Tangles In Your Teeth
Good Things Coming |
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Good Things Coming |
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2016 had been a rollercoaster, for me. Lots of happenings. Between the awful presidential election outcome, and tensions at my job, and preparing myself for one child leaving the nest, for most of the year, anyway (college), when the new year rolled around, I told myself that I would write a comedy. Yes! I would not spend a year wallowing in sorrow, as I usually do when I write drama. I would write comedy, for the first time. This thought brought me such joy. An attempt at a new genre. How fun! Of course, I had no experience with comedy. I did not know any rules. I knew nothing about the genre. Conundrum. So, I read Christopher Durang plays, I went to see comedic plays, and I watched a couple of Woody Allen movies. I still couldn’t come up with anything to write. I decided to rely on past theater experience with comedy that left an impression on me. And that was Shakespeare, specifically the few productions I’ve seen over the years of A Midsummer Night’s Dream.
So, write something to do with Midsummer… That was my answer. Soon, I learned that Shakespeare’s New Contemporaries contest, with its large prize of $25,000.00, was having a Round 2 competition, and, coincidentally, Midsummer… was one of the plays on the list. This contest was calling out my name! (I sent my play to the competition this week, but that's a different story). (So stressful when I didn't spellcheck, and I misspelled "Demetrius" all over my submissions form to the grand contest. Do you leave it be, or send a 'by the way', obsessive note? I have decided to let it go, after several days of fretting. Why did I misspell the name? Why? It's Demetrius, not Demetreus. Dang! Dumb, dumb, dumb). Lovely. … How was I going to write my very first comedy with something to do with Midsummer.., I wondered? After several arguments with myself in the mirror, all of which I lost, I decided here are the things I would NOT do for the contest: 1. I would not write an adaptation; 2. I would not mimic Shakes; 3. I would not follow Shakespeare’s structure, but choose my own; 4. I would write in my natural, poetic voice, free verse, and not in the Bard’s, iambic pentameter; 5. I would create a character list of wholly, original characters, and not include any of Shakespeare’s characters in my play, onstage. As much as I’d love to have a character named “Puck” in my play...; 6. I would not include forest fairies in my play. We live in the 21st century. My contemporary play would not have nymphs in it. So, what on earth was I going to write? A play of my own, that is inspired by William Shakespeare’s play A Midsummer Night’s Dream. A play that alludes to characters in his play. A play that, and this is important, shares the same themes, motifs, and symbols, as Shakespeare’s play. And, a play that takes place outdoors, which brings the idea of “forest dwelling” into the play. And, most importantly, super-important above all else, I would create a zany ending! The mechanicals, Act V, where the play-within-a-play is presented in A Midsummer Night’s Dream, is so awful, the audience thinks it’s a comedy --THAT I would, somehow, incorporate into my play, in my own way. Thus, my Tangles In Your Teeth was born. My contemporary comedy, first ever, is inspired by Shakespeare. And, our staged reading at FPTC is only three months away. My play is a streamlined story of the Helena and Demetrius, D-e-m-e-t-r-i-u-s, storyline. I feel that 9/16/18 is going to be a great reading, and such fun for all.
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I woke up on this cool, spring morning, and wiped dew from the umbrella table with a frayed, purple towel. Morning sun hasn't found my spot yet. I sit in shade. Streaks of light are clawing the pine tress and the roof-hat of the shed to my left. The smell of pine and lilacs. Music. Doves and sparrows. Warblers trot on a fence post. There really is nothing like an outdoor deck for writing. As my husband turns on the pool, I fall deeper in love with this ritual of writing. The sound of splashing water inspires. This is it! This is my favorite method of writing. Early morning, outdoors, with the sounds of mourning doves and whirling water. It stands to reason that a writer who is inspired like this will produce work that is performed outdoors. Work for an open space. Doesn't it?
Contemporary Park Shorts (CPS) has won a grant, and we are collaborating with Fort Point Channel Theatre, and performing a staged reading of my comedy Tangles In Your Teeth on September 16, 2018. Yes, I said "perform" a reading. There is movement in everything I write. A reading with actors standing at musical stands, or seated in place, doesn't work for me. Tangles... is written for an open space. This time, the audience will remain seated, and the actors will interact with the audience in two ways - cutting through the "circle" of arranged seats, and directly. In one scene, we have a phone toss back-and-forth with the audience. In the final scene, we choose a willing participant, and the audience member joins the dinner table, becoming part of the play. I have a strong feeling that CPS will be collaborating and performing Tangles.. during a full production soon... Well, we have to wait and see. In one month, we begin rehearsals. This is the part that is difficult for Amy. Arranging rehearsal schedules, and everything that occurs from here on in. As the writer, all of my stress and angst, and there was a lot of it!, has ceased with the first revision. My job now is, as I see it, to sit quietly during rehearsals, and express with Amy my ideas, thoughts, and concerns. I also need to work on rewrites, as they come along. As our director, Amy now takes the reigns, and she and the actors create magic with and from my words. As always, Amy has her work cut out for her. I'm often told in rejection letters (ha!) that my work is "challenging". I am very fortunate to have found Amy, and that she created this troupe, CPS. These may be my last calm thoughts before the whirlwind of rehearsal and rewrites. And, I love it! I love the whole process. From chilly morning writing through dress rehearsal, and up to performance. Untangling the magic of Tangles.. It has been a few months since I've given any thought to Tangles In Your Teeth. We had a successful first reading last year. (I love the idea of having a reading in a museum!) I was filled with good vibes from actors and audience alike. Then, the holidays came. Then, work (my day job) got busy. Then, Contemporary Park Shorts was denied a grant we'd applied for. It's enough to make you want to throw your pages into a bonfire in a trash can. (If you grew up in Revere, you'd understand the metaphor).
Luckily, for me, Amy, CPS's founder and director, is fierce. I'm the writer, so, I'm moody. As co-producer, I'm wimpy. I'll stop talking about myself, as the adjectives are dreary... ... Some good material for a sonnet... Back to my previous point: Amy, fierce as she is, has brought hope into my life. She is optimistic. Her enthusiasm for CPS, and for my comedy Tangles In Your Teeth, has lit a fire in my brain (just can't shake the bonfire image). I'm prepared for rewrites! I recently added two scenes, and eliminated one character. I'm once again looking forward to table readings and talks with our actors. Amy has some great ideas for rewrites already! I'm dying to hear our actors' thoughts. I frequently admit that I love development and rehearsals. I enjoy seeing my play performed onstage, of course. But, I dig being a part of an ongoing creative process. I think of it this way: The performance is for the audience. The behind-the-scenes processes are for me. Onward and upward. Will CPS ultimately get a grant in 2018? Who knows? This I do know-- we are soon gathering, as a troupe, for readings, talks, and brainstorming. There SHALL be two public readings this summer of my full-length play. And, there will be a performance in the Fall of 2018. I shall not fall into despair again. Well, I may. But, I shall try not to. Boston needs good, strong experimental writers, like me, who have the ability to create work for both indoor and outdoor spaces. And, a playwright who understands iambic pentameter and verse is priceless. I'll end my post by sharing that I am inspired today by female friends. First, I am in awe of my friend Amy's gumption. Amy created CPS, and I'm extraordinarily lucky to tag along. I am equally inspired by two other ladies, Lisa and Judith. They are smart playwrights who have started their own theater company in Boston, Two Sharp Quills. Judith is producing her play Rockabye in Watertown in May. These ladies tried to get produced by Boston theaters, couldn't, so, they've taken matters into their own hands. Write/Right on, I say! And, Amy has a lot of future plans for our little troupe, just as my comrades from Two Sharp Quills have future plans for their company. The theater world will be seeing a lot from all of us women. I'm feeling optimistic and inspired. I'm happy that I am surrounded by so many strong women. I may finish the first rewrite today of my comedy Tangles In Your Teeth, if I can create a monologue for Sam. That's my hurdle. I want to intertwine Happy and Sam in their monologues. I'm not sure what that means, but I'm working on it.
I've realized that my 'comedy' is more of a combination of comedy and drama. I do not think comedically. So, in rewriting Tangles In Your Teeth, I am creating strong comedic characters. (In my opinion). I don't know any jokes, and I can't write punchlines. So, I have created Chuck and Amelia. I think that Chuck and Amelia can be taken out of this play and plunked anywhere, and they'll bring laughter. I am trying to build Amelia's character, at present, place her in a situation where her zaniness comes through. Through two strong characters, I'm bringing comedy into my otherwise serious play. I know nothing about comedy, so, I cannot rely on things like structure. As an experimental writer, I don't utilize traditional structure, anyway. God knows I don't follow the prescribed 5-Act format for my abstract plays. For Tangles..., I have to think in terms of building up the characters, and creating scenes that reveal their natures. I cannot write comedy otherwise. All of this leads me to realize that my technique is very different than that used by contemporary playwrights of comedy. It seems to me that those who have a natural inclination for comedy think wholly in comedic terms. Their dialogue is entirely driven by comedy. Writers today seem to create from a comedic world where physical comedy and comedic situations reign. And, as comedic writers, they probably have studied comedy in some capacity, for they understand the ideas of "set up" and "punchline". (I do not). All I know about comedy is Shakespeare, commedia dell'arte, and Woody Allen. I've read and seen comedic plays. I don't enjoy them as much as drama, as a whole. Mostly, I notice that there is no poetic dialogue used in today's comedy, though, as in the case of a play I recently saw, From The Mouths Of Babes by Israel Horovitz, the dialogue may be strong. (Sadly, I do not think strong dialogue abounds in contemporary comedy). But, the lush, haughty poetic is void from most contemporary comedic dialogue. Since I am a poet, everything I write comes out poetically, and, I write naturally in iambic meter. So, this makes me an anomaly. What does all my observation tell me? What conclusion do I derive from all this intense thought? ... ... I'm old-fashioned. Poetically-- Old-fashioned. I'm old/fashion out-of-date. So far past the Egg Beaters freshiness blue-typed graphic, I've become soufflé. Not the fancy kind, either, with bacon inside. Just plain ol' eggs. Puffy on top, water in the bottom. Sad face, sad face. :( I am not deterred! (insert heroic emoticon) No. Oh, no. I embrace my antiquity! I embrace it. (syn. hug, cuddle, squeeze). I am infusing my contemporary comedy Tangles In Your Teeth with sensual, poetic dialogue. I have sporadic rhyme in my play. I have a few lines of iambic pentameter. Yes! Ah, I have poetic interludes in Tangles..., by golly. My character Leonora speaks in plush, erotic lines. Leonora is a passionate creature. We can all relate to (her) passion. I'm taking my bad poetic self and writing a beautiful comedy. Rewrite #1 is almost complete. "Autumn Leaves". Cannonball Adderley. Cool, crazy, jazz. Yeah. Slip your feet into suede slippers, and wrap your shoulders in smooth, wool threads. Fall is my favorite time of year. Heart up, hands above my head, reveling in falling, fiery leaves.
Fall is the perfect time for a staged reading. In a little over two weeks, my comedy Tangles In Your Teeth will be performed at a Tufts University art gallery. October 17th, a day after my birthday. Contemporary Park Shorts hopes our friends and family will join us for this evening of a fun and refreshments. Tangles In Your Teeth is the first comedy I've ever written. I think of it as an existential farce. I don't know when I'll get back to this play, actually edit and revise the play into a full and complete, ready-for-the-stage piece of work. At present, my hope is that the play yields some laughs. I think it's important to remember that, as playwrights, we are first and foremost, entertainers. We write plays that must entertain an audience, essentially. This exercise in comedy is a great reminder for an experimental playwright, like me, that, essentially, I write for an audience. I infuse my drama with so many abstract ideas, and allusions to theory, it is good for me to bear in mind that I need to present my work in a way that my audience will find intriguing and entertaining. It's not funny unless the audience thinks it's funny. And, it's not good unless the audience thinks it's good. I am anxious to hear an audience's reaction to this play. I'm eager to know if my gut instinct is correct, if the "funny parts" are actually funny. With drama, I have a natural instinct about which sections resonate with my audience. I'm eager to find out if I have an inner compass with comedy. Actually, I'd like to find out how skewed my inner compass is in regards to comedy. That's the truth. Contemporary Park Shorts is languidly embarking on a new Fall show, my comedy TANGLES IN YOUR TEETH. Amy and I are spending time with our families this summer, vacationing, enjoying the company of loved ones. But, the long, luscious days of summer do not last forever. We have decided that rehearsals for our show must begin soon. We hope to start auditions at the end of July. Then, the fun will begin!
Rehearsals are, indeed, fun. For me. I'm the playwright. I get to sit back, lone-cowboy-like, and watch Amy and the actors work. I ask questions and answer questions. When prodded, I offer an opinion. Mostly, I squint a lot, working on my Clint Eastwood impersonation, because, male or female, who doesn't want to be Clint Eastwood? Theme song from "The Good, The Bad, And The Ugly," wah-wah-wah, shoving open a saloon door, walking through the swing-creak, wearing spurs, big hat, pistol, cigar, squinting away-- you understand. I'm being facetious. I am not trying to belittle the rehearsal process. Honestly, I love being a part of rehearsals. I do. It's truly magic watching my words on the page grow into a piece for the stage! It's an incredible feeling for a writer to hear her words take on life. And, I sincerely feel blessed to have found our director Amy. But, as the playwright, I am a bit like a cowboy in a Spaghetti Western. I'm quiet, but I'm watching, real hard, absorbing the scene. I collaborate with my gang. But, as the writer, I'm the dude in the poncho who answers the questions that need to be answered when they need to be answered, offer my advice when advice is asked, then, I slink away into sweltering heat, swatting flies from my sombrero, whilst the gang shovels dirt and searches for hidden gold. We rehearse mostly indoors, so, I don't swat too many flies. But, a portion of our rehearsals are in the space where the show takes place. So, I swat some flies. TANGLES IN YOUR TEETH is my first foray into comedy. I've never written a full-length comedy before. It is difficult for me to write comedy, for it doesn't come naturally to me, as does drama. I have to lose sleep and work through many nights. I tend to over-write/create too much tension in scenes that are supposed to be comical. I am accustomed to writing intense drama where I build tension. After 2016, though, a year of tough politics, nasty presidential campaigns, and, for many women, great disappointment that America can not accept a strong woman as leader, I decided that I wanted to create a fun piece for our audience at Contemporary Park Shorts. TANGLES...is interactive, and, with the actor's help, comical. So much relies on delivery, pace, and timing with comedy. It's not always a concentration on the dialogue, itself, but how the dialogue is expressed, if that makes any sense. And, that's the extent of my knowledge about the genre. I know that through work and rewrite and rehearsal, TANGLES... will be quite funny. As always, I have total faith in Amy, and the cast we shall choose. I adored our presentation last year of my OCTOBER! I'm still speechless over all the terrific performances put forth from our actors. Amy is a wizard at collaboration, and staging. TANGLES IN YOUR TEETH is a completely different play than our show last year. Yet, I know that our cast and crew will put forth just as much time, energy, and work as they did last year. Developing TANGLES IN YOUR TEETH is a challenge I wholeheartedly look forward to. My sombrero and I, I should say. Home from work due to an impending snow storm. Intent on writing a new one-act, I review the play I've written for our summer show, Tangles In Your Teeth. I can not create anything remotely comical if I do not include physicality of some kind. If I had to analyze myself, I'd declare that my fear of comic writing, fear of failure in a genre with which I'm unfamiliar, forces me to rely on physical movement. I know how to add movement and dance to a play. I know how to move my characters. I rely on all of this with Tangles...
AMELIA storms through the audience, to JULIA. AMELIA I knew I’d find you here, wallowing, and talking to yourself like your great-great grandmother Leonora. JULIA Mom, I asked you not to come. AMELIA (holding her daughter’s face) In times of crisis, don’t listen to the voice in your head. Your inner voice is crazy. Trust me, Julia. I’ve been on this planet long enough to know that your inner voice is --it’s not right. Listen to your mother. Let my voice be your voice of reason. JULIA You are the most unreasonable person I know. AMELIA lifts JULIA’s chin, and turns her face, left to right, staring at her chin. JULIA What are you doing? AMELIA I’m trying to gauge the extent of your depression. AMELIA raises JULIA’s arm, and pulls on her shirt’s shoulder to view her daughter’s arm pit. AMELIA Your arm pit has not seen a razor in at least a week, maybe since Samuel went to Italy. JULIA … AMELIA At the rate of hair growth possessed by the women in our family, I can safely tell you that you’re on the verge of becoming a werewolf. JULIA YOU are my voice of reason? YOU are the one offering me comfort in my vulnerable state? JULIA places the earrings back into the box. AMELIA You know that your great-great grandmother Leonora turned into a she-wolf, and ran off with the minstrel’s son-- JULIA I can’t believe we’re having this conversation again. AMELIA We have a tendency to shapeshift in our family. You’re vulnerable to the family curse. JULIA We do not shapeshift! That’s insane. AMELIA I’ve done it. JULIA No, you haven’t. AMELIA Her beloved Aldo, the person she loved most in the world, oh, how she adored the touch of his skin, the way he held her, the way he spoke, left her for a woman with a cleft palate. What does she do? JULIA She ran off with another man. From “offstage”, we hear LEONORA’S VOICE. LEONORA’S VOICE I should mention the gold-split of your iris, the dazzle at the pupil AMELIA She turned into a wildebeast, bit the head all off her chickens, and was doomed to a life of depravity and sickness. From “offstage”, LEONORA’S VOICE. LEONORA’S VOICE adjacent to the teal. The scream, yes, of your eyes. AMELIA You look just like her, it’s uncanny. You could become her, depressed, mad, tormented. Have you noticed an affinity for shiny objects lately, or a heightened sense of smell? Pause. JULIA No. AMELIA pats her daughter’s cheek. AMELIA I’ll get you a tweezer. Chuck has several in his room. |
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June 2018
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