anu descants on virtue when not recounting (and exaggerating) her martial accomplishments. She seeks to protect the lovely Cordelius from the lecherous Dame Grendela, but Anu seems far more interested in vexing her adversary. Inspired by: Malvolio (Twelfth Night), Don Armado (Love’s Labours Lost)

Magistress Dotara (F, 30s or older): An ironically ill-informed adviser, Dotara spends much of her time trying (and failing) to figure out what is going on. Though ever the peacemaker, her lack of subtlety often exacerbates the conflicts she hopes to resolve. The actor must be able to portray, through physicality and/or vocal quality, someone who could conceivably be the mother of a twenty-year-old. Inspired by: Gonzalo (The Tempest), Polonius (Hamlet)

Flachel (M, any age): A precursor on the island, Flachel attempts to rob the male heroes, before warning them of the alleged dangers of Amosa before fleeing the land. This actor will have minimal rehearsal requirements. Inspired by: Montano (Othello), the Third Outlaw (Two Gentlemen of Verona)

Swiss Messenger (M, any age): A deus ex machina if ever there was one, “The Switzer” appears late in the play to resolve a central conflict with some very concise and quite tongue-in-cheek monologs. This actor will have minimal rehearsal requirements. Inspired by: Emilia (Comedy of Errors), Valentine (Twelfth Night)

PAY: Some Pay ($50)

CATEGORY: Non-Equity Audition

CONTACT: Jared@WeThreePlays.com

PREPARE: Sides provided prior to audition

Theater Stuff, Wayward Women

A Different Form of Gluttony: Gustatory Theater Has Evolved to Masturbatory Theater

cropped-McDaris-A.jpgIn her article in The Guardian, Lyn Gardner alleges (or, I think, implies) that the professional theater community is merely paying lip-service to social causes; that they produce elaborate plays that claim to champion certain issues, yet these plays fail to inspire the audience to actually do anything about it.

She broaches this subject by describing a production of The Good Person of Setzuan (Sichuan) at the National Theatre. She then describes how the affluent patrons of the show “passed by two young, homeless lads asking for money. Despite what we had just watched onstage, not one of us stopped and gave.”

Anyone who has read The Good Person of Setzuan (and, I would have thought, anyone who has seen it) might pause here. In this play, Brecht paints a very clearly disdainful view of charity in general and recipients of charity in particular. Absolutely everyone who receives Shen Te’s charity in any form in this play is a thankless parasite, demanding more and making excuses for why they cannot contribute anything to society in return. Shen Te alone is grateful: for the charity she receives from the gods, and her thwarted and unappreciated attempts to share that charity make a very clear statement that those of us who enjoy the fortune of the gods (ie, the wealthy) should look solely after ourselves. Brecht’s privileged and condemning view of the underprivileged, no doubt strongly influenced by his analogous-to-suburban upbringing, is predictable, banal, and (I thought) obvious almost to the point of insult. Yet Gardner seems to think the play promotes charity.

It’s apt, in my eye, that Gardner’s article uses a misinterpretation of a Brecht play in order to launch her thesis. My first reaction was to think that this article is about one-hundred years too late to say anything groundbreaking or significant. Brecht himself described most theater as Gustatory: to be ingested, digested, and passed, leaving no lasting effect on the patron. It’s my understanding that Brecht was a hypocrite and con-artist of the highest order, who developed his theories post-facto to justify his new aesthetic, but he still originated or at least popularized the idea that theater should be political and should galvanize the audience into action.

I should pause here to explain that the vast majority of my knowledge of Brecht comes from Martin Esslin’s A Choice of Evils, which I strongly recommend.

Gardner suggests near the middle of her article that theaters (and she does seem to be talking about professional theaters, the bigguns) should be less concerned with those who step into the theater and more concerned with the welfare of those who have never been in one (to paraphrase her own words). She alleges that professional theaters are far too concerned with maintaining audiences and cash-flow, and that the subject matter of their plays is a mere smokescreen, a pretense of social responsibility.

So far, still nothing new.

What Gardner either misses or does not see as worth mentioning, is that professional theaters have always been interested in the bottom line, almost to the exclusion of all other concerns. A theater’s concern for inner-city youth is no more genuine than a bank’s concern for your children’s future, though every bit as profitable.

Maybe this is just an Emperor’s New Clothes situation. Maybe Gardner is just playing the game, couching her argument in deliberately naive terminology, since shaming people and institutions rarely inspires anyone to take responsibility and change their behavior. But the impression I got was that either Gardner is an extraordinary Pollyanna or is herself engaging the same faux-concern.

I just read another online article (an older one) about a middle-class white man escaping his slowly-gentrifying neighborhood and moving into a predominantly Caribbean-American one, which he goes on to describe with all the awed wonder of Crusoe and his condescendingly patient admiration of his man Friday. Just last month I read another by a young atheist (spoiler: he was white) talking about the religion of the underprivileged: he describes the beliefs as a mélange of biblical catch phrases and folklore. I’m being a little uncharitable in my description, but this young man actually used the phrase “folklore.” He then, in his infinite generosity, suggests that these unfortunate savages (my words, not his) need their superstitions in order to survive their harsh lives. He even criticizes ‘celebrity atheist’ Richard Dawkins for taking an “I know better” attitude in his famous The God Delusion; evidently this online writer skipped over the part where Dawkins explains how he finds it almost unconscionably insulting and condescending to suggest that other “lesser” people need their superstitions for comfort, and that it is cruel of us “better” people to deprive them of it, a common and frequently-debunked piece of privileged noblesse-oblige.

Anyway, I’m not the first person to suggest that art in general and theater specifically is a bastion of the over-privileged, raised to believe that they were less fortunate than they are and therefore constantly foraging for the means to make themselves appear less privileged, paying lip-service to the smallfolk along the way.

So, much like Gardner: so far, nothing new here either, I suppose.

But over the last hundred years, and certainly in the last twenty, theater has become so intertwined with social causes that its artistic value has become defined by its perceived social effect, or at least its perceived potential social effect. This demand for responsibility to those less fortunate than ourselves cannot be found in painting nor music nor even writing, not even in film half the time. Theater alone has this pseudo-Brechtian value assigned to it.

And there’s nothing wrong with theater that actively promotes a social cause. Milwaukee Repertory Theater is actively engaging more artists of color. Here in Chicago, Red Theater and Oracle are producing a Romeo & Juliet integrating sign language as part of the story, rather than just using ASL without specific commentary as past productions have done. The great thing about social causes as part of a production is that (unlike commercial theater) social equity and artistic value are not mutually exclusive. Certainly, using social causes as a means of marketing is at-odds with art, but the social cause itself is not at fault. Big theaters are as artistically valuable as they ever were (good or bad), as are storefronts. Social equity does no harm to art, while serving as a considerable boon to generally-ignored members of the theater community.

And therein is my primary objection to Gardner’s article. She states unequivocally that theaters should focus more outside the theater community, to those unfortunate lesser folk. Presumably, theaters should up their charity, or produce plays that are more effective at getting audiences to act charitably. But the only positive effect I’ve seen of socially-conscious theater is the benefit done to oppressed and ignored members of our own community; not due to the message of the play, but due to the company’s efforts to reverse their own ignorance. The old adage of the rod in the eye leaps immediately to mind.

I think that these wide-sweeping, general ideas are incapable of galvanizing people, because odds are they’ve already heard the message a thousand times: rationalized it, dismissed it, and gone on with their lives. If a professional theater artist can watch a well known play that they surely must have studied at some point and walk away with the exact opposite message that the script itself preaches, and then ignore that opposite message, I just don’t know what theater can really do.

Communication and new ideas move so quickly nowadays, it’s difficult to see how a play can challenge social convention. Far more often, it seems like even storefront theater (and definitely professional theater) is being dragged into the present by its progressive audience, much like the movies. People are still exploring immersive theater, imitating Sleep No More. Shakespeare plays without a fourth wall are just starting to get popular again, following the wake of Twelfth Night and Richard III from two years ago. Even this instant, the more I think about it, the more theater of any stripe seems very conservative in method and execution, liberal only in its messages.

A few years ago, I watched a staged reading of a play about the murder of Harvey Milk. Not surprisingly, the play championed equal rights and condemned bigotry. But who in the audience was opposed to equal rights? Who in this theater audience was in favor of bigotry, even by some more euphemistic name? In the talkback that followed, there was some brief discussion of the anti-police sentiments of the play, but little was said ultimately as the play itself barely touched on it. One audience member identified herself as an activist for equal rights, provided a brief description of some of her work, and actually asked what this play could really accomplish; what were we doing other than patting ourselves on the back? I myself suggested that, if nothing else, the play provided some defenses of equal rights that I (who rarely has to deal with such discrimination) might not have readily at my fingertips, should I witness such bigotry. But of course, a FB post could have accomplished the same thing much more simply.

Like most theater folk, I think art should provoke and challenge, that it should inspire people to see the world differently in the long term. Telling a roomful of people something they already believe doesn’t do that. I hope it goes without saying that I am in favor of equal rights; but if that is something I support passionately, there are far more effective ways to promote growth.

I think art has to do something specific in order to be effective, and theaters don’t want to do that because it risks lowering their audience turnout. Even storefront theaters, even fresh-eyed graduates, seem more interested in promoting their company (their brand) than in their actual artistic endeavors. And as long as your interest in gaining popularity and plaudits from your artistic community trumps your desire to provoke or challenge, nothing you do will have any significant artistic merit. It might (might) have social merit, but that merit is dwarfed by other, more substantial political efforts: rallies, protests, actual grassroots political campaigns.

Art can have strong effects. We’ve all heard of the riots that The Magic Flute provoked, but these were the results of challenging artistic convention itself. The Marriage of Figaro challenged the system, but again this was before the internet, and before eight new movies were available every day. And besides, limited access to liberal arts meant that the lack of divinity in our monarchs was a novel concept to many commoners. The issues we raise in socially-active theater today just aren’t.

And I’m not calling myself an activist: I’m as lazy and apathetic as anyone. I just don’t like it when things that aren’t art get called art, or when something’s artistic merit is judged by its social relevance, its profitability, or its popularity. But that’s just me… on my blog.

I think more plays should challenge the increasing similarity between plays and movies (especially scripturally). I think plays should challenge the convention of theater-is-a-business, of the prevalence of overpopulation and especially of cultural alcoholism. The five or six people reading this might disagree with some or all of those, but at least we wouldn’t be preaching to the choir.

New Thing: (Nov 17, 2015) I’ve just come across another article, this one extolling the virtues of politically charged theater. Unlike Gardner, C. Austin Hill alleges (amidst of forest of almost trollish levels of self-congratulation) that theater is doing just fine, fighting the good fight by producing plays that tell other theater enthusiasts the things we already believe. Hill lists several examples of how theater helped to shape political discourse and give context to current events, but none of these contexts are described to any degree. One such example is a class’ study of Master Harold… and the Boys, in light of recent events and Mizzou. Hill explains that many students had not even heard about Mizzou, and that Fugard’s play provided an excellent framework to discuss it. Exactly what links there are between Master Harold… and the Boys and Mizzou were unmentioned, nor indeed why Fugard was needed to add context to this event. If these students were unaware of Mizzou (first of all, were they under a rock?), and this is a vital part of education, why not have a mandatory current events class? Same goes for Hill’s other examples: The Laramie Project did not affect my concern for equal rights at all; getting to know actual gay people changed my views, along with mainstream media’s squalling pull in the liberal direction over time. Hill describes how plays comforted people after the World Trade Center attacks. All of the above are accomplished by conversation and community. Theater can do those things, but those are not its defining qualities, and theater is certainly not unique in those accomplishments.

Augusto Boal did theater that actually changed the lives of specific people and specific communities. I was incredibly impressed by his work. But, I quickly found I was not interested in performing his work myself. I was too self-centered, too self-congratulatory, too lazy, to go to places that actually needed help and to frame my art in the specific context of their specific needs. I don’t know anyone who is doing work similar to Boal. The fact that so many of us sneer at children’s theater, which teaches actual new lessons to people who need them, is also very telling.

Theater Stuff

Bathory Workshop

illus02The workshopping of Countess Bathory is finally underway. Helena Jo and Jane Maridova are getting fleshed out beautifully, Drugeth will be getting a stronger arc, and I am very excited for next weekend’s Clown Scene. We’ll also be reworking the last scene to take place, not in the King’s court, but in Bathory’s dungeon a la Richard II.

Banner Bathory B

Countess Bathory, Theater Stuff

Under the Word: A Cat in Chicago, Chapter 2

CHAPTER 2
Wherein our Hero Falls Ass-Backward into a Job on His First Day in the Big City

Belleraphon was spinning her cellphone around on her desk, barely watching. The black phone performed half circles on the matte grey desk, silently semi-circumnavigating the plain under her half-motivated direction. The sight was framed by a pair of shimmering blue-green locks dangling down either side of her face, each drifting side-to-side each time she moved her arms, like limp pendulums.

Put succinctly, Belleraphon was bored.

Beneath the surface of her desk, unseen by all, was an ancient but beautiful crested shield. It was small, something a youth could wield with a little exercise, but it was solid and still shone brilliantly in the light of the setting sun. Blues, purples, and golds mixed in proud bends and arrows, depicting a stylized warrior’s pyramid in an early evening’s light. Belleraphon was currently setting her feet upon the surface of the shield as it lay on the ground, shifting her weight upon it and trying to exercise her dulled-to-atrophy ankles. She let out a long, defeated sigh in which a careful observer could have made out the word “cankles.” This was in no way an accurate description of her lower extremities, but Belleraphon was convinced she was going to fat and that her thirtieth birthday would see her rounder than the cakes she habitually bought herself. It was a sad state of affairs for the one-time Hero of Chicago, and might have reached the level of tragedy if anyone had ever heard of her.

The company phone rang. A brilliantly white crystal ball, it vibrated in its setting as it lightly chimed and flashed, demanding attention. Belleraphon grumbled something in a tongue more ancient than the Weir People of Winnetka Ave, and just as grimy. She waited until the third chime, long enough to be sure that no one else would pick up, and soon enough to avoid being yelled at by Seraphine, then tapped the orb. The orb’s light went solid pink, and the caller’s busy background noise became audible. Belleraphon forced a smile on her face, hoping it would influence her speaking voice.

“Scoraxis and Smith, this is Raph speaking, how may I help you?”

Someone started speaking in Spanish. Raph spoke American English, Austrio-German, pre-Christian Russian, Serepis, Granchnian, Necrohol, Bat-speak, Gobble-tor, and high school French, and had even taken a six-week course on Abyssmese, but had never bothered to learn Spanish. Considering her current career, it seemed a gross oversight.

“Sir… sir… sir…” the voice on the other end stopped. “This is Scoraxis and Smith,” she explained with an insulting level of enunciation, “You want Vance, Pettigrew, and Koshchei on the twenty-fifth floor. Let me redirect you.”

Her eyes strayed fuzzily from the reception orb to her cell phone: blank, shiny, void, dead, at rest. A symbol of the limitless potential of humanity, reduced to a remarkably inept whirly-gig. Belleraphon could relate. Oh yes, she could relate. Behind her, in the Admin offices, Seraphine was discussing expansion with Gulzag and Tim. They were standing out in the passway between their offices, their murmurs occasionally breaking into forced chuckles. Typical, thought Belleraphon: they get their own offices and never use them. Try as she might, however, she could not generate sufficient spite to raise her out of her apathy. She cast about, despairing for another distraction.

A muted ding sounded. Raph glanced from her desk over to the elevator vestibule, where any of six elevator cars could transport clients and employees anywhere between the 53rd and 70th floors. Scoraxis and Smith leased floors 64 through 70. The 63rd floor was shared by an accounting firm (Barvlok and Barvlok) and an anti-environmental-regulation super PAC (“Green Springs Tomorrow!”); she knew this because many of their employees would mistakenly stumble into 64th floor reception on Monday mornings, bleary-eyed and belligerent. They also had a habit of “accidentally” getting off on the wrong floor on Pizza Fridays, or whenever Seraphine’s menagerie of adorable dogs was brought into the office. Or on Wednesdays, when Seraphine was known to occasionally come to the office in her workout clothes. It was very occasional, but these men (and they were, almost to a man, men) seemed nothing if not optimistic, so far as shirking their few responsibilities was concerned.

This time, however, the elevator vomited no stuffed shirts or poorly-executed comb-overs; no vapid former-jocks with the subtlety inherited from several concussions and the entitlement that only a well-tailored suit and a childhood in the suburbs can engender; no red-eyed grumblers intent on sharing their sexual inadequacies with a rebelliously-haired subordinate; not even a single purebred canine whose daily wash totaled more than Raph’s weekly paycheck. No, today the elevator opened, and a cat got off. It was, perhaps inevitably, black.

Raph had never seen a real cat. In Chicago, a city so close to such a large body of water, cats were hardly unheard-of, but then so were farmers’ markets, and she’d never seen one of those either. And, much like the prospect of facing a deluge of flannel-clad hipsters with organically fly-encrusted vegetables, Raph found herself unsure of how to deal with her current predicament.

Could cats operate elevators? It seemed physically impossible, but with Lake Michigan so close, such terms were more suggestive than definitive. Considering her own place of employ, it was naïve to apply normal physical laws to something so extraordinary as a cat. Unless someone had thrown the creature into the elevator to be rid of it, just happened to press the button for the 64th floor, then ran off (an entirely reasonable premise), it looked as though this portentous visitor had the power to operate machinery outside of its anatomical bailiwick.

Then a man exited the elevator. It had probably only been a few seconds, but with a cat…

The man was short and slight, more Dickensian than a dozen starving-yet-plucky orphans, if one replaced the pluck with slack bemusement. He wore a blousy white shirt, a tattered brown tunic just shy of a burlap potato sack, and green cargo shorts. It was an unusual combo. Although grown and a little saggy, the man had an oddly childish appearance: pale, free of wrinkles, and palpably naïve. As he looked across the lobby and found Belleraphon, apprehension settled on his narrow shoulders like soggy bread on a bad sandwich. The cat, however, strode confidently toward her.

The cat was approaching her desk.

The cat was at her desk.

It leapt up onto the surface and snuggled down just behind her computer monitor.

The cat was on her desk!

Raph seized her cell phone, preparing to use it as a bludgeon. Her sword (a short-sword, naturally) was at home. Scoraxis and Smith did not permit metal weaponry on the premises. They did permit fire staves, death orbs, blood rings, and the ironically named peace makers; but not being a magician, Belleraphon had little use for such things.

The cat continued to sit. Inexplicably, it was licking its forelegs and running them over its own head, repeatedly. Why anyone would want to rub saliva on its head was beyond her, but then in her hero days she had seen things that could turn you white. After you have talked a troll with rabies off a window ledge using old nursery rhymes and a super-soaker full of boiled vodka, or stabbed a quivering mound of eyes in eighty-seven pupils only to have the eighty-eighth erupt in a coruscation of rainbows and country-music instrumentals (which all sounded the same, lending credence to the stereotype), or been jumped at night by what you thought was an orcish raiding party only to discover it was some kind experimental theater troupe (‘Orcs Off Broadway’), you tended to stop questioning the idiosyncrasies of others. So it was with the alleged cat’s spit-bath.

The cat turned its sharp yellow eyes upon her.

Completely involuntarily, Raph shuddered and pushed her chair away. Half rising, and nearly stumbling on her shield while at it, she lifted her cell phone up and prepared to smite the mythic beast into oblivion.

“Mrowl…”

The one-time hero of Chicago dropped beneath her desk like a stringless marionette. An instant later, she was shivering back up to her feet, her shield held before her chest and her eyes barely peaking above its top. Her cellphone had clattered… somewhere.

“Mrowl…”

It was an odd sort of noise for something as inscrutably deadly as a cat to make. Yet, it did seem to fit such a small creature. She continued to stare. It continued to stare. No one moved.

After an inordinate pause, the cat closed its eyes and rested its head upon the desk. Belleraphon, having only just realized she had been holding her breath the whole time, exhaled and began panting obscenely.

When her senses at last returned, she looked up. The stooping man-boy was standing directly in front of the desk.

They stared at each other. The cat slept.

Raph cleared her throat, both deliberately and softly. There was no attempt to regain her dignity; after all it was irreparably lost, and who was this fifteenth-century-serf-cum-hobgoblin to judge her anyway? No, she was merely trying to signal an end to combat, an opening of diplomatic relations.

Well aware of the redundancy of the question, she asked, “That is a cat, isn’t it?”

The man-boy’s face was a complete blank. He did not give the impression of one skilled in dissimulation, so Raph concluded that he either did not speak English or was a simpleton. As one might conclude from her most recent phone-call, she held an uncharitably similar opinion of both such people.

After making sure he was looking directly at her, she widened her eyes before lowering them to the deceptively inert feline. “Cat?” she asked, broadly.

“Diane.”

She quirked her eyebrows palpably. “What diane? Like, a Nymph?” She had never seen a nymph either, though they were as common as muggers around the Lake. Actually, since a gang of nymphs calling themselves the Dianaids had taken up residence just off Balbo and Lakeshore, the area mugger population had plummeted.

The man-boy stared, vacant. “The cat. The cat is Diane. That’s her name. The cat. Diane.”

Feeling that absolute specificity was the better part of valor, she lifted her left hand over her shield and delicately pointed toward the animal in question, her eyebrows rising to an insultingly patronizing height. “That. That is a cat.”

His face might well have been carved from especially prosaic stone. Probably something igneous. He nodded.

Raph’s terror was stretching her face into a rictal sneer. Her eyes widened to such a degree that their desire to vacate the premises was immediately evident. She whispered acidly, “Get. It. Out. Of. Here.”

Finally, his face altered ever-so-slightly. There was the tiniest sensation of sinking, of withdrawing back into himself, and Raph instantly felt guilty; not guilty enough to endure a cat, but still… guilty.

The bloused one scooped up the cat, Diane, in his arms. No sooner had he done so, than it leapt out of his grip, straight toward Raph’s face.

With a scream that might make a Banshee consider investing more strongly in her day job, the one-time Hero of Chicago fell onto her back in a reversed child’s pose, attempting to collapse her entire body behind her shield. A small thunk and a tiny pressure told her the cat was on her shield. Raph was now breathing in tiny, rasping heaves.

“Belleraphon?” called a sultry, melodic, enchanting, firm, divine, and thoroughly unamused voice. She glanced up, and there stood Seraphine.

The tallest person in the room by a comfortable foot, Seraphine was dressed relatively casually for a Monday: translucent sea-foam skirts hugged her famous hips and swept down to her remarkably defined ankles. Her top, an uncharacteristically shapeless sweater of light blue, together with a few veilish scarves, obscured her enviably svelte and unjustly endowed figure more than was her usual wont. Nevertheless, a rapid glance at the little man-boy showed that Seraphine’s attempt at false modesty was as alluring as any other ensemble she adopted.

Her eyes, framed by entirely ornamental glasses, flashed a brief blood-red, though her statuesque features regarded Raph with their usual collection of patronizing concern and magnanimous condescension. After a solid three seconds of silence, to make sure everyone knew just who was standing and just who was lying on the floor, she asked in a flawlessly innocent tone, “Is everything all right?”

Now regarding her dignity as a lost legend, Belleraphon made no attempt to regain her feet. Instead, she widened her eyes to cartoonish extremes and looked toward the center of her shield. Peeping over its crest, she could now see the shadowy form of Diane, curled up and evidently asleep.

“Yyyeeeeeesss…?” the Head of HR drawled, as though a cat were no less common than her own Pomeranian, Tiggles. When no further explanation was forthcoming, her now opalescent eyes sauntered over to the stranger. “May I help you, sir?”

Both ‘help’ and ‘sir’ had been sautéed in just enough emphasis to clarify who was the real servant in this relationship, and who was actually deserving of an honorific. If the hobbit-thing recognized any insult, however, he was playing his cards as close to his virtually-concave chest as ever. “My cat,” he murmured. “I was just getting my cat.”

There was a thrum in the air on “cat,” and Belleraphon looked back to her supervisor. To the casual observer (of which she had many), Seraphine had not altered her calm superiority in any fashion, but there was a just-perceptible tightness in her full, red lips that could well betray any depth of emotions. Her eyes lost their luster, going from opal to deep shadow, but her inquiry was as warmly smug and invitingly snide as ever. “Your cat?”

The halfling-guy leaned around the front of the desk a bit and pointed languidly at Diane. “Diane. My cat.” Was he high? Did people still smoke pot? Raph spared a glance, but saw none of the telltale purple bruising at his knuckles, nor any yellowing around his large, childish eyes.

“She’s adorable,” Seraphine, almost purring, assured the stranger. “I’m Seraphine, by the way.” The silence that followed was almost predictable by now. “And you are?”

His masklike face was starting to show stirrings of life in her Venus-like presence. Even for such a bizarrely laconic creature, it was not a surprising reaction. “Noel.” The disappointingly dull name burbled like mud out of his thin lips.

Seraphine smiled, and as always, the room lit up. “Lovely to meet you, Noel. This is your cat?” she mused, relaxing back on her right heel. Raph stretched her eyesight to discover that the heels in question were of various blended shades matching the skirts and silks that adorned the rest of Seraphine. Everything on her body was no doubt custom ordered, and the sale of the outfit could feed a family for a year. Most likely.

There was a softer, slighter “Mrowl,” and Belleraphon immediately reprioritized her entire life around the ten pounds resting upon her shield.

“Forgive me,” Seraphine continued, “but Diane seems to be terrorizing my receptionist.” A honeyed suggestion of kind-spirited laughter draped itself languorously upon her words. Whatever else she was, she was collected under pressure. “Could you retrieve her please?” she requested, her eyes now a sparkling violet crowning her unstoppable smile.

Silently, Noel lurched around the desk, showing not even the tiniest molecule of hesitation as he stooped down and picked the cat back up in his arms. Diane squirmed, but Noel held her firmly this time. He stood, the cat secured in his arms like a baby, staring vacantly at Seraphine.

“You seem to really know your way around that cat.”

The faintest hints of confusion settled upon the still vacuous face. “Well… She’s… she’s not mine, but… I took care of her all my life. I guess she’s mine now.”

There was a noticeable crack of surprise in Seraphine’s façade, which she quickly disguised as admiration. “You own a cat?” More silence. “What floor do you work on, Noel?”

If she were not so terrified, Raph might have started counting the seconds between each question and answer. “I don’t… I… she just wandered in… and into the elevator. I don’t know why she got off here. I don’t… I don’t work here.”

A cautious courage finally began to manifest in Seraphine: she took a step toward the little man, casually tossing a hip out in the coquettish manner of a woman far more accustomed to nonsense than she actually was. “And where do you work, Noel?”

“It burnt down,” he answered with, for him, remarkable rapidity. “I guess I don’t work anywhere.” The thing called Noel was growing dangerously close to becoming slightly interesting.

Her face lit up again, and the room was bright as day. “Well what luck,” she immediately countered, her eyes blue as the summer sky. “We’ve just had an admin position open up. We could really use someone who has a way with animals. Have you got a resume handy, by chance?”

By the look on his face, Raph was reasonably certain Noel had no idea what a resume was. Maybe he was Amish. Did Amish still exist? She had finally started to relax, but felt very much like a fly on the wall (as it were), and was worried that standing or returning to her seat would only draw embarrassing attention to herself.

Seraphine took a step back toward the offices. “Well come on back anyway. Let’s have a talk while you’re here, and we can worry about technicalities later; what do you say?”

Noel, by now standing next to Raph’s chair, shuffled uncomfortably. It was only then she noticed he was barefoot, his soles black as pitch.

Without a word, Noel followed Seraphine back into the offices. A few seconds later, Gulzag let out a hilarious squeal, and Raph finally stood up. She crouched under her desk, replaced her shield, found her cellphone wedged under some wires, and returned to her seat.

As if on cue, the orb rang.

“Scoraxis and Smith, this is Raph speaking, how my I help you?”

A gravelly, unearthly voice demanded by all the spheres and unholy crevices of the benighted outer realms to speak to Dave in accounts receivable. His demand was spoken in Necrohol, a fairly obscure language that Belleraphon just happened to speak.

Of course, Sir,” she answered in kind, her vowels a bit shaky but otherwise well in practice, “I’ll transfer you at once. May death fall swiftly upon your enemies.”

The voice responded, suddenly much more polite, thanking her and wishing her a grand and impressive demise. She transferred the call, very much wishing herself the same thing.

Seraphine’s rhapsodic laughter rang out, to all ears entirely genuine, just before she shut the door to her office. Raph spent a lot of time hating Seraphine, but she had to admire anyone who would close themselves up in a small room with a cat.

A soft ding sounded, and the exact same elevator door opened. Sir Ponderus, the old and overweight janitor, slumped out with his roller-bucket, offering a tired smile and a wave. Raph returned the smile, but was not quite up to waving yet.

Just before the elevator closed, a tall, attractive man with perfectly quaffed blond hair and bloodshot red eyes stumbled out. He took a look around, shrugged, and took the next elevator down.

Raph tried to roll her eyes, but could not find the motivation. She watched Sir Ponderus rolling toward the Operations cubicles, where the men’s bathroom could be found. He vanished around a corner.

Belleraphon looked down at her cellphone. Cellphones used to control the world, now they were essentially ballast. Still, it was her ballast. She spun her ballast around on the desk, barely watching. The black phone described half circles on the matte grey desk, silently semi-circumnavigating the plain under her half-motivated direction.

Belleraphon glanced at her clock. It was 8:57.

Stories, Under the Word

Steampunk Christmas Carol

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A Steampunk Christmas Carol is back! EDGE remounts this classic-plus-gears-and-stuff in December! Check out some info here.

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