Matamore Imagery

Herein’s a repository of imagery I associate with Matamore, from Tony Kushner’s The Illusion.

I first saw The Illusion at the Court Theater in 2010. Their Matamore was played by a leading-man rather than a character actor. Likewise, he was dressed less as a braggadocio and more as a straight-up musketeer.

Timothy Edward Kane as Matamore, with Michael Mahler as "The Son" of many names, in the Court's 2010 production.

Timothy Edward Kane as Matamore, with Michael Mahler as “The Son” of many names, in the Court’s 2010 production. Photo by Michael Brosilow

The Court’s Matamore was also more multilayered than the script would seem to entail. His scene with Lyse in the second act showed a great self-awareness, defeat, and a quiet romanticism, rather than continued falsity and bellowing. Although this subtlety is something I hope to bring to performance as well, I no longer feel (as I once did) that a ‘sincere warrior’ costume is necessary for this three-dimensional character to exist.

The Court also gave Matamore a second, simpler (and more Jesus-y) costume for later, when his more three-dimensional nature was revealed. This means he actually appeared simpler, cleaner, and more honest at the very end, which was interesting.

Matamore's initial costume, followed by the "honest" post-retreat costume. Sketches by Jacqueline Firkins.

Matamore’s initial costume, followed by the “honest” post-retreat costume. Sketches by Jacqueline Firkins.

Peter Bartlett as Matamore in Signature Theatre's 2011 production. Photo by Joan Marcus

Peter Bartlett as Matamore in Signature Theatre’s 2011 production. Photo by Joan Marcus

From what I’ve seen, the more traditional Matamore is made up in finery and fake honors, like Signature Theater’s. Since I’m rather short (and a bit on the doughy side), a braggart costume would presumably be more successful than any attempt to dress me up like a sincere warrior. Ultimately, however, I think any costume that denotes pretension would work. Bartlett’s Matamore (right) reminded me instantly of my performance as Mozart in Amadeus, around this time last year…

Me as Mozart and Mack Heath as Salieri in World Stage's Amadeus. Photo by Zach McLain

Me as Mozart and Mack Heath as Salieri in World Stage’s Amadeus. Photo by Zach McLain

Although equally admonished as a braggart and a fool, Shaffer’s Mozart is above-all a child in an adult world, and it is this attribute that I think is most charming about Matamore: a child, trying desperately to succeed in a grownup world he does not understand. This naivety of character, I think, would be nicely complimented by my short stature and relatively impish appearance.

Below is a collection of imagery I associate with Matamore. Chief among them is the Onion Knight, an inept child-warrior of exaggerated appearance. This, more than anything, is how I see Matamore right now: a little boy playing at manhood with exaggerated finery. I particularly love the plume and the pantaloons, but that’s just me.

"Onion Knight" from Final Fantasy Tactics

“Onion Knight” from Final Fantasy Tactics

"Onion Knight" from Final Fantasy 3

“Onion Knight” from Final Fantasy 3

 

 

Leviathan. "Trullish chambermaid, do you think That such a gross Leviathan as myself would stoop To spy upon my future Queen?"

Leviathan. “Trullish chambermaid, do you think That such a gross Leviathan as myself would stoop To spy upon my future Queen?”

 

 

Capitano, a stock character of Commedia

Capitano, a stock character of Commedia

 

Baron Munchausen, a legendary German liar and lunatic

Baron Munchausen, a legendary German liar and lunatic

 

 

Baron Munchausen, legendary German liar and lunatic

Baron Munchausen, legendary German liar and lunatic

 

 

Fiery Heart. "The Queen of Iceland?" "Will not let me rest; pursues me in her sled; And wants my fiery love to thaw Her frozen marriage bed."

Fiery Heart. “The Queen of Iceland?” “Will not let me rest; pursues me in her sled; And wants my fiery love to thaw Her frozen marriage bed.”

 

Moon Cavern. "The moon... It's cold and bleak up there, they say. Perhaps in a cave, on a comfortable rock, Viewing the expanse of some lifeless lunar desert, I'll learn to dream smaller, less tumultuous dreams."

Moon Cavern. “The moon… It’s cold and bleak up there, they say. Perhaps in a cave, on a comfortable rock, Viewing the expanse of some lifeless lunar desert, I’ll learn to dream smaller, less tumultuous dreams.”

Theater Stuff

‘Spike Heels’ is Surprisingly Ahead of its Time

Last night (Friday, Jan 23rd), Brown Paper Box debuted their production of Theresa Rebeck’s Spike Heels, playing through February 8th at the Raven Theatre (6157 N Clark St.). A treat for anyone with a genuine interest in acting, the performances are the reason to see this rendition of a 25-year-old light comedy that has surprisingly grown better and deeper with age.

Spike Heels is Rebeck’s retelling of and commentary on the Pygmalion story. I first saw this show in 2009 (I think): I found it amusing with some good monologs (Rebeck is known principally for her good monologs), but ultimately pretty inconsequential. Yet seeing it again in 2015, it seems wholly transformed by recent changes in the dialog regarding women’s rights. It’s not that Rebeck has lucked out thanks to cultural changes, but rather (I think) she was incredibly ahead of her time. The zeitgeist of 1990 forced her and her lead character to speak of agency, relationships, and even sexual assault with a lightness that already seems thankfully alien in modern urban culture, but the words themselves form a deliberately inarticulate yet very human picture of the disenfranchised fifty-percent.

If this all seems too vague, go see the play. There’s no reason not to.

Director Stephanie Rohr chose to highlight the 90s setting, not to excuse any outdated references, but most likely to throw this pre-YesAllWomen mentality into sharp relief. This is smartly accented by Sara Heymann’s set and Liz Hoffman’s costumes (more on this later).

But principally, it’s the acting that makes this show a success. Jillian Weingart’s Georgie is energetically diverse and committed to strong transformations, rather than the tedious emotional transitions we see on television (more on her later). Jesse Dornan gives a solid embodiment of Andrew, Rebeck’s modern Henry Higgins: a combination of pompous tutor and presumptuous knight-in-shining-armor, with enough self-assurance to smooth over the condescension inherent in these archetypes.

Charles Askenaizer plays Edward, the prototypical slimy, suave seducer. When Askenaizer first stepped onstage, I wanted to hate him. We hate Edward by reputation long before he first appears, and his lines are so glibly self-serving, I wanted to believe that Askenaizer could not be charming enough to counterbalance this. It wasn’t long, though, before he won me over. He was the strongest at eliciting and receiving natural impulses from others, and the man really comes alive with props in his hands: he knows his way around a gesture.

Whitney Morse rounds out the cast as Lydia, Andrew’s fiancee and the act-two complication. Morse brings a strong presence and is (necessarily) more grounded than Weingart’s frenetic Georgie. However I also found her the most two-dimensional, playing one note through each beat. She seemed the most negatively impacted by an overdone rehearsal style.

The first twenty minutes or so of this play is just Georgie and Andrew, and while their clearly defined archetypes were entertaining, I quickly noticed a lack of interpersonal engagement, risk, or tension. The whole thing seemed over-blocked, more choreographed than acted. Rohr’s BFA in musical theater would seem to corroborate this suspicion. To be fair, she also holds an MA in classical acting, but then classical acting is not known for spontaneity and risk either (though I think it should be). All four of these actors had great strengths, but they appeared continually hobbled and disconnected by choreography. They were running through a game-plan, rather than discovering things. Everyone knew where and how everything was going to happen, and (aside from one or two entirely forgivable line flubs), nothing new or surprising happened to the actors. They were frequently blocked into uselessly awkward stances, and monologs often required dissolution of what little connection had been accomplished. It’s a real shame because, again, the actors showed great strength. Rebeck writes great monologs, and every actor delivered beautifully when they were allowed to work independently. But when engaged together, it was just so much throwing runny eggs at a brick wall: one actor throwing energy at someone, and all that energy running down to the floor. They seemed the most comfortable and natural during silent physical quirks, a common result of over-blocking or over-rehearsing. But when actors are at their most comfortable in silences, in a play about language and communication (and which is 95% talking), some disservice is being done to those actors.

Fortunately, each actor is strong enough to shine on their own, and this is exemplified by the lead, Georgie. While each other actor seems, to some extent, trapped by the archetype they are portraying, Weingart embodies physically diverse personas and visually compelling sentiments. Although these changes seem more motivated by rehearsal than the other actors, they are exciting to watch, and she commits to them powerfully. She presents a little less diversity vocally, but two-or-three levels is still better than one, and I cannot say enough that transformation is more interesting than transition. Weingart’s giant dynamism is complimented nicely by Askenaizer, whose slimy Edward is ironically the most nuanced of the play. His subtleties seem better suited for the screen than stage, but the Raven’s space is intimate enough for him to succeed where others might fail.

Heymann’s set makes great use of limited resources, both monetarily and scripturally. It is the curse of ‘box-set’ plays that they allow little in the way of creativity, but Heymann uses the 90s motif to make one or two informed nods to inter-sex relationships. Simple changes contrast Andrew’s and Georgie’s apartments well, the crowning achievement being Georgie’s Pretty Woman poster: an overt commentary on the culture of the play itself, and hey! the movie came out the same year Spike Heels was written.

Now seems as good a time as any to praise the oft-neglected dramaturg: Michelle Kritselis in this case. It’s often difficult to sense the dramaturg’s hand in any production, but Spike Heels is a strong and well-informed presentation of outdated gender-roles that are perhaps not as outdated as we wish they were.

This is further enhanced by Hoffman’s costumes. Andrew spends much of the play in blues, typically the color of heroes. It’s not just Andrew’s lines that seek to present him as the misunderstood hero, rather than the presumptuous manipulator he is; the fact that he is never outright exposed as a self-righteous pedagog is a compliment on the subtlety of the play, and Hoffman’s costuming mirrors this. Georgie’s variegated color-scheme and wild hair contrasts beautifully with everyone, especially the straight-lined, black-and-white Lydia, and again serves to highlight Georgie’s “fish out of water” story. The design’s one weakness is Edward: the slick, wealthy lawyer should presumably be the best-dressed, but instead Askenaizer swims in an oversized shirt and pants. This was no doubt a result of budgetary restraints, though, and it certainly doesn’t ruin the play. Ultimately, Hoffman makes excellent use of color and lines and textures throughout.

Theresa Rebeck has written many fairly successful plays, but most of them appear to be little more than some entertaining pithiness with one or two moments of “huh… interesting.” Maybe they are all as ahead-of-their-time as Spike Heels turned out to be, just waiting for culture to move forward and let neanderthals like me look back and say something more than “huh… interesting.” This production does suffer from over-cooking: there’s more than a little awkward choreography, and entirely too much walking-out-then-turning-back-at-the-last-minute; although that could be Rebeck’s fault, I honestly can’t remember. Yet in spite of this, the play’s cast present committed, intelligent, and articulated performances, coupled with reflective and insightful design, highlighting a script that’s only getting better as time goes by.

Spike Heels runs January 24, 25, 29, 30, & 31, and February 1, 5, 6, 7, & 8. Thursday – Saturday shows start at 8:00pm. Sunday shows start at 3:00pm. The Raven Theatre is at 6157 N Clark St. Tickets are $20 a pop.

So, ya know… check it out.

Reviews, Theater Stuff

Coming Soon!

While I’m not as successful as some (depending on your definition), I suppose it is a bit of an ego-bump to have things scheduled through half the year. I recently achieved a day-job that will hopefully be longterm, and I just signed away a year on an apartment in my favorite area (more on all that next month).

What this means, practically, is that since I’m committed to Chicago for the next year, I can commit to finally bringing A Thousand Times Goodnight to the Windy City. Hopefully it’ll be an outdoor performance: more than any other of my verse plays, ATTG needs to be done outdoors. I’m trying to schedule a casual read next month to start some heavy cutting and streamlining, cause that fella’s a long’un, but things are… ya know… starting.

Even better, I can finally say that I get to fulfill a dream this year by playing Matamore in The Illusion. I saw this play when the Court Theatre did it like four years ago: the 1st year grad students of WIU were taking a trip to see it, and I was allowed to tag along. I thought it was a beautiful and intelligent show, and Matamore – aside from being hilarious and brief – was in many ways the essence of the play’s message in little. And now I get to do it! Go me.

Timothy Edward Kane as Matamore, with Michael Mahler as "The Son" of many names, in the Court's 2010 production.

Timothy Edward Kane as Matamore, with Michael Mahler as “The Son” of many names, in the Court’s 2010 production. Photo by Michael Brosilow

There is an interesting contrast between the Court’s Matamore and most, however. While typically played by an older character actor, the Court’s Matatmore was played by a young leading man type (Timothy Edward Kane), whose appearance gave the impression of strength and competence. This illusion (hah!) was quickly undercut by the lines and Matamore’s behavior, but the first impression was of a warrior. This (I think) allowed for subtler performance, and provided the vital opportunity for a depth of character perhaps not displayed in the script, and certainly not in the source material (Corneille’s L’Illusion Comique). Hopefully (hopefully) I’ll get the chance to lend a similar complexity to the RBP’s production.

Peter Bartlett as Matamore in Signature Theatre's 2011 production. Photo by Joan Marcus

Peter Bartlett as Matamore in Signature Theatre’s 2011 production. Photo by Joan Marcus

However, as shown in Signature Theatre’s Matamore (played by Peter Barlett), the more traditional presentation is an obvious blowhard, someone neither intimidating nor impressive; an overt nod to the Commedia braggarts from which Matamore was born. Being kind of a short guy, my Matamore will probably be something more in this vain, but all that really means is – at worst- I’ll be losing a second or two of magnificence before I start speaking. NB’est of Ds. The blowhard is a role at which I excel: just check out me as Mozart in The World’s Stage’s Amadeus last year! I even look a little like Bartlett!

Me as Mozart and Mack Heath as Salieri in World Stage's Amadeus. Photo by Zach McLain

Me as Mozart and Mack Heath as Salieri in World Stage’s Amadeus. Photo by Zach McLain

So The Illusion is a big highlight for me, and I’m magotes-excites about starting rehearsals next month. In celebration thereof, I’ve updated the Coming Soon section of my Recent Work page to include most of what I’ve got coming up this year so far. Enjoy! I know I will.

COMING SOON  IN 2015

JanuaryUnrehearsed Shakespeare opens its third full season with Twelfth Night on Twelfth Night ’15. Later in the year, look for a full production of Countess Bathory and (hopefully) an outdoor production of the Chicago premier of A Thousand Times Goodnight.

January – February: Back by popular demand, Unrehearsed Shakespeare holds its second workshop in half a year. Learn how the Elizabethans did it (maybe)! Learn how to derive character from text, to use words as tactics, to work as a team, and remove judgmental barriers. Plus, do stuff with Shakespeare!

February: I continue my work with the Shakespeare All-Stars, this time visiting the Latin School for more fast-paced fun.

March – April: At long last I return to The Right Brain Project, for a dream role in a dream play. The RBP opens its tenth season with Tony Kushner’s The Illusion, in which I will be playing the lunatic braggadocio, Matamore. Ever since I saw the Court’s production back in 2010, I have longed to be a part of this show, and I’m uncharacteristically ecstatic with anticipation.

April: I’ll be traveling up to Michigan to teach an Unrehearsed Shakespeare workshop in Midland, Michigan for the Regional Festival Conference for the American Association of Community Theatres (AACTFest).

May – June: A very hypothetical timeframe for A Thousand Times Goodnight to come to Chicago. Keep your fingers crossed!

 

Theater Stuff

Twelfth Night – The Catholic Conspiracy

cropped-TNUnBR-025.jpg

Twelfth Night was written in the opening years of the 17th Century, near the end of the reign of Queen Elizabeth I. While her sister and predecessor, Queen Mary I, had been both Catholic and violently anti-Protestant, Elizabeth was a Protestant and (perhaps paradoxically) far more tolerant of papal followers. Elizabeth believed that Catholics should be allowed to follow their own faith (relatively) openly, so long as it did not interfere with the peace. This of course did not stop the occasional persecution from other figures both public and private, but it was generally an era less bloody than Mary’s.

Elizabeth I

Elizabeth I

Mary I

Mary I

However, Twelfth Night was written near the end of Elizabeth’s reign, long after the death of Mary, Queen of Scots. This second Mary was a figurehead-champion (both willing and unwilling) of numerous Catholic plots (small and large, hypothetical and genuine) to retake the crown from the Protestant Elizabeth. Put simply, the religious freedom endorsed by Elizabeth I was, although presumably more liberal than her predecessor, a shadow of the freedom we enjoy today.

So the Twelfth Night Catholic Conspiracy is, by a wide margin, not the most ridiculous conspiracy theory linked to Shakespeare (witness the continually debunked and continually resuscitated Anti-Stratfordian movement).

In essence, the idea is this: Twelfth Night was written as a semi-covert celebration of Catholicism and a barely disguised mockery of Protestantism. At the time, British Catholicism was the sect associated with celebration, festivity, and casual liberality. Conversely, Protestantism was against excessive celebration, idolatry, and most tellingly: saint-worship (which they viewed as pagan), even going so far as to call Catholicism the “Cult of Mary” for their veneration of the Virgin Mary.

I know. There’s a lot of Marys.

Sebastian (Glenne Widdicombe) is wooed by Olivia (Bridgette Well)

Sebastian (Glenne Widdicombe) and Olivia (Bridgette Well), framing a Virgin Mary (Photo by Danielle Levings)

So what’s so Catholic about Twelfth Night? To begin with, it’s named after a holiday. Protestantism was the more puritanical of the two sects (this will come up again later), generally opposed to holidays (also considered a pagan concept) and festivity. Moreover, Twelfth Night features an unusually large number of characters named after Catholic saints: Andrew, Antonio (Anthony), Sebastian, Valentine, even Maria (another name for the Virgin Mary). All of these names can be found in other Shakespearean plays, but only in Twelfth Night are they all together. It’s also worth noting that Olivia is called Madonna several times (also a reference to the Virgin Mary).

Speaking of names: I am hardly the first to point out that Viola, Olivia, and Malvolio all have the word “lov” mixed into their names (“lov” being an easy misspelling of “love” in the earliest days of Modern English, when it was entirely commonplace for words to have several different spellings). “Viola” is presumably a reference to the musicality of love (Twelfth Night has a lot of music, and many references to music), “Olivia” perhaps alludes to the peaceful or peace-making qualities of love (kind of ironic, given her mercurial nature for most of the play). “Malvolio,” meanwhile, means ‘bad love.’ Olivia herself says of him, “you are sick of self-love.” Malvolio, then, is the Duessa to Olivia’s Una (or Viola’s Una, if you prefer).

And what do we know about Malvolio? He is called prideful, a poseur, pompous, vain, easily deceived. He is called something of a puritan, is accused of practicing formalities to his own shadow, and most intriguingly: he is several times insulted with terms typically used to insult a “loose” woman. Almost all these terms could easily be applied to Duessa, Spenser’s spokeswoman for the ‘False Church’ in his epic The Fairie Queene. Of course, Spenser’s false church was the Catholic church, and here the false church is Protestantism, but all the same: the symbolism is powerful. Malvolio is a puritan who hates celebration, has pretensions above his rank, tells Maria how to behave, and presumes to speak for Olivia, the Madonna.

Although Viola is clearly the romantic lead of this piece, and Sir Toby is the largest role and (intended) fan favorite, it’s Malvolio who has commanded the most attention historically (King James, in his copy of Shakespeare’s works, crossed out “Twelfth Night” in the table of contents and wrote “Malvolio” in its place). Maria and Feste’s deception and abuse of Malvolio are the clear comedic center of the play. So we see the Puritan (whom Sir Andrew boasts to beat “like a dog”), duped and made a fool by Maria, then abused and driven mad by Feste the Jester: festival in human form and the musical (and ritual) emcee of the play.

The madly used Malvolio (Ethan Hall)

The madly used Malvolio (Ethan Hall)

Feste (Tawnie Thompson) sings to Sir Andrew (Eric Scherrer)

Feste (Tawnie Thompson) sings to Sir Andrew (Eric Scherrer)

Taken in this light, Twelfth Night seems to be a merry ribbing of the dominant belief-system, and a good-natured celebration of celebration itself. But with Shakespeare, things are never that simple (except in Comedy of Errors, of course).

A quick look at these Catholic namesakes reveals a less than flattering picture of the sect Shakespeare is allegedly championing.

Viola (Erin O'Connor) & Antonio (Zack Meyer) '13

Viola (Erin O’Connor) & Antonio (Zack Meyer) 2013

Antonio, by turns portrayed as the avuncular guardian of Sebastian or more often (and more successfully, I’d argue) as the boy’s enamored admirer, is shunted aside by Sebastian the instant Olivia presents herself. Saint Anthony is the patron saint of finding lost things (and people), which is exactly what Antonio does: he rescues the drowning Sebastian and expects nothing in return. He gives the young man money to buy himself trinkets and even risks venture into Illyria; Antonio is an enemy of the state and likely to suffer dearly if seen. Whether Antonio is genuinely in love with Sebastian or just a kindly older man, his sacrifices and his risks are ultimately rewarded with nothing: Sebastian offers him a single kind word in 5.1, and Antonio is forgotten for the rest of the show.

Sir Andrew (Jessie Mutz) & Fabian (Emma Couling) '13

Sir Andrew (Jessie Mutz) & Fabian (Emma Couling) 2013

Andrew Aguecheek is a clown and a dope of the first order. No doubt played by John Sinklo, a Shakespearean actor know for his bony physique and sickly pallor, Andrew is portrayed either as a wan-looking wimp or a flamboyant fool (sometimes both). Most interesting is his sacrilegious oaths (he swears by God’s eyelid at one point) and his utter inability to comprehend Latin. This is particularly interesting: one of the major points of contention between Catholicism and Protestantism was Latin. Catholics insisted that the Bible (and all readings therefrom) should be in Latin, as they had been for over one thousand years. Protestants argued that the Bible should be written in ‘the Vulgate,’ so everyone could understand it. Andrew the knight’s complete ignorance of it and Feste’s presumably deliberate mangling of it show a less than holy respect for the traditionally biblical tongue. And let’s not forget that Andrew is also a braggart, a prodigal, and a clueless coward, ultimately no better than Malvolio, save for his love of festivity (if that’s a virtue).

Valentine is a minor role, but even he has one or two intriguing lines. When the Duke asks if his words of love were delivered to Olivia, Valentine replies:
“So please my Lord, I might not be admitted,
But from her handmaid do returne this answer:
The Element it selfe, till seven yeares heate,
Shall not behold her face at ample view:
But like a Cloystresse she will vailed walke,
And water once a day her Chamber round
With eye-offending brine: all this to season
A brothers dead loue, which she would keepe fresh
And lasting, in her sad remembrance.”
(italics mine)

In order for the Scansion to work (if you’re interested in that sort of thing), Valentine must say “vail-ed,” not “vailed,” and even more interesting: “remem-berance,” not “rememb’rance.” Even more, why does Valentine need to say “The Element itself, ’til seven years heat / Shall not behold her face at ample view,” rather than simply “She’ll see no one for seven years,” or instead of “And water once a day her Chamber round / With eye-offending brine,” why not simply “She’ll weep once per day for her brother’s love.” There are absolutely many ways to interpret this, but one such interpretation is that Valentine is more than a little stuffy, more than a little pompous himself. Such stretched out fancy-talk is not uncommon in Shakespeare, but slightly unusual for a mere messenger. And why does Valentine, an incidental messenger, even have a name? He is a courtier, and has a handful of lines in 1.4, but again that hardly justifies such fanciness. It’s a weak argument, but only one among several stronger.

Maria is a gentlewoman, or so called, but she behaves little better than the coarse knights Toby and Andrew. She is both cunning and cruel, demands the same quiet that Malvolio does, and visits cruel deception and vengeance upon the Puritan, ostensibly for nothing more than a casual chastisement that she aught to discipline the rowdies more effectively.

We are led to believe that Malvolio couldn’t have fallen for Maria’s tricks if he weren’t so pompous, so vain, but how do we know he’s so vain? Everyone says so, especially Maria, but all his behavior in Acts 1 and 2 are at the behest of Olivia. Olivia demands quiet, so he demands it. Olivia demands harsh treatment of Orsino’s messengers, so he is rude to Caesario. Maria does exactly the same: she demands quiet of Toby and Andrew, mocks Feste and tells him to behave himself, and is rude and dismissive of Caesario. Yet Maria is ‘clever’ and Malvolio is ‘foolish.’ If talking to no one (“practicing behaviors to his own shadow”) is a sign of vanity, then every Shakespearean lead is far vainer than Malvolio, including Orsino and Viola.

Malvolio presents his yellow stockings (Ethan Hall)

Malvolio presents his yellow stockings (Ethan Hall)

So what are Malvolio the Puritan’s crimes? He mocks Feste, just as Olivia does. He is rude to servants and demands quiet, just like Maria. His overt pomposity, his clear claims of superiority, don’t show up until Olivia’s (fake) letter tells him to be dismissive and superior. In fact, when he first enters in 2.5, he is already fantasizing about Olivia, wondering if she might have feelings for him. Malvolio is easily duped, not because he is vain, but because he is desperate for Olivia’s love. Sure, he daydreams of talking down to Sir Toby, but who hasn’t had the same thoughts about a belligerent and drunken superior? Any other alleged crimes are only spoken, not proven. And for that, he is imprisoned and abused, humiliated and terrified, nearly driven mad, deposed and replaced in favor (if he ever had favor) by the pretty and vacant Sebastian. And when all’s said and done, we’re treated by Feste to another beautiful song with a strong hint of melancholy: “For the rain, it raineth every day.”

Feste (Andrew Behling) & Sir Andrew (Jessie Mutz) party '13

Feste (Andrew Behling) & Sir Andrew (Jessie Mutz) party, 2013

So what does Twelfth Night really say about religion, and about festival? More than anything else, it says that Shakespeare was wise enough to keep his political opinions (if he had any) well hidden behind three-dimensional speakers. Incredibly, this play also features the same terribly tasteless jokes (one of Viola’s most beautiful speeches may well contain a seemingly-random bit of scatological humor), the same vapid fools, and (if Unrehearsed theory is right) the same cartoonish gesticulations, as any other Shakespearean comedy. And like every other comedy, it still has a volume of commentary on the zeitgeist and human nature as a whole. Even the Bard’s simplest, most cartoonish comedies still offer a wealth of insight about our species.

Except for Comedy of Errors.

TWELFTH NIGHT ON TWELFTH NIGHT
2015: January 5th (Twelfth Night) and January 12th (the twelfth night… of January)
Mrs. Murphy & Sons Irish Bistro, 3905 N Lincoln Ave
Doors open at 7:00, show starts at 7:30
$5 at the door
Come be something great… the Audience!

Random Stuff, Unrehearsed Shakespeare

This ‘n’ That Way Madness Lies!

The year was 2008. It was a more innocent time. I was wearing blue stockings, oversized pants, an oversized white shirt, and an oversized… I wanna say jerkin, but I know I’m wrong.

Still wearing glasses. What a tool.

Still wearing glasses. What a tool. (Volpone, 2008)

The play was Volpone. I was playing Voltore, a greedy lawyer who gives a slanderous speech in court. I had to tell a story to the audience, an untrue story, involving several characters who were onstage, but with whom I’d had no interaction. I had to remember who was whom based on what I’d already seen that day, get those people close to each other, keep the action downstage, and move quickly enough to keep the energy high.

On top of all that, I had a challenge that, at the time, had never been addressed.

Most of the basic rules of Unrehearsed Shakespeare are simple verbal interpretation, and none of these is simpler than the this/that rule. Simply put, when you say “this glass,” you must be touching the glass; when you say “that glass,” you must not be touching the glass. Easy as pie.

But there was another issue. It’s easy enough to grab a sleeve or point to a shoe, but what about “this argument,” “these illusions,” “that vile deception,” or my personal favorite, “these deeds?” How do you touch, or point to, an abstract idea? How do you indicate a thing that is no longer there?

Eventually, these would come to be known as “Abstract Thises and Thats,” but at the time, I just saw words highlighted in yellow and orange, which meant I had to touch something or point at something. So, not knowing what else to do, I grabbed the air. I pointed at the sky. I patted the ground. I gesticulated wildly. It was cray.

This was somewhat tenebrous ground at the time. We had been given clear instruction not to “interpret” our characters unless the text said so. I couldn’t “gesticulate wildly” unless someone described me as doing so, or if I described myself thusly.

…Thusly…

But on the other hand, there were those words. I had to grab something. I had to point at something. So I did.

What I didn’t know was, later in the play, the two leads come on and comment on my character. In essence, they say: “That guy sure was crazy. He was shouting and gesticulating wildly.”

BAM!! Shouting (I had a lot of exclamation points, a rarity in original Elizabethan copies), and gesticulating wildly! Bam! Remember, nobody told me I was flailing my arms about, and Voltore sure never describes himself as an amateur windmill. How could I have possibly known to do that?

That’s the greatest thing about Unrehearsed Shakespeare: it works. We’ll probably never know if this is really how they did it back then, how carefully Shakespeare (or in this case Ben Jonson) chose his words, or how strongly cod-pieces figure into the phrase “my willing love,” but we do know that when we apply these guidelines to scripts from the era, any scripts from the era, it creates dynamic performances that are always new! Exclamation point!

Twelfth Night (coming to Mrs. Murphy & Sons Irish Bistro, 3905 N Lincoln Ave, Jan 5th and 12th at 7:30pm) is a play I have worked on six times, both in Unrehearsed productions (this is our third annual Twelfth Night on Twelfth Night, and my fourth Unrehearsed performance of it) and in more conventional shows (most recently up in Milwaukee this last Summer). But it took me until now to realize: this script has more Abstract Thises & Thats than any other I can remember working on. And what’s really cool is, most of these Abstracts are spoken by Olivia and Malvolio. What do these two have in common?

Besides the fact that they’ve both been played by Danny Pancratz, looking ridiculous.

Malvolio (Danny Pancratz) is released from prison '12

Malvolio (Danny Pancratz) is released from prison 2012

Chad Tallon (Malvolio) and Danny Pancratz (Olivia), 2013

Chad Tallon (Malvolio) and Danny Pancratz (Olivia), 2013

Well, there’s another chapter in the Volpone Voltore story. See, after his first impassioned lie in court, the lawyer’s situation reverses. He’s betrayed by a confederate and has to go admit his folly to the court. He does this (at the suggestion of the title character) by pretending to be possessed. He goes mad, convulses on the floor, pretends to vomit up needles (that was fun) and otherwise acts stereotypically insane (all at the direction of Volpone). In a way, his wild gesticulations were a prelude to the coming comic madness.

Voltore, being told to vomit up pins... yikes

Voltore, being told to vomit up pins… yikes (Volpone, 2008)

So what do Olivia and Malvolio have in common? In a play about repressed passions exploding forth, they are the two characters who are most often called crazy. Olivia is simultaneously called a madonna and a mad-donna, both madam and mad-dame. Most of these epithets are hurled by Feste, liberally; and shortly after she proves him right by madly lusting after the young Caesario. Malvolio’s madness is more straightforward: falsely accused of demonic possession, he is locked up and driven mad (or nearly there), also by Feste.

It rocks my world that these two different authors, in these two different comedies, would assign such a heavy amount of Abstract Thises & Thats to characters who have the label of ‘insanity’ attached to them.

We’ll never know if Unrehearsed Shakespeare is historically accurate, but it works, and even after eight years, it continues to yield new and fascinating ideas for me, and new ways to apply those ideas to performance.

Be sure and check out our third annual Twelfth Night on Twelfth Night, and judge for yourself.

TWELFTH NIGHT ON TWELFTH NIGHT
January 5th (Twelfth Night) and January 12th (the twelfth night… of January)
Mrs. Murphy & Sons Irish Bistro, 3905 N Lincoln Ave
Doors open at 7:00, show starts at 7:30
$5 at the door
Come be something great… the Audience!

Random Stuff, Unrehearsed Shakespeare

Short Play 15 – Animal Farm Performs The Fall of Jones

Delightful Crap!

Delightful Crap!

This is probably the last play I’ll post, it being Christmas Eve Eve and all.

For this play, we were told to write about the proudest moment in our lives.* And to include animals. Originally, this was going to be “Animal Farm Performs MacBeth,” but time prevented me from writing something that clever.

It’s not much of a play, but it seemed like something positive to end these things on.

Please, please don’t read too much into these characters.

Animal Farm Performs The Fall Of Jones

            Lights up on a pack of sheep. They are standing around a bucket and chanting “What a to-do, to die today,” over and over again. BOXER, an enormous horse, is seen moving small hay bales into position. BENJAMIN, a mule, is moving along with him but assisting only a little. SNOWBALL, a white pig, wanders on and looks about. SNOWBALL has a handkerchief and a few bits of tartan about him in a makeshift costume. Several other animals are rushing about, and things are generally chaotic.

SNOWBALL

I think that’s good enough, Boxer. You’ve got to get ready to perform, you know.

BOXER

All right. (pause) Snowball.

SNOWBALL

(already looking elsewhere) Yes, Boxer?

BOXER

What is it I’m supposed to say again?

SNOWBALL

You say “This strike is for all Animal kind,” and that’s when you pretend to kick me in the head.

BOXER

Right. And when do I say that?

SNOWBALL

Right after I say, “This land is mine, and all you creatures in it.”

BOXER

Okay.

SNOWBALL

Benjamin, do you think you could try and help Boxer remember his line?

BENJAMIN

I don’t see as it could possibly make any difference, but all right.

SNOWBALL

Thank you, Benjamin. Sheep! Sheep, what are you doing?

SHEEP (all)

What a to-do, to die today.

SNOWBALL

Yes, yes, but wait ‘til your cue.

NAPOLEON (offstage)

Snowball!

NAPOLEON, a great piebald boar, marches on. SQUEALER, a pink porker, trundles in his wake.

SNOWBALL

Napoleon, our star. You’re here at last.

NAPOLEON

So, it’s true.

SNOWBALL

What is?

NAPOLEON

I heard the cat inform me that you were wearing clothes.

SQUEALER

It is sinful to wear clothes.

NAPOLEON

Naturally, I was skeptical. I had to see it with my own eyes to believe it.

SNOWBALL

Napoleon, these aren’t clothes, it’s a costume.

NAPOLEON

Oh? And what’s that?

SNOWBALL

They’re meant to resemble clothes. They represent clothes.

NAPOLEON

Represent?

SNOWBALL

Well yes. I’m meant to represent Jones, you know.

Everyone hisses, whinnies, squeals, or otherwise makes their displeasure known.

SNOWBALL

Well that is the point of the play, yes? Remember? The Fall of Jones? Someone has to play the Farmer, so you can all play the revolutionaries. Minimus, come explain to them again.

MINIMUS, a small and dapper pig, emerges.

MINIMUS

This is a recreation of our glorious victory over Jones and his cronies. We are doing this so that future generations will know why and how we fought, and why they must uphold the teachings of Animalism.

SHEEP (all)

Four legs good, two legs bad! (ad nauseum)

SNOWBALL

We’re going to show the other animals that we are as capable of greatness as the humans are, and with none of their malice.

NAPOLEON

And yet you are in clothes.

SNOWBALL

Do you see pants here, Napoleon? Or a proper shirt? (pause) Please Napoleon, Boxer is a hero and works himself to death. I want him to have a little glory for all he’s done. After that, we’ll burn this costume, just like all the other clothes.

NAPOLEON

How selfless of you.

SNOWBALL

Call it what you want. You know all your lines?

NAPOLEON

Of course.

SNOWBALL

Excellent! Minimus, you’ll be ready if anyone forgets anything?

MINIMUS

Absolutely! I could recite the whole thing in my sleep.

SNOWBALL

Outstanding. Thank you, Minimus. Benjamin! How is Boxer coming along?

BENJAMIN

He has the first two words.

SNOWBALL

That’s… something. Great, keep it up. Napoleon… what do you say? You are the star, you know.

NAPOLEON

Hmph… You say it’s just a costume?

SNOWBALL

And just this one time.

NAPOLEON

I shall remember that.

SQUEALER

It is hereby decreed that a costume is not clothing, if worn for the express purposes of a performance.

SNOWBALL

Thank you, Squealer. Is everyone ready? Places!

Several ANIMALS file in and form an audience. The performing animals also sit in the audience, or somewhere else in plain sight. The SHEEP are finally silenced at SNOWBALL’S insistence. SNOWBALL runs about offering last words to the performers, especially BOXER. After a pause, SNOWBALL takes the stage.

SNOWBALL

Thank you to everyone who has taken the time to visit us today. This is a celebration of our victory over adversity, of our maturation into a self-governing body, and most especially of those who worked the hardest, fought the bravest, and gave the most so we all could stand here today and say, “We are a unique people, diverse and yet united.” Please join me in celebrating those heroes with this, The Fall of Jones.

SNOWBALL returns to sit by BOXER, and SQUEALER takes the stage.

SQUEALER

I am what is called the Prologue. Yet before we begin, I would like to say thank you to Snowball, for doing this for us.

There is cheering. SNOWBALL appears dumbstruck. Lights out, with a single spotlight on SNOWBALL. BOXER can be seen well enough, sitting next to him. BOXER is only partly paying attention. As the cheering quickly dies down

BOXER

This strike is for all Animal kind.

SNOWBALL beams at BOXER. Lights out.

 

* While still in grad school, in early December, we staged our first independent Unrehearsed Shakespeare production: MacBeth. The process began in late October while I was performing my final project role for my MFA and auditing a few classes and trying (unsuccessfully) to get a job, but I was still very focused on MacBeth. I had become so focused on the details that I was more than a little surprised when, during my pre-performance pep-talk, Ashlee interrupted to thank me for putting the show together. Everybody clapped. despite my reputation for having a massive ego, I was really surprised. I’m pretty sure that was the proudest moment of my life. So far.

Short Plays, Theater Stuff

Bound Beyond 3

Chapter the 3rd

He was both unseen and unheard, but he could hear them. Neither the musician plucking away in the far corner nor the trio of ancient drunkards whining and wailing of the golden past could drown out these two, seated at the bar as they were. Sally, the barmaid, grunted and huffed as she wiped out the glasses, sighing and humming and generally doing everything in her power to eject the late-staying patrons, whose profitability had long since dissipated. She did everything short of actually speaking, at least. Passive-aggression was a family tradition for Sally, and she found that thinking bad thoughts was often more effective than the direct approach. After all, when she’d heard that burk Beacons would be stopping by, she groaned and rolled her eyes, and here they were but an hour or two from sunup, and Beacons was no show. Yes, Sally’s inarticulate complaints were assuredly an effective deterrent.

Yet even she could not drown out this conversation. He was both unseen and unheard, but he was attentive.

“Seems a shady business to me,” Byuker remarked. The eavesdropper could almost hear the clicking of the officer’s newly-purchased teeth, financed no doubt by the plundered wealth of dozens of renters, fencers, and other defenseless marginalia that populate the edges of society. His large leather belt creaked each time Byuker adjusted it, which was frequently. “Sounds to me like the sharper thing to do would be to clap you in irons and smash up your whole operation.”

“If you could find it,” the other, less familiar voice objected.

“Ohhhhh I’d find it. This here face is good for more than just charming the ladies.”

At this, Sally offered a near-deafening hum of skepticism, but Byuker continued unabated.

“This here face houses the sharpest military mind in the city, if not the nation. I’d bloodhound your lot out in a matter of hours, if not minutes.”

“I don’t doubt it,” the other practically cooed. “So what keeps you from doing so?”

“Profit!” Byuker guffawed. “I could use a new uniform to compliment my well-waxed mustaches, and these boots, while good enough to drink in, have been more than a little soiled by the night’s festivities.”

By ‘festivities,’ the eavesdropper was quite certain Byuker meant another raid on another batch of defenseless nobodies. Possibly the carnival that had just opened not a stone’s throw from the pub.

“Profit you shall have,” the voice assured him.

“Well then… What was your name again?”

“Citron.”

“What a sweet name,” Byuker condescended, with no apparent irony. “Well then Citron, all that remains is to discuss my fee.”

“I would still like to speak with your partner, Officer Byuker. This is a delicate operation, and I should like to have my options readily clear.”

Seats creaked, and the eavesdropper was certain that Citron had just evaded a well-meaning strike from Byuker’s notoriously free arm. Byuker never so much as slurred, no matter how drunk he became, but he often claimed his aim was improved by a brace of pints. In truth, his aim was abysmal regardless.

“Never you mind Beacons. A fine lad, but he’s enslaved to that wife of his, if you follow. Loyal as a dog, but subtle as one as well. Can’t be relied on for soup.”

“He is rather late,” Citron agreed. “Very well. Stop by this address sometime tomorrow evening and I shall introduce you to your subordinates. We can settle your bill there.”

“Subordinates!” Byuker crowed. “Haven’t enjoyed any subordinates since I was head of my old school gang, unless you count Beacons of course.”

Several times, Byuker loudly slapped what sounded to be Citron’s shoulder. The eavesdropper could almost hear the strange man wincing. “Good evening, then.”

Citron rose from his stool, and soon after the sound of his departure was heard.

For just a blessed moment, Byuker was silent. The eavesdropper looked up from his perch beneath the back of the bar, shuddered behind a small latticework coverlet, ensconced with a trio of ancient wine bottles. Through the latticework, he could spy Sally tromping about, making an almost musical production of cleaning mugs for the third time and wiping down the bar for at least the eighth. “Gettin’ quite late,” she observed in her rolling alto, ostensibly to no one in particular.

“It is, at that,” Byuker agreed emptily. “So late, though, reckon I’ll make an evening of it. Does Greta still work the streets down Pooler Avenue?”

“She’s surely engaged at this hour.”

“Good point.” Byuker slapped something on the bar; his pay, presumably. “Time for another raid, then. Greta’s a favorite. Probably working at her place, wouldn’t you think?”

“You know her better than I,” Sally sneered.

“Right. Well.” The eavesdropper heard Byuker’s substantial weight lift from the stool, followed by another adjustment of his belt. “Right!” he shouted to the bar at large and, judging from his volume, the entire neighborhood. “It’s entirely too late for you lowlifes to be dragging about here. Out into the street with ya!” There was a lot of shuffling, a few meager complaints, and far more strikes of a baton upon heads, but eventually the pub was evacuated and Byuker offered his farewell.

It was scarcely a minute before Sally had snuffed all the lights and retired to her back room. Five more minutes blessed the eavesdropper with her elephantine snores. Finally, it was time.

Aching all over, he reached with his left hand to press, shake, and force the ancient latticework door open. It squeaked on occasion, and the eavesdropper would have to wait and ensure that Sally’s snores continued before returning to work. When the door was finally opened sufficiently, he began unfolding himself out of the small storage space, being careful not to clink any wine bottles together. Once he finally escaped his confines, he collapsed onto the floor behind the bar and rested, allowing his dry and strained muscles to relax. His every extremity was numb and cramped, feeling as though a thousand pin-footed ants were crawling all over his arms and legs.

As he lay nearly gasping on the floor, rubbing his tingling arms with his tingling hands, the front door jostled. The eavesdropper continued to inhale like a beached fish, certain the door was merely being accosted by an angst-ridden drunk. He was disabused of his hypothesis, however, when some clicks heralded the slow creaks of an opening door.

Lamentably, he held his breath. He froze. He listened.

Painfully small feet were heard creeping along the floor. Whoever owned those feet was no stranger to dark and foreign places: the feet traveled with remarkable patience, evading discarded peanut shells, broken glass, and most likely even sticky beer stains. Not once could the feet be heard to strike a single errant object nor pry themselves from an adhesive floorboard. It was only by lying perfectly still and paying special attention, closing his eyes to avoid distraction, that he was able to hear these feet at all.

The feet were moving unmistakably toward the bar. Did their owner break in merely to swipe a pint?

Perhaps this remarkably cautious individual had naive aspirations of gutting the till, which Sally had of course emptied before retiring.

Straining his ears to the utmost, scrunching his eyelids in concentration, the eavesdropper heard the feet stop just before the bar. He was reasonably certain a hand or two had come to rest on the bar itself.

Then, there was a slight yet staccato creak.

The eavesdropper threw open his eyes just in time to see a dark mass flying over the bar and plummeting down toward him. He tried to roll away, but there was simply nowhere to go, and he managed only to expose his still-numb arm to ninety pounds of elbows and knees that came crashing down upon him.

Tellingly, neither individual let out a cry.

In an instant, the intruder was off him and had pressed himself to the farthest end of the bar. The eavesdropper, flopping like a fish, managed to get himself up on his haunches. Each stranger had formed a mirror image of the other, trying to bludgeon the dark into submission with their stares, and make out some detail of their unexpected adversary.

In time, the shadowy interloper resolved into long, straight hair, boney limbs, and a pair of bright, wide eyes, dark irises housed within them. Nothing else was yet visible.

He knew he was the weaker party, and surely the intruder knew this as well. Any attempt at escape would surely prompt an attack. The intruder did not appear much larger than himself, perhaps even a little bit smaller, but there was still not predicting what the creature was capable of.

The eavesdropper dared to open his mouth and whisper. “I mean you know harm,” he exhaled, very much sounding like a breeze.

He could just make out the intruder’s nod. A thin, almost pointed chin wagged slightly as the intruder hissed, “I need a cloth, and some water.”

“There’s a candle behind you on the bar. I’ll fetch the matches.”

He reached back into the latticed recess. He knew the pub almost entirely by memory now, having studied it from various vantage points over the week, but before his fingers could close on the matches, a tiny and vice-like arm wrapped around his throat.

“Treacherous swine!” the sharp-chinned shadow hissed. “What are you planning?”

He shrewdly resisted the urge to shriek, and in a measured voice said, “Nothing, nothing. The matches are in here.”

“There was no candle!” The shadow as spitting flecks of bilious saliva into his ear. “What have you got hidden in there; a knife?”

“Nothing! I’m telling you the candle is up there.”

“Then why–”

Just then, they heard the unmistakable rasp of a match being struck. A faint glow appeared, and he risked turning his eyes to peer behind him.

The shadowy stranger stood. With an arm still wrapped around his neck, the eavesdropper was forced to stand as well. The stranger turned, rotating him in the steely grasp.

Standing before them was not Sally the innkeeper, but a child of not quite adolescent years. His immense bifocals drew they eye from the mass of freckles and a dirty mop of blondish hair. His remarkably round head rested on a thin neck and a portly body, draped in what appeared to be forest-green tweed. All in all, he appeared to be a tiny businessman with a prominent overbite.

The stranger’s voice rasped in his ear, “Who are you?”

The bifocals served to disguise more than amplify his eyes, but the boy seemed to be cautiously evaluating them both before answering in a normal speaking voice. “You’re here for the book, yes?”

There was a pause.

“What book?” the voice rasped.

“There’s no need to whisper,” the boy assured them, underscored by Sally’s perpetual snores. “That woman is as sound as a comatose crocodile.” There was another pause as the boy looked over the shadowy stranger. “You could use a wash.”

The eavesdropper looked down as best he could. His attacker’s arm was bathed up to the elbow in blood. He tried, unsuccessfully, to repress a gross shiver. The boy tossed a filthy cloth toward them, and the stranger’s hands moved to catch it. Instantly, the eavesdropper collapsed to the floor and rolled away. Before he could get to his feet, however, the stranger tackled him and held him down on the floor, fixing him with a furious glare.

“You’re a girl!” he nearly shouted.

The boy cleared his throat. “Well there’s no need to holler about it.”

The girl, her arms pasted in gore, fixed a gimlet eye upon the eavesdropper, then released him and stood. In a moment, all three were on their feet looking each other over.

No one was over the age of twelve.

The girl was in tatters. While his own rags were the result of many years under scant conditions, the girl’s poor habiliments seemed more the result of recent distress. Taking note of her complexion, he concluded aloud, “You’re one of those gypsy people.”

The boy and girl shared a glance. “Seems quite a fan of staggeringly obvious statements,” the boy offered, “doesn’t he?” Despite the situation, the boy seemed completely at ease, a confident and almost friendly smile upon his face. “My name’s Cecil, by the way.”

When she finally spoke aloud, the girl’s femininity seemed obvious. Her voice was deep for her age, but unmistakably a girl’s. “My name’s Dragon Breath.”

He could almost see young Cecil rolling his eyes behind the candle-fogged glasses. “And you, young man?”

His glance flitted back and forth between Cecil, the tweed-bound peanut of a boy, and Dragon Breath, the bloody-clawed falcon of a girl. “I’m Lion Heart.”

“Are not!” the blood-spattered girl exclaimed.

“Am too!”

“Nuh uh!”

“Well you’re not Dragon Breath!”

“Am so!”

“Are not either!”

“Enough!” The freckled, bespectacled boy had evidently decided he was in charge, and Lion Heart the cramped thief-boy had no real objection. “Here’s a bottle of seltzer, young lady. It should help clean off those incriminating stains.”

“Who’s a young lady,” sneered Dragon Breath. “I’m older than you.”

Cecil made quite a show of adjusting his glasses. “Those two notions are hardly exclusive. Clean yourself or not; it’s not concern of mine.” He cleared his throat again, daring either child to offer further objection. Lion Heart offered a half-rolled pair of eyes toward the girl, assuring his portly new friend that they both knew who the real baby was here.

Cecil continued, “Am I to sincerely conclude that neither of you is here for the book?”

“I just wanted to wash my hands.”

A pause. Two pairs of impolitely curious eyes turned to young Lion Heart. In response, he merely shook his head.

“Well then,” Cecil concluded, “leave me to my business, and I shall leave you to yours. Good evening. I suggest you both take the utmost caution. The trullious barmaid is a heavy sleeper, but even she has her limits. The proverbial word, above all else, is ‘mum.'”

At that precise instant, a crash unlike anything they had ever heard burst radiated all around them. The ground shook, the front door burst open, and the windows shatter. Cecil’s candle was rendered moot by a warm, red glow from outside that now filled the pub.

The vibratory aftershocks of the crash were underscored, incredibly, by Sally’s snores.

In an instant, Dragon Breath leapt over the counter and flew out the front door. Lion Heart nodded to Cecil and copied her exit.

Or at least he tried. His still numb arms betrayed him, and all he managed to do was hop a bit and collide with the bar. Then slowly rolled over it and collapsed on the other side. “Oof,” he said, unenthusiastically. Soon enough, he was on his feet and gone.

Cecil eyed their departure and shook his head, presumably for no one’s benefit but himself. Remarkably, Sally’s snores continued. Abandoning stealth entirely, the round boy toddled over and knelt before the very recess in which the alleged Lion Heart had spent his evening. Cecil marveled that a hungry boy, even one so much thinner than himself, was able to fit in such a snug location. Peering inside with his candle, he found three corked bottles, a few nails, scraps of paper, and two things of particular interest.

The first was a tiny lever. Made of copper and no larger than his own generous pinky finger, the lever was wedged up into the very farthest corner of the small recess. At its top was a small bulb, and printed just barely visible on the front-facing side of that bulb was a small skull. Printed, Cecil knew, on the other side, would be a small plus sign. This indicated that the lever was to be pulled toward the viewer, rather than pushed away.

The second thing of particular interest was a particularly small mouse, which until very recently had been chewing on one of the corks. It was now turning to look at Cecil and, upon spying the boy, offered a meager but piercing cheep.

Instantly, a cacophony of snorts was heard nearby, followed by a middle-aged woman’s voice crying “Huh, what? Who’s there!”

“Oh, come on now,” Cecil moaned, evidently to no one. Acting quickly, he tugged on the tiny lever, which revealed a small false flooring in the recess. He lifted the false flooring, carefully removing the insubstantial book beneath it, then reset the flooring and lever. Deciding to place forethought before bravado, and being well aware of the limitations of his body, Cecil elected to eschew leaping over the bar in favor of crawling beneath the pass-under. He then scrambled to his feet, slipped the book into an inside pocket, and strode outside.

Once outside, the boy was met with a sight that froze him solid.

Bound Beyond, Stories

Short Play 14 – Medusa Magdalene

Here’s a major downer for the holiday season. This is essentially a staged version of a very late chapter in a novel I’ll probably never finish. Rape figures fairly strongly into its plot (being based on the multifarious Medusa myths), so it may no longer be something audiences can get anything out of.

This play is very very Pinter.

Medusa Magdalene

            Lights up on a collapsed church. All images have fallen, making no denomination clear. There are candles about. The place is generally dim. There is a lantern sitting prominently near the middle of the wreckage, but it is conspicuously unlit.

            MAGGIE enters. She is dressed in filth and castoffs. She has been unsexed and disaged: her face is covered with scars and infected welts. She is hunched and walks in a slow half-stumble, as though perpetually performing the opening moves of a dance, missing its partner. She is holding a pair of books in one hand.

            Somewhere, an empty can is knocked over. MAGGIE hears this, and instantly hobbles to hide her books under a destroyed altar. She fetches up the unlit lantern and sits in some refuse that vaguely resembles a chair.

            SARAH enters, very cautiously. She is dressed well, conservatively. She is almost thirty, but has the air of a child trying to act older than she is. She holds a single book in both hands, resting in front of her crotch, like a boy in middle school. The left hand secures the book, while the right covers most of the left hand.

            SARAH looks about, still very cautious. MAGGIE is not hiding herself, but is still obscured by the dimness and her own resemblance to the garbage around her. After a moment SARAH spies her, but is still unsure if she is actually a person. SARAH carefully creeps closer, continuing to shield herself with her book. Until…

            MAGGIE speaks. She has an educated, nonspecific manner of speech. On rare and elevated occasion, the vestiges of a Southern twang may creep into a vowel or two. Her voice is deep, or scratched, or harsh, or feral. It is unclear if this is the genuine result of an injury or age, or merely an affectation.

MAGGIE

Sarah Hammond.

SARAH

(Gasps, then) Hello.

SARAH speaks with a deeply regional Georgian accent, only partially modified by internet globalization. She stops progressing toward MAGGIE, keeping her book at crotch level, occasionally bending at the waist to lean a bit forward, should certain speech require.

            Silence. Then

MAGGIE

Hello. Sarah Hammond.

SARAH

Uhh… Hi. (silence) I—

MAGGIE

Hello.

SARAH

Heh… Hi.

MAGGIE

Hello.

SARAH

I don’t… Are you all— Uh… Maggie?

MAGGIE

Yes. Maggie. Sarah Hammond.

SARAH

Are you… (Silence. SARAH is expecting MAGGIE to interrupt, and MAGGIE is refusing to do so. In time…) Hi.

MAGGIE

Hello. Sarah. Hammond.

SARAH

What… Should I go?

MAGGIE

Why?

SARAH

You don’t, I mean I, you don’t— Um, we um, we just um, we just keep saying hello over and over.

MAGGIE

That’s the polite response. Isn’t it. “Hello.”

SARAH

Yes ma’am—

MAGGIE

And there we are, stuck in an infinite loop. I could descant on that, but. Not much point.

SARAH

No, ma’am.

MAGGIE

“Ma’am?”

SARAH

Well…

MAGGIE

That’s a polite response. Too.

Silence.

SARAH

About, umm… about Jake?

MAGGIE

What about. Jake. Sarah Hammond.

SARAH

Well uhh, about Jake? Umm. It’s Sarah Gardner. Now. I am. Sarah, um, Gardner. Now.

A long, long Silence. SARAH looks around briefly, never moving. She does not look behind her, but gives serious thought to backing away and leaving. But she does not move. Silence. SARAH considers speaking, but is too… something. Maggie makes a small motion, and SARAH tenses as though awaiting a strike. But nothing happens.

            Silence.

MAGGIE

Congratulations.

SARAH

(melting instantly) Thank you so much, Maggie—

MAGGIE

What about Jake.

SARAH

(stopping short) Umm, he. He’s not. We had a baby—

MAGGIE

Congratulations.

SARAH

Th—umm, thank you. Um. Jake—

MAGGIE

What. About Jake.

SARAH

He. … He’s really—

MAGGIE

Don’t!

Pause.

SARAH

Okay. Umm—

MAGGIE

Ummmmmmmmmmmmmmmmmmm…

SARAH

Sorry, um – uh, sorry. Uh—

MAGGIE

What?

SARAH

Jake. Is… sick.

MAGGIE

Oh no.

SARAH

It uh – It – It started, right before the baby was born—

MAGGIE

Boy? Or girl.

SARAH

(long pause) Boy.

Long pause.

MAGGIE

Of course.

Pause.

SARAH

His name’s Timothy. (pause) You pro’lly don’t care.

MAGGIE

Are you concerned? If I care? Cause if you are—

SARAH

No no, um, sorry, uh, I – Sorry.

MAGGIE

STOP! SAYING! You’re sorry.

SARAH

S—Okay.

MAGGIE

Let me make one thing clear.

SARAH

Yes.

MAGGIE

I do not care who is sorry. Or why. Or how. I do not care.

SARAH

Okay.

MAGGIE

Since you seem so concerned. If I care.

SARAH

Okay.

MAGGIE

O. K.

Silence.

SARAH

Jake is sick. And, we’re just not sure what’s wrong.

MAGGIE

(affecting a fake hillbilly accent) Ol’ Doc Humphrey’s been stumped, huh?

SARAH

Well.

MAGGIE

Oh. Ah. Well. I’m sure he’d be stumped, all the same.

SARAH

Well.

MAGGIE

That’s a funny word. Well. Has a lot of different meanings.

SARAH

(provides a polite hiccup of laughter) Yeah.

MAGGIE

I’d descant on that. But. Pearls before swine.

SARAH

Is that from the Bible?

MAGGIE

Jake. Is sick.

SARAH

Um – S—Yeah. So, we was, we thought it was just the flu, but it’s been goin’ for a while. I thought he might be exhausted, cause he’s been doin’ a lot of double shifts up in the city, but of course he wouldn’t listen, bein’ a man, bein’ Jake.

MAGGIE

Bein’ Jake.

SARAH

Well, uh, s’, yeah. Mmm… He just. He’s not sleepin’. He’s sweatin’ all the time. He’s callin’ in sick to work, and he ain’t never done that. Never. He’s not gettin’ any rest, he just looks like—

Pause.

MAGGIE

What. Does he look like?

SARAH

He looks sick.

MAGGIE

Does he look like death?

Pause.

SARAH

Yeah.

MAGGIE

So. Jake. Is sick. That’s the problem? Jake is sick. And you don’t know what’s wrong.

SARAH

Yeah.

MAGGIE

So. Fucking. What.

SARAH

I was, I was talkin’ to my brother Arny. And he said about, when, the time he got sick in high school. He was a couple years ahead of us?

Pause.

MAGGIE

Uh huh?

SARAH

He. Well he. Arny was talkin’ about the time he got sick in high school, and – He thought maybe – He thought you might maybe know what was wrong with Jake.

MAGGIE

Mm. Because of my big city education. That it? (pause) Hm? (pause) That it?

SARAH

No.

MAGGIE

Then why? Would I know? Why Jake’s sick. Hm?

SARAH

Because.

MAGGIE

Are you a fucking eight-year-old! “Because!” Because of what! Sarah Hammond! What!?

SARAH

We thought you might know, cause of… Cause of your past.

MAGGIE

My past. My past?

SARAH

We thought, maybe… when you and Jake—

MAGGIE

Me and Jake. Did nothing. (Silence) Do you understand? Do you get it? Huh?

SARAH

But—

MAGGIE

No! Me and Jake did nothing. Jake did. Jake. Did. Some thing.

SARAH

Okay.

MAGGIE

To me.

SARAH

Okay!

MAGGIE

It’s NOT! Okay!!

SARAH

S – O – What!? (finally flings the book away) What do you want me to say!?

MAGGIE

(finally stands) I don’t know, Sarah! You’re the ones who called me the know-it-all! I never said that. You did! You tell me! What do you want me to say? What magical words can I speak that will suddenly make everything okay? What are those words!?

SARAH

I don’t know!

MAGGIE

Then neither do I! You fucking self-righteous, willfully stupid monsters glare at me, spit at me, judge me! And now you come to me!? That fucking coward can’t even come here himself! He sends you instead?

SARAH

He didn’t send me! He can’t get out of bed, Maggie!

MAGGIE

Good! I’m glad he can’t get out of bed. I’m glad he’s suffering. I’m glad he’s dying!

SARAH

Dying? How do you know—

MAGGIE

Because maybe there is justice in the world, Sarah. That’s how I know. I know because that’s what feels good! (instantly, her manner alters. Silence) There it is. The magic words. It’s true, because I want it to be true. That’s how. The wisdom of the deliberately stupid.

Silence.

SARAH

Maggie. (pause) Maggie! Jake.

MAGGIE

Jake is dead, Sarah. Jake is dead, and it makes me soooo happy.

SARAH

What do I do?

MAGGIE

Tell yourself he’s gonna be fine. Jake’s gonna be fine, and you’re soooo happy.

SARAH

Maggie.

MAGGIE

Or he’s gone to a better place. He’s gone to a better place, and you’re soooo happy.

SARAH

Maggie!

MAGGIE sits again.

MAGGIE

Sorry, Sarah Hammond, but you don’t really exist. You don’t exist, and it makes me soooo happy.

Silence. SARAH turns and exits. MAGGIE starts humming “Auld Lang Syne.”

            Lights fade out.

Short Plays, Theater Stuff

Short Play 13 – Blackbeard’s Delight

Delightful Crap!

Delightful Crap!

Here’s more delightful crap!

Blackbeard’s Delight

            Darkness. Sounds of birds chirping. Far below is heard car horns, construction, the muffled sounds of the city. Very occasionally, there may be the distant snap of a camera. These sounds continue throughout.

            Lights up on a pirate ship: at the top of its mast (or at least as far up as we can see) is the unmistakable Jolly Roger. Standing at the front of the ship, his one knee up like Captain Morgan, is BLACKBEARD the Pirate in all his scurvy glory. Just behind him, resting against his broad shoulder, is JENNY THE SLAG: she is aged, scarred, patch-eyed, and missing several teeth, but may have been presentable once. Nearest them at the wheel is the PILOT, a surly bugger who doesn’t really look like he belongs here or wishes to be here. His head is bandaged with a long piece of white fabric.

            The mast is a bit unusual. In fact, it’s not a mast, it’s a steel spire. The highest part of it is spattered with pigeon shit. Periodically, pigeon shit falls on the ship.

            There is a deep wooden groan, and the three pirates seem to very slightly lose their balance, if only for a moment. They then resume what they were doing. Time passes.

BLACKBEARD

The fault, dear Brutus, is not in our stars, but in ourselves that… How does the rest of it go?

JENNY THE SLAG

We are underlings.

BLACKBEARD

Gyar! Ye scurvy slag! No underling be I! Nay! I be the captain o’ this here vessel. There ain’t no man higher save the Devil himself! Nay, not even he! Call up your mighty flames, ye great Satan! Breathe your dragon’s breath through the impregnable salt of me everlastin’ firmament! Not e’en your seven heads nor your ten horns ‘n’ crowns could pierce the Heraclean pressure, the Ossian fortitude, the Brontosauric power o’ me ocean. My ocean! Blackbeard’s Country, they call it. Or they aught… or once they did… Aye! And that they shall again. Officiously onward we’ll sail, e’en to the ends of the Earth, the very pinnacle o’ my sea, and there (draws sword) wi’ the Devil’s own toothpick, I’ll pierce out the sacred heart o’ the Almighty, and claim his Shinin’ Firmament Above for meself! Emperor Blackbeard, Lord o’ the Two Great Seas, they’ll call me then. Onward, Pilot! Onward, I say! Yay, verily I cry to the skies, Onward!

PILOT

I heard you.

BLACKBEARD

That we might spit in the un-winking Eye o’ the Lord o’ Creation, and chasten him as once I did ol’ Scratch below, and tell that white-bearded cod-seller that his outstretch’ed promontory, this luminescent sapphire, this effulgent rock of flame and flower and fury, this Earth, be Mine! Mine alone, and I its captain and its Emperor and its God! Aye! There be God’s Eye, fleeing beneath that horizon. Onward, Pilot, fetch me God’s own Eye! Fly, I say! Fly on! Fly! (silence) Pilot—

PILOT

-This is as fast as we can go.

            Silence. There is another deep wooden groan, and they are each very slightly off-balance, briefly. Time passes.

BLACKBEARD

Do ye not sense a friendly wind comin’ outta the Northeast?

PILOT

There is no wind, if there was it wouldn’t matter, and no matter what you say, this is our maximum speed. It has always been our maximum speed, and it will always be our maximum speed.

BLACKBEARD

Yar! I sense an insolent tone in yer voice, ye bilge rat.

PILOT

Well… A’right, I’m sorry. Onward we.

BLACKBEARD

Show yer Captain your proper respect, ye lesser imp, ye.

            Silence. PILOT takes a deep breath.

PILOT

(pause) Yes, Captain.

BLACKBEARD

Aye, there she be. (silence. He replaces his sword) No faster, ye say?

PILOT

No. Captain. No faster.

            BLACKBEARD sits upon a barrel and places JENNY THE SLAG on his lap.

JENNY THE SLAG

Ooh, time for a tumble, is it Captain?

BLACKBEARD

Nay, Jenny. The mealworms and magpies festerin’ in yer musty ol’ cannon-port no longer inspire me.

JENNY THE SLAG

‘twas your dry-rotted, splintery, meager masthead wot put’m there.

            BLACKBEARD leaps to his feet, and JENNY THE SLAG falls to the ground.

BLACKBEARD

G’yar, ye slag! Dare ye be disrespectin’ yer Captain like that?

JENNY THE SLAG

Forgive me, Captain. The God of Truth is still a handsome lad, and I can’t help but bend for him.

BLACKBEARD

D’yah, ye harlot! Ye harridan! Ye’ll pay most bloody for that!

            BLACKBEARD makes as if to backhand JENNY, who flees behind the PILOT.

BLACKBEARD

Get back here, ye slutty slitherin’ slag, ye!

JENNY

Help me, George!

PILOT

(overlapping with JENNY’s next line) I’m not here, I’m not here, I’m not here, (etc.)

JENNY

The Captain’s mad, George! As a hatter, he is! Oh, he’ll tell me somethin’ fierce he will, George.

BLACKBEARD

…George. George? Geoooooooooooorge now, is it? Quite familiar terms yer on with mine own slattern, ain’t ye, Geooooorge? (pause) Hm? George?

PILOT

My name is Eddy, and I just don’t… I… I don’t wanna engage, okay? The day’s almost over, just… c’mon, okay?

BLACKBEARD

Howl, ye black-hearted Jezebel! And ye! Ye… black hearted… Jeze-Bob! Fiends that would make the Devil blush. Ye’ll walk the plank for this!

PILOT

Do… You’re kidding, right?

BLACKBEARD

King Arthur o’ the Seas, I was! And ye, ye Guineverean whore; and ye, ye Lancelotian… Whore! Ye’ve slain my fiendish heart with yer treachery.

JENNY

Never, o Cap’n. I’m innocent o’ any man but ye, I swear!

BLACKBEARD

Bah!

JENNY

Prove it, Cap’n. Prove ye any wrong-doin’ on my part, and I’ll leap off that plank with a song in me heart.

PILOT

Really?

JENNY

Get away from me, ye weasel’s lunch! ‘twas him! He tried to seduce me!

BLACKBEARD

What!?

PILOT

I did not, nor have I ever—

JENNY

And when my virtue’d nary bend to his fowl demonstrations, he took me honesty by force!

BLACKBEARD

WHAT!?

PILOT

That is absolutely, one hundred percent—

BLACKBEARD

I’ll slice ye in thirds, and send ye down to the triple maw of Lucifer there to be gnawed in company with Brutus, Cassius and Judas, for the three together were one so great a traitor as thou art!

PILOT

Thou?

BLACKBEARD

I’ll point ye off that plank and hurtle ye down to the Firmament of Fire!

PILOT

The plank?

BLACKBEARD

Then I’ll sail down and conquer Hell itself, only to make meself the lord and master o’ yer all-endurin’ torment.

PILOT

You’re gonna push me off the plank?

BLACKBEARD

I’ll enslave a race o’ goblins and make your damnation their religion! There they’ll pierce and tear ye flesh, burn ye eyes, and rape your soul ‘til the End o’ Days when the Lord Almighty, which be me, calls them back to the all-consumin’ Abyss!

            The PILOT lets go of the wheel and looks BLACKBEARD in the eye.

PILOT

(pause) You’re serious, aren’t you?

JENNY

O wait, cap’n! I spoke too much in haste. Don’t send him to Hell, fiend though he be. I gots mercy in me withered heart.

BLACKBEARD

Mercy for this fetid Hellhound? Impossible! … Unless… Unless… Ye duplicitous harlot!

PILOT

(returns to the wheel) Jesus. For a second there* I thought you were serious.

BLACKBEARD

*(talking over the PILOT) I’ll string yer guts from the crow’s nest, ye two-faced strumpet!

PILOT

Does anyone else think this is getting kinda old?

BLACKBEARD

But first! (draws his sword) I’ll string ye by your guts!

JENNY

No! (stands in front of PILOT) I won’t let ye!

PILOT

Okay.

JENNY

George is fine and true and a gentler man than ye’ll ever be! … And we’re in love!

PILOT

Goddammit.

BLACKBEARD

Avast!

PILOT

Finally.

BLACKBEARD

I’ll show ye—

Again, the ship groans. The ship noticeably shifts, and everyone alters their stance to stay balanced. Pause.

PILOT

I think we may actually be splitting.

JENNY

Nonsense, George. We’ve ne’er seen calmer seas.

PILOT

Well we’re not on the sea, that’s kinda my point. (another groan) Man, are the cops ever gonna come up here? I mean, somebody must have called this in… Weather copter… Wait, how did we get up here anyway?

BLACKBEARD

It matters not! –

PILOT

Does go me –

BLACKBEARD

Because I’ll plunge ye down to hell!

BLACKBEARD thrusts his sword forward, but is intercepted by JENNY, who knocks him aside and manages to find and produce a sword of her own.

JENNY

True love conquers all!

PILOT

Dear Jesus…

BLACKBEARD and JENNY cross swords. They travel greatly while in combat, and each time they move to the opposite side of the ship, groaning is heard and everyone slightly loses their balance. Several times, creaking and cracking can be heard. Pigeon shit continues to rain down.

PILOT

Guys? … Guys? … I really think the ship might be falling apart.

BLACKBEARD

I’ll never love again!

JENNY

A beast like you could never have loved at all!

PILOT

Guys! I’m getting really concerned here. Guys! GUYS!!!

As they pass by, the PILOT intercepts the two fighters. BLACKBEARD is knocked off balance, and JENNY stabs him through the guts. No one was expecting this.

Silence.

PILOT

Wow… I guess you should have quoted Romeo & Juliet.

BLACKBEARD

Jenny… How could ye?

JENNY

I did it for love, Cap’n. I swear it!

BLACKBEARD

Ay then… Then… Aye… Then I… I, then, forgive ye Jenny. And ye too George.

PILOT

Still Eddy.

BLACKBEARD

I beg ye only… In memory of the greatest pirate wot ever lived… name yer child after me.

PILOT

You want us to name our nonexistent baby Blackbeard? Fine, whatever.

BLACKBEARD

Thus, die I. Thus. Thus… Thus… (dies)

PILOT

Incredibly appropriate.

JENNY

Oh Captain! My Captain!

PILOT

Okay.

JENNY

We are lost as sea without ye!

PILOT

Jenny! We are not at sea. Now can we please focus on getting someone’s attention, so we can—

JENNY

I can bear the miscreant’s death, but I cannot live without my Captain!

PILOT

That may be going a bit far.

JENNY prepares to run herself through with her own sword.

JENNY

The deepest pits of Hell are reserved for mutineers.

PILOT

Yeah, I liked that movie too, but—

JENNY

Nay George, ye must live on!

PILOT

I intend to.

JENNY

Ye must live on to tell our tale! To let the world know that Blackbeard sought the Ocean’s End. That for a time, a little time in this great world, the expanse of that great world were in the grasp of the pirate king, Blackbeard. The world must know that ownership is slavery, and that only by the greatest freedom, can we be truly masters of aught. They must know: they need not be slave to house nor home nor fashion nor vernacular, but each and all may make the world as they see it, and speak the Word as they would hear it! Tell this world, George! Tell this world our Word!

PILOT

I have a better idea. How about—

JENNY drives the sword into her gut, screaming.

PILOT

Holy shit!

JENNY

Tell them, George. Tell the world to speak our Word.

PILOT

Fine! Fine! I’ll declare a national… talk-like-a-pirate day, but you need medical attention!

JENNY

I need my Captain, George! I sail with him.

JENNY collapses.

PILOT

Fuck.

Another groan. Another creak and crack. Silence.

PILOT

Fuck. Fuck this life. How did I… (looks over the side) Hello! Help! Heeeeeellllp! Come on; I know you can hear me! It’s not that high! Yeah! Great, just keep walking! Assholes! Aaaaaaaaasshoooooooooles!! (looks around) Fuck.

More groaning. More creaking. More cracking. Pigeon shit continues.

PILOT

How… How do I… How did I…

The groaning, creaking, and cracking is continuous, drowning out the sound of birds. The PILOT looks around in a relatively calm panic. The lights fade out. Suddenly, the ship is silent, and we hear…

PILOT

(giving up) Shiver me timbers…

We hear an immense crash, and the ship splits apart and falls off the building. We never hear it hit ground. We hear only the birds and the distant traffic.

Short Plays, Theater Stuff

Short Play 12 – Johannes Cabal and the Grave Urchins

SOCIAL STATEMENT!

SOCIAL STATEMENT!

For this play, we were ordered to write a fan fiction. Or something like that. I don’t really remember.

Johannes Cabal and the Grave Urchins
A Fanfic of the work of Jonathan L. Howard

            We hear rain and anemic thunder. As the lights rise, we see most of the stage is bare. Near the middle, there is a 12×12 sheet with strong aspirations of sepia. It is this small space where our story occurs. Outside, whether far upstage or directly apparent to the audience’s view, we find a number of vagrants, charmingly dressed in all misleadingly elegantly finery of the vaguely Victorian vagabond. A few of them are holding rain sticks, which they periodically rotate in a desultory fashion, ensuring the rain’s longevity while sacrificing its rhythm and verisimilitude. One or two other charming faux chimney sweeps sports a thunder sheet, which is shaken on occasion to offer the barest suggestion of atmospheric disturbance, eliciting both stiff-jawed nods of approval from nostalgia-minded critics and gawp-mawed stares of delight from credulous children of all ages.

            Now as for the sheet itself. Upon it is depicted (either through the application of generous counts of dark brown ink, or ideally through stenciled projection) numerous graves. The graves appear to recede almost infinitely into the background. Before this sheet huddle five URCHINS.

            As if the symbolic value of these URCHINS were not already as obvious as a valet’s intercession between a patron’s promenade and a bathroom entryway, each of the downtrodden children wears a small sign around its neck (pray note that the term “it” has been chosen intentionally, being simultaneously a clever barb against the dehumanization of the poor and a thickly unnoticed commentary on the author’s use of human symbolism). The signs, surprising no one, read “Arts,” “Labor,” “Education,” “Science,” and “Leisure.” The URCHINS huddle together, whisper, and otherwise do whatever the author (in his ironically limited and distanced knowledge) believes homeless children to do on a dark and rainy day.

            Finally, when the ennui of the art house was just turning the corner from oppressive to overbearing, we see the entrance of Johannes CABAL, a necromancer of some little infamy. A hair above six feet tall, the Brit-by-way-of-Germany is a thin and severe looking man of his early thirties, his strict blond hair obscured by a tall black hat, and the rest of him by a black coat, black pants, black boots, black cravat, and mercifully white shirt. His hands are covered with large, heavy, and naturally black gloves. The only color to be found in his ensemble is two large, brown, burlap sacks, which he carries over his right shoulder; as well as blue-fogged baffled spectacles that obscure his eyes despite the weather.

            The URCHINS freeze and glance nervously in his direction. His spectacles fail to obscure his narrow-eyed glare.

            Pause. Then, CABAL steps behind the sheet, and we can hear him fuddling with two heavy, organic objects.

            The URCHINS look at one another, conspiratorially.

LEISURE

Who’s that?

EDUCATION

You don’t know!? That’s Johannes Cabal, he’s a necromancer.

SCIENCE

What’s that?

ARTS

It’s a type of mouse.

EDUCATION

Is not! It’s someone wot makes zombies, wot raises the dead!

LABOR

Them aren’t real.

EDUCATION

There’s one wot just passed us! You sayin’ he ain’t real?

SCIENCE

Just coz he’s real, don’t mean he’s a neck-a-whatever.

EDUCATION

I tell ya he is! I’ll bet ya anything.

ARTS

If we had anything to bet.

CABAL (offstage)

And you would win that bet, boy. But as you have nothing to wager, and my kind are a somewhat infamous and dangerous lot, I recommend to emulate the habits of my trade-subjects and go-to-ground, or I shall feel quite justified in eliminating witnesses to my questionable activities.

            Pause.

LABOR

What?

EDUCATION

He’s gonna kill us!

ARTS

Let’s go!

LEISURE

Where!? There’s nowhere to go.

SCIENCE

Well, we could… we could…

            There is a loud thump behind the screen. All freeze. After a moment, CABAL reenters. Against all probability, the URCHINS grow tenser.

            Pause.

CABAL

Which of you urchins would care to earn a penny?

LABOR

I would!

ARTS

I would, sir!

EDUCATION

I would, Master!

ALL

Me! Me!

CABAL

Well then, I have exhumed two test subjects and have returned to procure them, but I’m finding some difficulty managing the two at once. Which of you is interested in dragging a bag three miles back to my home?

            Pause.

LEISURE

What’s in the bag?

CABAL

I shall leave that to the extent of your considerably expansive imagination and considerably limited comprehension. Suffice it to say, the successful candidate shall have a strong back and a weak nose. I’ll leave your quorum to discuss the matter further.

LABOR

Wait! That’s hours of work, for less than one meal! We deserve more.

CABAL

Then I recommend you avail yourself to the local constabulary and complain of my unfair business practices. He shall be far more concerned with the matter of grave robbing, of course, and I shall be forced to defend my small business with extreme prejudice, both against the long arm of the law and against a willful and impractical labor pool, but by all means, avail yourself.

EDUCATION

You can’t intimidate us!

CABAL

History teaches me otherwise.

ARTS

You can hire all of us, three pennies each, or you can hire none of us!

CABAL

One penny.

LEISURE

Two!

CABAL

One.

LABOR

Fine. One.

CABAL

Excellent. Now you five decide which of you gets that penny. You may all assist, or one of you may assist, it makes no difference to me.

ARTS

We said one penny each!

CABAL

And I said one penny. I’ll leave it to you to decide which of you five is strongest.

EDUCATION

We are united, sir.

CABAL

Of course you are. For now.

            CABAL again returns behind the screen. We here more fumbling. The URCHINS stare at each other.

EDUCATION

We have to remain united.

LABOR

What if he just goes on without us? One penny’s better than no pennies.

SCIENCE

And what about the rest of us?

EDUCATION

He needs us! We have the power! We can demand two, three pennies each! It’s not as though he hasn’t got it. As long as we’re united, he has no choice but to deal with us.

LABOR

But what if he walks away?

ARTS

We have to take that chance.

            CABAL reenters, slowly dragging the two burlap bags. There are obviously dead bodies in them.

CABAL

All right, which of you is strongest?

ARTS

No deal, sir. You’ll pay us three pennies each, or you’ll do without us.

THUNDER SHEET OPERATOR

I got a strong back.

CABAL

(indicates thunder sheet operator) He says he’s got a strong back.

SCIENCE

He’s not even in the play!

CABAL

Yet there he is, offering his labor for a penny.

SCIENCE

He never said a penny.

LEISURE

And he’s not real.

CABAL

Looks real enough to me. Perhaps I’ll engage his services.

LABOR

I’ll do it! Gimme the penny!

EDUCATION

No!

ARTS

Wait! Me! I got a strong back!

EDUCATION

Wait!

SCIENCE

Me! I can do it!

LEISURE

I got a strong back!

CABAL

Very well. Which of you is strongest?

            Pause.

CABAL

I’ll need to know which of you is the strongest. Which of you is most qualified to do this job?

            Silence. The URCHINS stare at each other. Instantly, they spring into a vicious fight. They form a repulsive organism of punches, yanks, kicks, bites, scrapes, and all manner of horror. When the fighting is finally over, everyone is collapsed and exhausted. CABAL watches, waiting.

            Eventually, LABOR starts to slowly stagger to its feet.

CABAL

We have a successful candidate. Kindly take up that bag and follow me. On second thought (examines the URCHINS) I don’t suppose any of you was killed in that altercation?

            Everyone starts slowly stirring, except EDUCATION, who remains perfectly still.

CABAL

Excellent. It appears I now need two of you. See how competition expands the market?

            Hearing this, ARTS shuffles to a stand and as quickly as possible in its exhausted state.

CABAL

Very good. (indicates LABOR) You, take up that bag. (indicates ARTS) You drag your deceased friend along. Chop chop! And since I’m feeling generous… (indicates SCIENCE, who has almost managed to stand) You! You can carry my bag. One penny each! Come along.

            Exhausted, worn out, near death; LABOR, ARTS, and SCIENCE each grab their charge and start pulling. They are all moving very slowly.

CABAL

Pick up the pace now. You call this one penny’s worth of work? Perhaps I should pay you a schilling or a grote, hm? This is hardly penny-labor I’m seeing. Come now, we have to be home in one hour. For every minute you’re late, I shall charge you one schilling. So let’s get a move on, now.

            CABAL exists. Slowly, achingly, the URCHINS drag the corpses. LEISURE watches, still not standing, still in terrible shape. Everything is slow. After a moment, SCIENCE drops from exhaustion. LEISURE creeps in and is about to steal the corpse and start dragging, when SCIENCE manages to spring up and shove LEISURE away. LEISURE collapses to sit again and watches.

            They drag the corpses.

            The lights dim out.

            We hear the rain and anemic thunder.

Short Plays, Theater Stuff