Pollywog’s Pilgrimage, Chapter 325

starsThe following has been edited for spelling and grammar.

“Dear Jared,

I HOPE THIS LETTER finds you well. I was recently reminded that, having been traveling out of place and time, I can never really be sure in what order my letters are reaching you, or indeed if they are reaching you at all. I can only say, again and again, that I wish I had studied music more closely as a child, and especially that the balatina were powered by something other than diamonds.

My latest expedition for a power source brought me to the township of Capira. I’m not sure of the year, and indeed this lavish and fruitful countryside may well be on a planet not unlike our own, rather than the Earth itself.

Having been only recently deposited by the balatina’s clumsily orchestrated notes, I found myself without means of locomotion and with a rather limited food store. After taking a day to acclimate myself to the local atmosphere (high on oxygen, I suspect) and general weather (high on clear skies, I am happy to report), I set out from my campsite on foot in search of a diamond, which the balatina’s more sensitive instruments assured me was nearby.

CAPIRA, THE FIRST CIVILIZATION I found in this land, is essentially an enormous plantation. The Manse proper, hideously astute in its right angles and white washing, slowly and inexorably rose into my eyes from perhaps three miles away. The sight of civilization of any kind is often a cause for joy in my weary travels, and especially (I confess, with some humility) civilization that seems to bear some similarities to my Eurocentric homeland. It is a comfort to me in my divers strange wanderings.

Long before reaching the Manse, I came upon the Fields. I was immediately repulsed by the strong suggestion that the abominable practice of slavery was alive and well in Capira. I further confess, to my shame, that I was shortly relieved to see that these slaves came from all manner of nationality and appearance, and that I therefore might have little fear of bondage in my search for the diamond. This self-serving alleviation, like the initial outrage, was soon supplanted by a most curious observation.

I HAVE BEEN FORTUNATE and – as you might say – privileged enough to have encountered few instances of slavery in my travels. Yet to date, each time I have seen it, I have been heartbroken by the utter helplessness, the purely resigned and defeated attitude of this barbarous crime’s victims. Not so with Capira. The slaves working the fields – and they were indeed slaves, as soon confirmed by the presence of rod-bearing overseers – were anything but resigned. They worked slowly and spitefully, and seemed to hold little fear of their oppressors’ weapons. They muttered curses and offered angry eyes to their supervisors. No songs of perseverance were sung, nor indeed did the despicable masters hold much contempt or fear for their charges. Many slaves were threatened, but all seemed to be done via bitter routine.

Evidently unnoticed, I continued to walk through the fields toward the Manse unmolested. Vegetables looked to be the primary product: green carrots and various roots that shortly confirmed this was no Earth that I knew. The oppressed peoples were currently in the process of begrudgingly and un-industriously harvesting them. Many an overseer raised his or her rod, and many offered a vicious word, but no violence was offered.

That is, until I passed halfway through the Fields. Still unnoticed or unacknowledged, I stepped within mere meters of a slave who made quite a ceremony of throwing down his vegetable sack and declaring “These accursed crops are not ripe, and you know it! Pluck ’em yourself!”

At this, all the overseers were galvanized. I watched a burly putty of a woman charge like a steam engine, raise her rod high, and smite the unfortunate rebel on the back. I must again confess my shame, that confusion and shock left me frozen as a second, third, and fourth strike took the victim. It was only on the fifth, as other overseers began to close in with their own weapons raised, that I lifted my empty hand in peace and intervened.

“Hold!” I called out. “I am a stranger to your lands, but out of courtesy I beg you to spare this man for my sake.”

As you may or may not have read by now, I once had the pleasure of floating in an air-tight bubble in the greater ‘eastern’ extremes of our galaxy. The silence that met my plea reminded me strongly of that voyage.

At great length, the thugs lowered their batons, and the bulldog of a warden growled an inquiry at me, “Who and what are you?”

“My name is Pollywog. As for what I am, I can only declare that above all else I am free, and humbly wish that for all others as well.”

A new, clearer, stronger voice answered, “If you are free, then come and be welcome as our guest.”

I LOOKED ABOVE the shoulders of my erstwhile enemies. There, sitting on a beast that was almost entirely not like a horse, was a well-dressed man who must have happened upon us during the tumultuous quarrel. “Sir,” I sued, “I will most happily make myself your guest, if you will honor my request to spare the hide and bones of this poor man. And any other.”

The man (I shall give myself the indulgence of calling no slaveowner a gentleman) sniffled in response (and as I have said time and again, a single sniffle tells you multitudes about a life form). Presently, he answered, “Out of line though he may be, Patroysis is right. These crops will ripen tomorrow, and thence shall they be picked.”

An enormous, dare I say adolescent, moan came up from the slave-drivers. It was then I noticed that there was almost one overseer for every three slaves, an inordinately large amount in my limited observance. I had little time to descant on this, however, as a brace of butlers soon appeared to usher me forth and into the Manse.

AS WE NEARED the seat of opulent oppression, my eyes finally fell upon the surrounding Quarters. A large collection of small, cramped, and ramshackle huts encroached on the Manse from either side. They were in remarkably poor repair, even for slaves’ quarters. I inquired of them, and you can imagine my surprise when a butler informed me that those were the servants’ Quarters. The slaves slept outside in the Fields. “At least, once it’s too dark to see, they do.” I nodded at this, and cared not one whit if the speaker observed my sneer.

I pray you forgive my hypocrisy in accepting the hospitality of these singularly brutish people, but as even you have said: one must hesitate to condemn even the most wicked of societies, until the foundation of their superstitions and prejudices is made clear. I readily admit, in addition, that I felt certain the diamond I sought would be within the Manse itself, and that I might more easily obtain it as the guest of these repugnant slavers than their adversary.

The yellow sun was just setting as we stepped into the powder-blue walls of the Manse. Violet and red tapestries abounded, woodworks of numerous diversity and quality testified a culture far richer and more multifarious than anything presented on this odious plantation. Strings played, like a cello yet softer or perhaps – I might even say – muggier. The song was a bit fast for a relaxing dinner I felt, but such are the vicissitudes of culture.

I WAS SEATED at the foot of a gargantuan dinner table, one of three. I was again surprised to find that the privileged oppressors (usually a powerful minority) seemed to outnumber the slave-drivers and indeed almost equaled the slaves. Curiouser still, while many relations could be spied among the well-dressed diners, this was clearly not a single family but many different ones combined. Indeed, the matriarch who sat at the head of my table showed no familial resemblance to anyone save a loud and rather spoiled boy who sat near the foot of another table entirely, continuously banging his glass on the maroon tablecloth and demanding his ever-spilling drink be refilled by his abused servants.

And the servants! Impeccably dressed, poorly behaved, and outnumbered by their employers by a full half! In what other land do the powerful oppressors outnumber their victims? My moral outrage was quelled again and again by pure shock and confusion. And these servants: the slaves could have taken lessons in obstinacy from them. Haughty in manner, deliberately clumsy, often found loafing and gossiping in full view, and frequently offering smirks, snide remarks, and overt insults as response to orders. It was wholly remarkable.

Yet rest assured, the masters gave as well as they got. That rotten brat with his banging glass was by no means the most boorish occupant of those three crowded tables. Shouting, vicious and personal insults, unnecessary demands; their cruelty toward their servants was petulance at its finest. They deliberately spilt drinks; they demanded second courses after a single bite of the first; they commented on their servers’ appearances; one grown man even flung small bits of his food at a maidservant who had been pointing and laughing at a nearby woman. I was utterly astonished.

When dinner first began, my neighbors offered some polite inquiry to my home, my business, and my destination. I was unable to bring up the subject of diamonds, however, as the schoolyard chaos that dominated this little society quickly arrested the attention of these neighbors. I felt largely alone as I dined – and found that my food was relatively well-prepared and politely served, for which I thanked the staff courteously and effusively – and my postulations began to grow.

MY FIRST THOUGHT was that these beings, who appeared so much like you or I were in fact a very different species still in the stages of youth. I wondered if they were in a sort of pupal stage, and that great maggot-like nannies might appear at any moment to stop their racket.

Another thought: was this perhaps some self-sustaining asylum, where the most infantile of the mad had poisoned the behaviors of everyone else? I quickly dismissed this, however, as the prejudicial conclusions of a traveler still sadly (yet blessedly) ignorant on the natures and diversity of madness.

I will not bore you further with the many hypotheses I came up with during my surprisingly restful dinner (hive-minds are ever in my mind, alas). The dishes, I should mention, were mostly spiced roots and jellies, some pastries, and beautifully arranged fruit bowls. I managed to grab a single banana-like object that actually tasted much more like a tangerine, before the rest of the nearest bowl was toppled over by the most exuberant member of my table. One redeeming feature: these barbarous slavers were evidently vegetarian.

IN LESS THAN AN HOUR, the horrid dinner was through. As we vacated the dining hall for the main hall, I was livid to see several diners tossing uneaten food on the walls, out of windows; they half-chewed some and spat it out on the floor, and to top everything, all three massive tables were upended and cast upon the floor. Several of the younger diners, and an embarrassing amount of older ones, pointed and laughed as the servants groaningly began to clean up. I also saw, aghast, that the servants fed themselves on leftovers. These masters were ruining food for no other purpose than to deprive their servants of it.

I have always flattered myself as even-tempered, someone who avoids altercations. However, at this final insult I was compelled to demand of the matriarch, “Madam, by what justification can you deprive those who feed you of their own food? What can possibly encourage such behavior?”

Before she could answer, the most exuberant man from my table bellowed, “Oh, they’ll have their fun soon enough.” Everyone nodded and murmured, and a strange sense of regret suddenly permeated the room.

Now that the battle of dinner was over, the cello-like strings could again be heard. Not much for conversation, the massive ruling class sat in relative silence, appreciating the tune, slower now than the uptempo routine that had presaged the dinner.

I WAS TORN in three directions. First off, I was of course thinking of where to find a diamond to power the balatina. I had quite a few in reserve to use, but as I have said before: ever since the narrow escape from Genghis Khan I have made it a rule to collect an average of one diamond from every place I visit – especially if that place is relatively peaceful. Second off, I was genuinely curious about what social structure could have simultaneously birthed such beautiful art and such barbaric manners. Third off, I found my hosts so thoroughly disgusting inside and out, that I was tempted to bid them all goodnight and leave at once.

But then, naturally, a fourth thought entered my head. No one seemed happy with the current arrangement of affairs. Was it so wild to think, then, that I might talk them all into a change? I resolved, with no small amount of cowardice, to embark on this challenge the next morning. I was anticipating a sleep in a feather bed, and I must again confess my weakness: it had been over a month of my own time since I had slept anywhere other than the ground.

At length, the music ended. It was then that these people showed me their existence was not a total waste.

THE CHILD STOOD, the irksome glass-banging boy. Without preamble, without ceremony, and without provocation, he began to recite a poem. It was an epic tale of a little girl on a voyage to find a pet that had run away: she traveled across oceans and through skies, and was finally reunited in a strange land from which they could never return. As you might suspect, it moved me no small amount. It shakes my heart to say that most of the words have left me, but the following stanza, simple though it is in comparison, is still within me. It was repeated several times, but not often enough to be called a chorus:

She was a pulse encased in flesh
For th’ Pulse did draw her forth:
And where that pulse did deviate,
Her body, spirit, breath did fly.

It is strange in translation, I realize, especially when written down, but it was achingly and extraordinarily performed. A masterpiece that was soon forgotten and drowned out by a roomful masterpieces.

Everyone had something to share. Some had painted incredible landscapes and portraits during the afternoon. Some had composed arias, symphonies, dramas, or epics of their own. Others had prepared dishes of such succulence and depth as to make our dinners seem as dust. Anything that might call itself an art had at least two masters in that room, often more. There was simply not enough time for everyone to share.

IT WAS WELL AFTER MIDNIGHT – or what passes for midnight in Capira – when the beautiful slave-masters, the repulsive artists, finally and begrudgingly went to bed. A woman with whom I had no acquaintance showed me to a spare room, where a maidservant was waiting with fresh linens, an iced treat, and a harp-like instrument to play me to my sleep. I thanked the maid and asked her, if she could play this instrument, why was she a maidservant rather than an entertainer. Before she could answer, I then inquired if she was the cellist I had heard all night, and instantly complimented her on the beauty of her work. I had forgotten that these people probably did not know what a cello was.

The maidservant answered, as though it were obvious: “We all play music.” After a short and awkward silence, I heard the notes of the cello-like instrument playing somewhere nearby. It was deep, immense, and surely vibrated the whole house with its simple and utter presence. Cued by this, the maidservant sat at her stool and placed her fingers. Before she began to play, however, I heard oboes in distant rooms. A measure, then two, then four, then eight, and suddenly…

As the harp’s first string was plucked, I heard an entire orchestra, throughout the Manse, playing their wicked masters to beautiful rest. Each was alone in a single room, yet they all played in perfect unison, following the honored lead of that cello. I was brought to tears with the wonder of it.

I stood there, weeping, and then a most extraordinary thing happened. The maidservant observed my tears and, for the first time in Capira, I saw a small, genuine smile. It was not a jeer of mockery, nor an abusive laugh, nor a jaded smirk. It was subtle and true.

I wanted to tell her how horrid it must be, to live so surrounded by such perfection that you are inured to it, and not moved as profoundly as I was. It seemed a living death to me, to have such beauty at your constant beck, and yet to see it as nothing more than a frivolous pastime. But I could not speak. Nothing would induce me to interrupt that song.

It was at least an hour before I finally bedded down. It was at least two more before I finally fell asleep, so desperate was I to drink in every note. The music played the whole time.

DESPITE MY LATE NIGHT, I believe I awoke no more than two hours after sunrise. The maidservant (whose name I later learned was Kalanad) was gone, presumably out to sleep in the fall-down huts of the Quarters.

After my numerous demonstrations of demureness and cowardice the previous night, I finally became adventuresome again, and ventured uninvited out into the Manse. It was a ghost town. Absolutely everyone was still asleep. The building was spotless, even the dining hall. How these poor creatures had found time to clean such an enormous home after hours of playing, and still find time to sleep, was beyond me. The only thing that escaped the attention of the cleaners was the kitchen: it was a reviled pit of filth, and I shuddered to think I had eaten food that was prepared there.

I spent over an hour taking in the engravings, portraitures, windows, and every piece of art the Manse had to offer: evidence that even monsters were capable of beauty. Eventually, it came to my attention that I could not hear the sounds of labor outside. Indeed, my occasional glance out a window had revealed no sign of work without. It was now closing on noon (or whatever they called it in Capira).

I STEPPED OUTSIDE, and immediately almost tripped on a sleeping form. The very slave who had flatly refused to harvest was lying spread-eagle before the front door. He and several other slaves had made a human carpet there, evidently preferring to sleep on a wooden floor than in the Fields.

Although I did not trip, I did stutter and right myself, and the resulting tremor awoke one of the sleepers. She sat up straight, rubbed her eyes, looked about; and her face lit up like a child on holiday. She leapt to her feet and cried out, almost as a cockerel would: “Freedom!”

Like a battle cry, it moved the slaves to action. Every single one of them scrambled to their feet, dusted themselves off, stretched out their aching joints…

Then turned to me.

The man himself, the one on whose behalf I had interceded (if a bit belatedly) raised his surprisingly un-calloused hand and rested it on my shoulder. “Friend,” he began, “you are in the way.”

HAVING NOWHERE TO MOVE, I stepped back into the Manse to one side. The slaves instantly flooded into the building, cheering and shouting and making a terrible clamor. Yet for all their chaos, I noticed they performed no property damage. No painting, no couch, not even a window sill suffered in the slightest.

What they did do, was charge into the bedrooms, where I was able to hear them rudely ejecting their erstwhile masters. “Get up, lazy creep!” they shouted. “Make me my breakfast, sluggabed!” some hollered. Others cried, “That kitchen is a mess! Hop to it,” despite the fact that none of them had set foot in the kitchen. Still others cried out, “Those crops won’t pick themselves, you witless brutes! Those worthless slaves are sleeping in your beds in stead of pulling out our victuals! Hop to it, worms! Hop! Hop!”

The masters, the crude poets, the heartless creators, were all pushed out of their rooms and out of the house. Every single one of them wore nothing but their underwear. In short order, the former slaves emerged wearing the fine clothing of their vanquished adversaries. From there, most made their way to the massive plantation windows, no doubt to watch the coming altercation between the practically-nude former-aristocracy and the still-sleeping servants.

The pants-clad courtiers wasted no time and charging into the ramshackle Quarters. “You lazy, gutless mongrels!” they cried out. “Who gave you permission to sleep in our beds, you presumptuous toads!” Kalanad, who last night had produced such miraculous melodies, was forced from her fallen-down home in rags and ran to the safety of the Fields.

The former aristocracy soon emerged. They were now dressed as butlers, maidservants, chefs, and of course slave-drivers. These last many brandished their rods and commanded the newly-enslaved to get to work. The slaves, who mere hours ago had produced a gorgeous symphony in unison in separate rooms, began to gather up sacks and pull roots from the ground. They muttered. They snarked. They grumbled and moaned.

I turned from the window to the man whose beating I had cut short. “Sir,” I asked, “what is your name?”

“Patroysis,” he answered, “and welcome to our estate. Please, stay for breakfast.

BREAKFAST WAS SERVED well after noon. It was happily more sedate than dinner had been, as everyone was still groggy from sleep. Everyone seemed entirely accustomed to their new roles, however.

I made it a point to sit near Patroysis as we ate, so I could ask, “Sir, by what means have you finally decided to overthrow your captors, and how could you have so easily accomplished this, without casualty nor even injury, it seems.”

It was then that Patroysis, the patriarch, explained what you may have already divined. The people of Capira called themselves a social equacracy, wherein everyone was considered equal to everyone else. “This is hardly the world’s first experiment with equality though, ” he explained between bits of something that looked like broccoli by tasted delightfully of bacon. “They inevitably break down because, hey, someone’s got to make all the decisions. And he’s got specialists he needs to bring in, and maybe some friends who could use his help, and just like that everyone’s not equal anymore.” He smiled knowingly, “This way, everyone gets a turn being a boss, everyone gets a turn to be downtrodden, and everyone gets a turn to feel neither privilege nor righteous indignation. It’s a pretty good cycle, we’ve found.”

After breakfast was finished, most of the new aristocracy spent the remainder of the day creating or working on art pieces. A few went riding out on their horse-ish mounts. Dinner came all too soon, and proved to be another puerile affair. But then came after-dinner, and it was again incredible. And then at last came bedtime. The same song, played by those who last night had been the listeners, was now played for those who last night had slept out in the Fields and on the veranda. Most amazingly of all, there were subtle differences, brought about either by inspiration or slips of memory. This song, played in separate and flawless unison, was evolving each night. As I slept, the woman who had been the Matriarch the night before played on something not unlike a dulcimer. I wept again. I thanked her. I slept as angels slept.

IT WAS ANOTHER FULL DAY before before I enquired about a diamond, having seen no jewelry about the estate. I was told that one of the now-butlers had created a device capable of applying such otherworldly pressure to coal that in a matter of a few weeks it was crushed into a diamond. This method had been applied three times, then the device was discarded: the diamonds were functionally useless, and therefore the device was as well. All the same, when the butler was a gentleman, he was praised by his peers for his ingenuity.

They offered me all three diamonds. I accepted. The butler himself hurried off to a junk store in an attic of the Manse and produced them from a tiny old bag with a hole in it. This strange voyage won me three more diamonds, and I felt no guilt in accepting them.

IT WAS ON THE FIFTH DAY that I decided to leave, and upon which I am writing this letter that I fervently hope you will receive. I felt I had learned enough, and more importantly grumblings were emerging about my living the life of the landed gentry every day, and if special exceptions are being made why shouldn’t so-and-so get to sleep in the Manse every night as well? I am still unsure exactly what I should have done with this tiny civilization.

Just before I left for my old campsite, gifted with several roots and delicious pastries, I asked Patroysis, “Is there no better way to run a society than this?”

“Can you think of one?”

I had expected this, but was still not sure how to articulate my answer. “But the dinners,” I said, “The bitterness, and anger, the resentment. Everyone always seems so disdainful, so careless, so mean-spirited.”

He raised an eyebrow. “Are people otherwise, where you come from?”

It was a bit rude of me, but I left without response, nor even a goodbye.

I HAVE RELOADED and tuned the balatina, and it keeps as good a note as ever, for which I am thankful. I do not suspect I shall ever play this confounded tool as well as even the least-talented of my recent hosts. Although I longed to hear it played by a virtuoso, I wisely chose to keep it hidden from them, lest they spread their bizarre politics throughout all history and all universes.

Capira is a bitter place, and even such temporary slavery is horrible at best. Yet within each of these three castes the citizens are good to each other. They show more love for their particular sub-societies than many back in our homelands, if memory stands untainted by years and miles. And dimensions, I sometimes wonder.

The ground is hard after a featherbed, and the silence of the night makes me strain to hear the faintest reports of the music played on the Manse. Still, there is something honest on this springy turf, and something pure in this silence. Tomorrow morning, when I play the balatina again, I hope it will deliver a naive-but-still-hopeful creature to a place more loving, less predicated on voluntary misery, and always with more faith in all its life.

Yours as always in respect and mutual affection,
Your erstwhile companion in travail,

Pollyanna,

Time and place uncertain”

Pollywog, Stories

The Clever Friar

Milo O'Shea as Friar Lawrence. 1968

Milo O’Shea as Friar Lawrence. 1968

I saw a production of Much Ado About Nothing today. In Act 4, after Hero has her wedding ruined by slander, the Friar suddenly concocts a cunning plan to rescue all. I was immediately reminded of Maria’s scheme in Twelfth Night: a party is ruined by Malvolio, and Maria hatches a plot to deceive Malvolio and (in the eyes of her friends and herself) set all to right. Much Ado’s Friar likewise hatches a plot to deceive Claudio and Don Pedro, who have ruined Hero’s wedding, and set all to right. This of course conjures Romeo & Juliet‘s Friar Lawrence, who hatches a plot to deceive Juliet’s household and set all to right.

"Arlechino" by Maurice Sand, 1671

“Arlechino” by Maurice Sand, 1671

The Clever Servant is a hold-over from Classical comedy, revived in Neo-Classical France, Commedia Dell’Arte, and modern reinventions of the same. Shakespeare has his share of helpful servants, but they are usually no more cunning than their masters (Tranio, Ariel, and the Puck for example). If a servant has any real wit at all, s/he is likely to be more mischievous than helpful (Maria, Feste, and again the Puck). Indeed, looking at Comedy of Errors, Coriolanus, and Two Gentlemen of Verona – just to name the more prominent among them – Shakespeare seems to have taken a rather dismal view of the Groundlings: stupid, greedy, short-sighted, mean-spirited, and eager to abuse the slightest power given to them. In my limited understanding and experience, I struggle to think of a Shakespearean servant who is intelligent, well-meaning, and helpful. Lear’s Fool is the only ready candidate (though he is ultimately ineffective): for that matter, Lear himself is one of very few that expresses some sympathy for the (invisible) lower classes after he joins their ranks:

“Poor naked wretches, whereso’er you are,
That bide the pelting of this pitiless storm,
How shall your houseless heads and unfed sides,
Your looped and windowed raggedness, defend you
From seasons such as these? Oh, I have ta’en
Too little care of this!”

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By contrast, the Bard does usually seem to respect religion in his major and supporting characters; at least Christian religion, and at least on its face: Measure For Measure’s Isabella is a virtuous hero, Henry VI seems genuine and empathetic if a bit weak, and the Friars of R&J and Much Ado are wise and moral. By contrast, King John and MacBeth are punished for turning on their religion, and Shylock suffers a reversal ostensibly for nothing more than “because I am a Jew.”

So while Shakespeare’s servants seem incapable of virtuous mischief, who’s to say his Friars are equally hobbled? In fact, when someone hatches a long-winded scheme in a Shakespeare play, for good or bad, it’s almost always mischievous: Maria, Feste, and Sir Toby; Iago, Aaron, and Richard III; Petruchio, Oberon, and Falstaff. Although their clever deceptions take many forms, the invitation for japery is always present. Why not for the Friars as well?

I’m definitely not the first to say that Romeo & Juliet is a comedy until everyone starts dying. Now it’s true that Mercutio and Tybalt are dead when Friar Lawrence hatches his scheme to fake Juliet’s death, and the titular lovers have both threatened suicide themselves. But why play the ending? Why not fight for a comedy, for a happy end, even now? I saw a production of R&J in which a rather emo-y Romeo was chastened into ‘manliness’ by a stern and no-nonsense Friar, eliciting appreciative laughter from everyone in the audience above sixteen years of age. Why can’t Lawrence treat Juliet’s suicide-attempt in a similar fashion and try to add some levity to this heavy situation.

Why not lighten things up?

Why not lighten things up?

Along those same lines, the thing that has always bugged me about every production of Much Ado About Nothing – even good ones, like the one I just saw – is that Hero isn’t dead! We know she isn’t. Furthermore, we can arguably infer from Midsummer’s Helena, Henry VI’s Margaret, and perhaps even T&C’s Cressida, that chastity and fidelity are not necessarily such weighty issues (Claudio & Hero is a retelling of a much more ancient romance, but then so is Midsummer). Yet we are always meant to feel the great tragedy of her death and shame.

Hero is in dire want of some Friar Lawrence-style Tough Love

Hero is in dire want of some Friar-Lawrence-style Tough Love

My favorite scene in Much Ado isn’t Dogberry or even the eavesdropping scenes: it’s Leonato’s and Antonio’s challenging of Don Pedro and Claudio. These two old men have the chance to completely lose control, to wail and oversell and freak out while threatening these two younger men. My favorite version of this scene to date was a recent Unrehearsed production, where Antonio’s fervor suddenly leads him on a huge rant, and Leonato’s attempts to calm his brother’s rage beautifully parody (or even mirror) Benedick’s similar attempts to calm Beatrice just minutes ago. The old men are even told by the (scheming) Friar to bewail Hero’s death, much as Hamlet plans to put an antic disposition on, or Sir Toby Belch plots to have Sir Andrew and Cesario terrify each other by their own cowardices.

Antonio (Nathan Grant) loses his shit!

Antonio (Nathan Grant) loses his shit!

These scenes, Beatrice’s and Antonio’s rants, can be very, very funny. Modern audiences just don’t empathize with slandered virginity, and indeed there’s some evidence that Jacobean audiences didn’t either. In Much Ado itself, the hypocrisy of court life seems plainly laid out by none other than Leonato: he rejoices to learn that no one “of name” has died in Don Pedro’s wars. Likewise, he tells us that if Hero has indeed had sex before marriage, his hands will tear her; BUT, if she has been wrongly slandered by three powerful men, said men will receive nothing but a stern talking to. Leonato is an over-reactor and something of a tyrant: his “Grieved I, I had but one?” directly parallels Lord Capulet’s from R&J. Now I admit, Shakespeare does write himself a complex character or two, but Leonato doesn’t have to transform from a jerk to a sympathetic character; most especially, a director doesn’t have to force that on us. Leonato can just as easily take his sincere overreactions and barter those into some hilarity later on. It’s especially great to see Antonio, who has been little more than an observer for much of the play, suddenly explode into a righteously indignant braggadocio. Happily, I saw some of this in today’s production, though I would have liked to see more: aided by the fact that these old men know the young men won’t fight them, and aided by the fact that they’ve been ordered to perform.

I guess all I’m saying is I wish the Friars weren’t so ding-dong serious all the time. I wanna see a clever Friar, a Friar who’s proud of his scheme. I wanna see a Friar who says, “I have a cunning plan!”

"I have a cunning plan!"

“I have a cunning plan!”

Addendum: I feel remiss that I didn’t mention the Duke from Measure for Measure, who disguises himself as a holy friar in order to spy on his servant Angelo. Although this is not as overtly mischievous as the proper friars, he does enjoy his unique knowledge of his own identity, and it of course leads to some hilarious interactions with everyone, especially Lucio.

Random Stuff, Theater Stuff

Put the FUN in Fundamentals

Good ol' Clipart

Good ol’ Clipart

I think I’m gonna try something I’ve never done before. In theater, that’s probably a good idea.

I haven’t done anything really new since 2011, when I stripped completely naked in an audition. I didn’t get cast (shocking no one), and I’ll probably never go to that theater again out of embarrassment (I lost my place in my monolog, which has only happened to me once before in my life, in a class I was auditing), BUT it did help me take bigger chances and be more open onstage.

In October, I’ll be playing Duncan and the Porter in Accidental Shakespeare’s production of MacBeth. This’ll be my third time playing these two roles, the first being in Unrehearsed Shakespeare’s most recent Mackers, and almost immediately after as an understudy in EDGE Theatre’s MacSith, which is exactly what it sounds like it is.

Thanks to Unrehearsed, MacBeth is a show with which I am very familiar, second perhaps only to Twelfth Night. So I find myself wondering if there’s anything I can do to make the roles original again for me. And, I suppose, part of me is wondering if I even should.

I came up with this while lamenting the lack of sincerity in contemporary acting. I’ve said more times than I can count (and more times than anyone else would want to count), that contemporary “naturalism” is just a bizarre pseudo-Brechtian collection of noises and facial gesticulations based on screen performances, meant to communicate emotional ideas to an audience well-trained (again, by the screen) to interpret these Delsarte-like symbols as genuine emotion… even though they’re not. This gets actors so inside-their-heads, that my brief forays into directing will sometimes see me demanding that an actor pay the slightest bit of attention to the actor for whose benefit they are allegedly speaking their lines.

This all led me back to the very elementary notion of “making the lines your own.” I often say, and do still believe, that the important thing is that you know what you’re saying and why you’re saying it. All the same, if I’m going to buy into this naturalism business that everyone’s touting, ‘owning’ the lines is a great way to help make yourself more emotionally vulnerable, which is something I don’t think I’ve done very often onstage.

So, I think I’m going to go through all my lines and translate them to “in my own words.” I’ve never done this before. I always found the idea insultingly schoolish: I know what I’m saying, don’t I? Why should I have to prove it to you, Heir Director? Even as early as fourth grade, I got in trouble in Math class for not showing my work.

But I think saying the lines my way will help break down an emotional barrier or two. When I’m directing, I frequently tell actors not to be ruled by the lines, nor to use the script as an excuse: if you don’t feel the impulse to say your line, then don’t; if you don’t have a reason to be onstage, then leave. But I think I’m using the script as a bit of a crutch myself, so I’ll see if this supposedly elementary practice won’t free up some fluids.

This is obviously just for my benefit. I don’t anticipate much demand for emotional vulnerability from King Duncan or the Porter, but growing as an artist and all that, is usually fun.

Also, I just finished watching all four seasons of Black Adder, so forgive me if my language is a bit stuffier than usual.

blackadder-goes-forth-baldrick-edmund-136381127973812801

Random Stuff, Theater Stuff

Twelfth Night!

Party in Illyria!

Party in Illyria!

Twelfth Night, still my favorite Shakespeare comedy, opens tonight at 6pm! Check out some production photos here.

There could be rain! There could be bees! (There won’t be bees). There could be anything, but there’s gonna be some theatering goin’ on.

Friday, July 25 @ 6pm
Saturday, July 26 @ 6pm
Sunday, July 27 @ 2pm
Monday, July 28 @ 6pm
Friday, August 1 @ 6pm
Saturday, August 2 @ 6pm
Sunday, August 3 @ 2pm

All shows in the Courtyard at St. Thomas More, 2601 E Morgan Street.

12N X2

Theater Stuff

Six Inspirations From Final Fantasy Six (Part 1)

unnamed

So, I played video games a lot as a kid. I didn’t have a lot of friends, so the games that demanded time and emotional investment were the ones that engaged me the most. The best thing about video games is that if you try hard and practice, you will succeed; every time. It’d be nice if real life were more like that.

Probably the most formative game of my youth was FF6 (or FF3 here in the US). It had an engaging story line, pretty strong JRPG gameplay, customizability, outstanding mood (a la Poe’s Poetics on Mood) and great music (and graphics for the time). Most importantly though, it had a large cast of developed characters with some great arcs. More than any book, these characters helped get me through my younger days and make me the guy I am now.

I don’t derive much inspiration from truisms, sports, or kitties. I get it from pixels.

S’like, here’s a few of them now.

1. Locke.

Art by Yoshitaka Amano

Art by Yoshitaka Amano

Locke was the first video game hero I knew who was not a soldier. My first game in the series was FF4, starring Cecil the knight and his friend Kain the dragoon: non-melee roles were relegated to ancillary men and female love interests (Rosa used the usual bow-and-arrow, and Rydia shot lightnin’ out her hands).

Of course, in a game about killing monsters, it’s only natural that big guys with big swords take the limelight. In FF1, though you could essentially design your own team (including Locke’s predecessor, the Thief), it was foolhardy for a new player to put anyone in front other than a Warrior. Locke certainly kills as many monsters as anyone else, and at his strongest he’s swinging the same swords handled by the war-mages Terra, Celes, and Edgar. BUT, his identity, the archetype that defines him, was an adventurer, a thief, someone who uses his wits rather than his muscles to overcome obstacles. And while we didn’t see much of this in the actual gameplay, that was the archetype that made me identify with Locke before anyone else.

Despite being a thief (or “Treasure hunter” as he vehemently put it), Locke was an ethically generous volunteer. Due to a tragedy with a former love (that also echos a rather emo-ish episode of my own life), Locke immediately volunteers to help people in trouble (mostly female people), never asking anything in return. And while Locke’s eventual relationship with Celes may well reflect the “Nice Guy” trend found in modern culture, Locke never demands reciprocation; nor, technically, is any given during the run of the game.

I didn’t have any role models growing up, certainly not any real ones. Locke was the first person from whom I consciously gained an ethical and social compass.

2. Celes.

Art by Yoshitaka Amano

Art by Yoshitaka Amano

Celes was my favorite, and was always in the lead whenever she was in the party. From as early as I can remember (which is probably this right here), I have appreciated confident and assertive women. If anything, FF6 taught me that such women were not just cliched ornaments to be won by men.

See, here’s the beautiful thing about Celes. She starts out as something entirely typical: a Strong Woman to be won over by the Nice Guy (and that typicality is even commented on in the game). Things start adversarially, the two are thrown together, she denies any interest in him, they grow slowly closer, a villainous deus-ex-machina drives them apart, and they reunite. All this happens in the first half of the game. Then, in the unprecedented second half, suddenly, Celes is the lead.

Even in the first half, Celes has more of a story than many others. Raised as a soldier, ‘surgically implanted’ with magic, she speaks out against the imperialist regime and is imprisoned. But unlike many other characters (especially those that appear as late as she does), her history continues to be relevant throughout the plot. Cyan, Shadow, Sabin, Gau, even Edgar: they all become essentially interchangeable after the Battle for the Frozen Esper, and their various character arcs are only revisited in (often optional) cut scenes. And while you could (justly) argue that this is an attempt to let Locke overshadow Terra (the female protagonist), the Second Half of the game flips this on its head.

Suddenly, we’re following Celes alone. Lost on a tiny island in a dead world with her only father-figure slowly dying in front of her, Celes’ struggle with suicide and her ultimate decision to cling to hope and move forward with her life reflects an emotional strength way ahead of its time in video games, wholly beyond the hack-and-slashing or sarcastic-attitude associated with Strong Women of contemporary pop-culture.

Celes is easily the most heroic character of this game. She loses absolutely everything in the Cataclysm, all thanks to the machinations of Kefka, one of two men who were the closest thing she had to brothers. And from that place of absolute despair, she picks up and reassembles her army, her friends, and stands against the Evil Clown; not to magically transform the world to the way it was, but just to allow everyone to start rebuilding.

3. Kefka.

Art by Yoshitaka Amano

Art by Yoshitaka Amano

Kefka is the evil archetype we all love to hate. Like Richard III or Skeletor, he’s an unapologetic villain who’s immaturity and clever one-liners leave us silently rooting for them, even as our true heroes fight against them. Mad, bad, and loving it, Kefka’s a villain’s villain, and as the old FF adage goes: “Sephiroth tried to destroy the world. Kefka succeeded.” Though, a more accurate adage would be: “Sephiroth tried to become a god. Kefka succeeded.”

Although Kefka and Celes are essentially siblings-of-fortune, the Mad Clown has almost no back-story to be found anywhere. The only info you ever get on him is found in a pub: “Here’s one for you! That guy Kefka? He was Cid’s first experimental Magitek Knight. But the process wasn’t perfected yet. Something in Kefka’s mind snapped that day…”

And in that one line, his entire personality is thrown into dramatically different light. What was Kefka like before this experiment? Would he have committed any of the atrocities he did if not for this alleged mistake?

In a recent Atlantic online article, neuroscientist David Eagleman discusses the well-established but still not respected notion that human decisions are dictated (perhaps exclusively) by biological influences that they cannot control. He discusses a mass-shooter who felt certain there was something wrong with his brain: there was. He discusses a pedophile who’s aberrant behavior (and desires) arose due to the growth of a massive tumor in the orbitofrontal cortex of the brain: removal of the tumor eliminated the aberrant desires and behavior.

While it is an obvious truism that we must take steps to prevent harmful behavior, we still have to ask ourselves to what extent is anyone ‘morally’ responsible for their behavior. Eagleman’s article immediately made me think of Sam Harris’ book Free Will, which he covers in its entirety on Youtube.

Kefka complicates this issue further: his very first action in the game is to mentally enslave the lead character Terra using a “Slave Crown,” and force her to fight and kill innocent people. Terra feels guilty after being freed, but everyone else instantly forgives her: she had no control over her actions. But once (if) we learn of Kefka’s origin, what control did he really have over his?

Kefka taught me that judging anyone is an extremely muddy business.

PART 2

Video Games

Daemons & Angels & the Individual

http://www.paghat.com/images/narcissus-and-echo.jpg

http://www.paghat.com/images/narcissus-and-echo.jpg

In Ancient Greece, ideas were believed to be given to us by a Daemon, or a guiding spirit. It is not always clear if the Daemon was making the decision for you, or if the Daemon just gave you an idea upon which you get to decide. Socrates claimed to have a daemon that much resembled what we would call the conscience: it told him to make the right choice, but was not always clear on what the right choice was.

Caravaggio's "Sacrifice of Isaac" (http://upload.wikimedia.org/wikipedia/commons/6/60/Sacrifice_of_Isaac-Caravaggio_(Uffizi).jpg)

Caravaggio’s “Sacrifice of Isaac”

Similar ideas are expressed in the Torah, where God’s Angels (“Messengers”) come down and tell people what to do: to kill your firstborn son, or to stop at the last second. This is contrasted (in English translations) with “God’s evil spirit,” or “the spirit of the Lord” which causes people to do wilder things: Saul goes mad, Samson starts slaughtering people.

jesus-casting-out-demons1

Daemon’s are not seen as bad until sometime around Plato, when “bad daemons” are designated as causing bad behavior. Likewise, demonic possession does not appear until the New Testament. What’s particularly interesting about the New Testament (and to a lesser extent Plato) is that now Bad Daemons, Demons, are completely separate and capable of being moved about: exorcised.

 

Marx said that before we kill a man, we must first make him our enemy. I wonder how much of these superstitions were born over the idea of making an enemy. I wonder how much of western religion was born, not out of our misunderstanding of the weather or our fear of death, but out of our inability to understand our own abstract thought processes in the earliest times of our humanity, when abstract thought was new.

I wonder how little we understand our own abstract thought even now.

That’s it.

Random Stuff

“You Never Quite Knew…” Labours is reviewed

I wasn’t expecting any reviews for Labours of Love, it being a galleria foremost, but we were lucky enough to have Jacqueline Arbelo of D20 Girls Magazine say:

“These interactive scenes made you gasp, laugh, and made it impossible to keep your eyes off every actor scattered amidst the attending guests… each actor held up their end equally with suave gender fluidity that I truly wish all theatre groups would take note of.”

“You never quite knew who would stand up from the crowd to begin the scene.”

Spontaneity is something I strive for, and even if it was only at the opening of scenes, I’m glad the audience was kept guessing, not because of plot structure, but because the cast was performing with a fresh take (and a fresh environment) every night.

Read the entire review (covering musical and static art as well) right here.

“Let fame, that all hunt after in their Lives,
Live register’d upon our brazen Tombs.”

Theater Stuff

Jessie Mutz waves goodbye to Unrehearsed Chicago

Jessie Mutz, Managing Director of the Unrehearsed Shakespeare Company, is picking up and moving back to Florida to further her education. It’s an exciting future, and I (like everyone) wish her the best. Parting is such sweet sorrow, though.

Jessie first met the Unrehearsed World in Summer of 2010. She attended and observed our ReUp, then watched our Chicago debut: Much Ado About Nothing and The Tempest. She immediately expressed interest in spreading the technique, fostering classes, and performing more.

This was a dark time for Unrehearsed Shakespeare. Virtually every aspect was managed by one man: me. I had all the company props and costume pieces in my car, since I was homeless. It was a full year before I had the security I needed to produce another show (Shrewthello: Taming of the Shrew and Othello). Jessie was onboard from the get-go, spearheading our advertising, discussing recruitment opportunities, and very happy to finally perform the technique onstage after waiting a full year.

Jessie in her debut as Curtis in Taming of the Shrew

Jessie in her Unrehearsed debut as Curtis in Taming of the Shrew, with Danny Pancratz as Grumio. Photo by John McDaris, Jr.

Most of us were introduced to Unrehearsed via the annual Bard in the Barn festival in Macomb, IL. Even though we’d performed four additional shows in our final year of Grad school, we were still used to getting to perform Unrehearsed just once a year.

Without Jessie Mutz, things may well have stayed that way.

Both our 2010 debut and our 2011 Shrewthello had insular audiences. We weren’t reaching new people (we didn’t even make Facebook events!), and even some of our base was dwindling. In 2012, thanks in no small part to Jessie, we finally started to grow.

Collaboration is how companies thrive, and we kicked that off with Blunt Objects’ Shakespeare I Love You. We worked with four other companies to produce Pericles, each of us handling one of the five acts. Thanks to Jessie, we greatly expanded our notoriety in Chicago with this single performance.

Then we went on a Pirate Ship! With the Tall Ship Windy, we got to perform an hour-long cutting of Comedy of Errors at Navy Pier.

Jessie as Luciana in Bard on the Boat! Opposite her friend and mentor Tiza Garland as Adriana

Jessie as Luciana in Bard on the Boat! Opposite her friend and mentor Tiza Garland as Adriana

It wasn’t until Comedy of Errors that we became a real company, I think. We started having regular meetings (often hosted by Jessie), responsibilities were divvied up and assigned (often to Jessie), and the freedom of delegation allowed us all to thrive in our specific areas of expertise. Imagine producing a show with no design budget and little-to-no control over a cast of 12-to-16 actors, and you can imagine the frustration that was magically lifted from my shoulders, thanks to Jessie.

Probably my favorite photo. Jessie and me at a ReUp before Bard in the Barn 2012

Probably my favorite photo. Jessie and me with Brian Elliott at a ReUp before Bard in the Barn 2012. Photo by John McDaris, Jr.

Along with all these heavy responsibilities (she consistently handled the most mundane and arduous tasks), Jessie has also performed major roles in many of our shows. And deservedly so: there are few actors who so quickly take to the rapid pace, powerful energy, and deep commitment that Unrehearsed requires; or at least, that good Unrehearsed requires.

In 2012, Zack Meyer and I took over a flagging Bard in the Barn festival in Macomb, and Jessie was cast as Rosalind in As You Like It: the largest female role in a single play and the largest Comedic lead in the canon. Preparations for As You Like It were frequently eclipsed by Antony & Cleopatra, the other show in the festival. Despite all this, and despite scheduling and managing text sessions for two shows at once, and despite hosting and managing track proofing sessions, she still managed to deliver a powerful and dynamic performance. Incidentally (or coincidentally, who knows?), interest in Bard in the Barn increased greatly the following year.

Jessie as Rosalind/Ganymede in As You Like It, assertively interacting with an audience member

Jessie as Rosalind/Ganymede in As You Like It, assertively interacting with an audience member

Oh! and later that year we staged Comedy of Errors again. TheaterRED in Milwaukee put up Bard in the Bandshell, and Jessie performed her first male lead: Antipholus of Syracuse, where (among other things) she got to beat up a Dromio that outweighed her by about a hundred pounds of muscle.

Jessie as Antipholus of Syracuse, practicing some violence with Christopher Elst as Dromio of Ephesus

Jessie as Antipholus of Syracuse, practicing some violence with Christopher Elst as Dromio of Ephesus

2012 was a good year for us, where we sowed and reaped a lot from our new friends in the biz. But in 2013, things really started to explode.

The low overhead of Unrehearsed shows makes it easier to put up productions, and in 2013 we produced nine shows: productions both in Chicago and Milwaukee, small staged readings of new verse plays, and even a high school workshop in Carbondale that Jessie and I ran (thanks to friend and gifted Unrehearser, Ben Ponce). In 2013 alone, Jessie played Viola, Hipolyta, Beatrice, the Host of the Garter (AND Anne Page), AND Lady MacBeth. All in a single year!

Jessie as Hipolyta in Midsummer Night's Dream

Jessie as Hipolyta in Midsummer Night’s Dream. Photo by Corey DiNardo

2014 is a bit slower, but she still managed to knock Sir Andrew Aguecheek, Julius Caesar, and Juliet herself off the ol’ Shakespeare bucket-list.

"Ay me..."

Jessie in the Balcony Scene. Photo by Jill Meyer

I’ve frequently said that genius exists in small moments. Jessie’s “Banishment” Monolog in Romeo & Juliet was one of those moments. Her combination of physicality and psychological gesture, her commitment to emotional truth without sacrificing technique, her language, her refusal to judge, and her connection with herself and others, is a rare privilege to observe in Theater. And this was at least 90 minutes in, just when exhaustion starts to set in (and after the crowd-pleasing Mercutio and Tybalt are gone), and less experienced actors might start to flag or fail.

The Unrehearsed Shakespeare Company is suffering a serious loss, but we have grown so much stronger because of Jessie, that we will continue to flourish and grow stronger. And while I hope deeply that she will still be able to attend and perform in some of our shows, I am heartened by the ever-increasing number of actors who show a genuine interest in the technique and freedom and personal growth we can offer. None of this would have been possible without her, and I wouldn’t be the artist I am without her.

Jessie Mutz is a gift to any person or institution that meets her, and I hope Florida appreciates what it has.

If the dull substance of my flesh were thought,
Injurious distance should not stop my way;
For then despite of space I would be brought,
From limits far remote where thou dost stay.
No matter then although my foot did stand
Upon the farthest earth removed from thee;
For nimble thought can jump both sea and land
As soon as think the place where he would be.
But ah! thought kills me that I am not thought,
To leap large lengths of miles when thou art gone,
But that so much of earth and water wrought
I must attend time’s leisure with my moan,
Receiving nought by elements so slow
But heavy tears, badges of either’s woe.

-Sonnet 44

By for now, Jessie!

Bye for now, Jessie!

Theater Stuff, Unrehearsed Shakespeare

Labours of Love Opens Tonight!

Tonight’s the night! Labours of Love blows up tonight at 7pm!

THE RIGHT BRAIN PROJECT
4001 Ravenswood Ave, 4th Floor

7:00: Gallery opens
Tonight & tomorrow features artwork from Kathy Blankley Roman & Taehoon Kim

8:00: Love’s Labours Lost!
Ferdinand, King of Navarre: Jason Powers
Berowne: Sarah Thompson
Longaville: Adam Betz
Dumane: Danny Mulae
Costard: Alex Boroff
Don Armado: Liz Goodson
Boyet: Christopher Aruffo
Princess of France: Erin O’Connor
Rosalind: Alyssa Thordarson
Kate/Jaquenetta: Caitlin Aase
Maria/Dull: McKenzie Gerber

Theater Stuff

Oleanna? I hardly know her!

Photo by Sydonia Luccesi. David Sapiro (John) and Ben Parman (Carol) starred for a single night in David Mamet's Oleanna at Alchemist Theatre. Photo taken for JS Online (www.jsonline.com)

Photo by Sydonia Luccesi. David Sapiro (John, left) and Ben Parman (Carol, right) starred for a single night in David Mamet’s Oleanna at Alchemist Theatre. Photo taken for JS Online (www.jsonline.com)

DISCLAIMAGE: The opinions expressed here are mine. They are not the opinions of Alchemist Theatre, Aaron Kopec, Erica Case, Erin Eggers, or anyone else. I like to imagine David Mamet holds these opinions whilst staring vacantly into the void of his bathroom mirror, but he probably doesn’t.

JSOnline reported yesterday that Alchemist Theatre’s production of Oleanna (by David Mamet. Dur) has been cancelled after a single performance, due to a cease-and-desist order from Dramatists Playwright Services (who published the play way-back-when). Get the full story in the link above.

Director Erin Eggers cast a male actor (Ben Parman) in the role of Carol (a female character), which violates the contractual obligation of a producing theater to not alter the playwright’s work without permission. This casting was allegedly kept secret until opening night, when reviews (both good and bad) revealed the twist and the cease-and-decist was served.

I was immediately reminded of Asolo Rep’s controversial production of Philidelphia, Here I Come, by Brian Friel, wherein “auteur” director Tony Galati made massive changes to the script in order to bring his “vision” to life (That’s the last sarcastic-quote, I swear). Galati made huge violations to his contract, which required him to make no changes to Friel’s script without permission, which he did not bother to seek. This is all recounted and condemned beautifully in Melissa Hillman’s Bitter Gertrude blog, wherein she condemns the special privilege directors seem to have, allowing them to dictate, alter, and destroy everyone else’s creative work while enjoying virtual immunity themselves. The blog (which I strongly recommend you read… the link’s right up there) leans heavily on the legality of the issue: the contract says you cannot alter the script. It’s simple as black and white. It mentions several other extremely valid points regarding director-privilege, but legality is something of a lynch-pin of her argument.

It’s very true that Dramatists had the legal right to shut down Alchemist’s production. That was perfectly legal. Likewise, it’s perfectly legal for me to wave a fifty dollar bill in a panhandler’s face, then snatch it away at the last second and flip him off. I have the legal right to do that. Like many dirty liberals (and especially socialists), I become less enamored of the law when it protects the powerful from the powerless. But, there’s no disputing that Alchemist did not get permission for what they did, and Dramatists’ actions were perfectly legal.

I for one, would prefer Milwaukee audiences to see Oleanna as Mamet intended it: the paranoid, privileged, entitled whining of a self-important misogynist; a hack who’s fame (and subsequent fortune) was built off of then-controversial uses of the F Word (meaning “Fuck”), and our society’s sad proclivity for worshiping wealthy assholes (which I happily just blogged about). Oleanna was #NotAllMen in a time when women had even less power and even less of a voice than they do now. It’s Red Riding Hood victimizing the innocent Wolf; it’s the morally outraged gasp of the robber-baron, aghast that these peasants who made him rich demand that he acknowledge their humanity.

Okay, I may have gotten a little carried away on that last metaphor.

And yes, it’s a play about power and language, not just sexual harassment (or so says Mamet). And Django Unchained is a movie about freedom and revenge: that doesn’t change the fact that it’s racist both superficially and systemically. Doesn’t make it poorly-executed, but it’s still true.

Oh, hey, ya know, if you don’t know Oleanna… just… go Wikipedia it or something.

Right so, I’m a little torn here. As an actor, I’ve always said “If you don’t like what the playwright wrote, write your own damn play.” My dislike of Concept Shakespeare is well-known amongst my friends (with the exception of Romeo Vs Juliet, which was by its own admission a play about R&J). As a director (and as an actor), I am invigorated by the challenge of mining the meaning out of a line and finding personal and general truth in a play’s story arc. All the same, I’m guilty of exceptions myself, so who am I to talk?

As a writer… I… kinda don’t give a shit. I’m perfectly comfortable having little or no control over my creative agency, having spent about fifteen years of my life as an actor.

I think directors should have to make detailed notes of all the changes they make to a script, then include those details in the production’s program, or a similarly easily-accessible document that all audience members can see. I mean, if someone staged King Saul Part II and put a disco dance in there, I’d want it made very clear that this was the director’s brilliant idea, not mine; and presumably the director would want the credit for his or her ingenious innovation, yes?

I guess there’d be some statute of limitations on this. Oleanna is pretty well known. On the other hand, there are still people who haven’t seen Hamlet. Sooooo… yeah.

I’m not sure what we can do to help Alchemist, other than suggest superior scripts by superior writers. If you read Mamet’s humbly titled book Theater, you can really see what a pompous, entitled, disconnected, kinda-misogynistic, maybe-borderline homophobic ass-hat he is; but none of that alters the fact that he is a respected, successful, and extraordinarily pedestrian playwright, and an excellent example of the failings of the Free Market.

Perhaps they should re-stage the play with a female Carol. If they really want to push the point, they might try casting a transgender actor in the role, but that could prove something of a challenge here in Milwaukee, and of course that runs the risk of treating sex-and-gender as a commodity.

I suppose the only thing Aaron and Erica can do is cut their losses and move on to their next project, which I imagine is what they’re doing. They no doubt just made a killing financially and socially with their remounting of the opera Fortuna the Time Bender vs. the Schoolgirls of Doom, so I’m sure they can ride out this setback.

If I can get serious for a moment, I think what theaters like Alchemist need is more original writing, ideally resident playwrights (that’s how Shakespeare became the genius he was: residency). They’d pay far less than they pay companies like Dramatists, it’d be easier to collaborate and change scripts (specifically to suit the actors cast in the show), and they’d have a source of material who hopefully has a vested interest in the theater’s success.

Easily said, I know. All the same: any Milwaukee playwrights out there? You won’t make money, but you might make art.

Random Stuff, Theater Stuff