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Throwing Out the DIrector’s Chair: Emotional Sobriety and Sacred Playwriting

February 17, 2012

The thought crossed my mind: I should threaten suicide to get people to read my plays.

Granted, this is totally Easing Godsoul Out (EGO) sutff, but I must confess an irritation with one of my FB friends, who reacted to a link I posted (which came from another frustrated playwright like myself), that was basically an ad hominem attack on the writer of the article in question.  In his mind, that was enough to poo-poo any suggestions of change, but it’s just a logical fallacy.  Just because a person is Christian doesn’t mean they can’t discuss Christianity critically.  One can of course look for bias, but that’s putting critical thinking to actual use, not shutting it down because of who the messenger is  Still, his comments got under my skin a little, as well as his lack of openness to even entertain what was said in the aritcle.

I felt dismissed, and on some level I think I accepted it as my due.  There’s an aspect of myself that’s a scrapper however, and it frequently has to spar against myself before I get it that I’m taking on someone else’s crapola.  And I need to step back and get some objectivity, which is where this blog post comes in.

The thought of threatening suicide had this hot reaction as one of its sources, but it emerged as well from an activity I engaged in, allegedly to help myself forward with my writing.  Yesterday, I had the “opportunity” to surf the web in search of theaters that might be interested/amenable to producing one of my plays.  In the past, this has been a fruitless endeavor, and one that has brought up a lot  of feelings–anticipated rejection, abandonment, futility, rage, helplessness, powerlessness, pre-suffering, and it’s all because my frickin’ EGO is trying to run the show.

Weirdly enough, I had a FedEx Divination as well, on my way home from a substitute teaching gig, as I was thinking about reconnecting with high school classmates and letting people from Littleton, CO readMy Littleton Play.  Letting some of them no doubt take umbrage with the depiction of the Rossiter family and its slow decline from an artificial middle class status into lower and lower castes within our secular caste system.  And again, my Easing-God-Outter certainly took the opportunity to use it to lambaste myself and speak again to my notions of being a defective human being and how dare I “tell it like it is,” because who the F do I think I am?

I’m another yourself, that’s who.

So somehow my EGO led me to ponder putting up a suicide threat as a status update.  I’m so glad I put a pause in between things, but the truth of my life right now is that things ARE difficult, and I am reaching the end of my rope with a lot of things, all at once.

I know I’m not alone in this, and I do seek to connect with others who have similar feelings, which is why I’m exposing myself a little more in this post.  But my EGO is a dangerous part of myself, and it needs some healing.  It needs to be fed in healthy ways, and where my mastery as a playwright is concerned, I feel like I’m letting myself down.  It affects my writing too, because while I suspect the need for recognition and its addictive fame-seeking aspect, I still need it.  It’s a part of healthy pride–of stepping forward with my best foot.

The aspect of looking for a theater that got me down was that I logged into a site that said candidly that scripts requiring over 9 actors were less likely to be asked for.  I mostly write plays with 12-15 actors required, and was thus discouraged.  To be fair, I understand where theaters are coming from.  It’s expensive to do anything these days, and I get to be a part of a movement to “Occupy Stages” as it were.  Certainly our theaters could use an infusion of local energy that isn’t tied to corporations, banks and centralized government.

It’s quite confusing to be in this place, and to come up against my EGO yet again, but I came to understand that I need to, as the first story in AA’s recently published book of stories from The Grapevine, Emotional Sobriety: The Next Frontier suggested, I need to throw out the director’s chair and invite Godsoul, the Star Goddess, Cerridwen and other deities in to bring that service aspect of writing forward.

I need to trust that what I’m writing is what is needed out there., that what pleases me will please others, and that perhaps some day , there will be a connection made to someone who sees and appreciates the service being offered.  In short, I need to have faith that all is in order even though it all feels pretty crappy right now.

I am underearning at the moment.  Here I am, an Ivy League educated fellow who can’t stand to work in offices anymore, getting inconsistent work as a substitute teacher and I’m barely hanging on.  All I really have is my physical health and my awareness that there’s a spiritual way through these difficulties.  That’s more than a lot of people have, but it doesn’t make it any easier.

Even though I did a little self-destructive research out there, the truth is that I don’t even really have the money to send scripts out to people, and it’s just as well that theaters are saying “no room at the inn.”  I need to find some mangers to birth my divine children anyway.

That’s the way for us Marys isn’t it? 🙂

Acceptance.  The Answer to all my problems.  Surrender even deeper than I’ve gone before…

At Cerridwen’s Cauldron: A Channeling

February 13, 2012

Hello, friends of the sacred mountain which I tend.  Blessings to you, one and all.

The words I speak to Frostwolf Aimuth (aka Richard Morell) are also meant for all those who seek to “make a living” in theater.  I am here today to alert you to the death of a dream.  This is one of the aspects of my charge, as a Goddess not only of inspiration, poetry and the writing of dramatis sacrae.  I am also a death goddess, the consumer of the dead and the derelict.

All of you who consider yourselves playwrights are tenants of the sacred mountain, tending your plots with loving attention.  Some of you may plant your seeds in a xeriscape manner, others attend to things as if you were conducting an English Tea Garden.  It is all beautiful to me, and I relish each and every one of you.  There are those of you who have been able to adjust yourselves to the reality in the theater of your artificial construct called “the Nation of the United States of America.”  And that is a part of the terminus of your dream, for that notion is being shown up as a phantom, an illusion.

Can you accept there is no such thing as an American National Theater?  While there are plays that are considred part of a common canon – the plays of my tenants Tennessee Williams, Arthur Miller, Eugene O’Neill, Lillian Hellman etc. – the stark fact of the matter is that the New York City Centric theater does not speak that much to the American state of mind, and it’s quite impossible to manifest.  There are too many closed avenues within the shadowy halls of “the nation” that cannot be mutually satisfied.  One cannot simultaneously feed the soul, for example, and simply entertain.  For the soul to be engaged, you need for there to be something ventured, and entertainment-seeking eschews venturing anything in favor of being coddled.

I pause here for the moment because Frostwolf expresses a concern to me that he is really just expressing his own thoughts, and to some extent this is true.  Much of what he observes is inside this commentary, but I turn the mirror upon him right now to show you how the dream he has clutched onto for two-plus decades is dragging him down into the depths of despair.  He is at that jumping off point where he must surrender the dead and the useless if he is to move forward.

“Why does it have to be so hard?” he continuously asks.  It’s hard because he’s like the lottery win seeker who doesn’t buy a ticket.  He wants to win the lottery, but he doesn’t believe in the lottery.  Likewise, he wants to see his plays produced, but he doesn’t want to see them produced in the current economic context.  Yet is that not where everyone finds themselves?  Frostwolf/Richard is locked in a self-sabotaging spiral of despair,, seeking to be praised for showing up that his culture is wearing the Emperor’s New Clothes.

He wants to believe that the child in the story is a savior and deserving of praise, but is that ever the case with the one who announces that the Party’s Over?  And I’m not speaking solely of Cassandra with her doomy prophecies, but also of people who herald the end of a way of being for someone who has been sufferiong at the hands of their own delusions.

It is always tempting to shoot the messenger, even when one knows deep down that the messenger carries only the message that it is time to deal with Reality or it will deal you out of the game entirely.

Today, he brought me a question, to discover whether in his plot of plays to unearth, if he had one that would be able to meet current theater requirements of few characters, but that were in his store to write.  Frostwolf is a writer of the really small and the really large.  The in-between does not really represent his best voice, and he’s struggled.  When an odd script like Timberline comes through,, which is a beautiful 3 character script, it is appreciated for its oddness and its innocence by someone who has witnessed and endured as much as he has.  Very few people really appreciate the beauty of that script, because not much happens in it.  And yet the world doth change by its end.

Still, Frostwolf can only approach the 2-8 character play from a place of forcing solutions, of contrivance.  He’s no Tennessee Williams on that score, able to build a strong work out of contrivance.  His sstrenghts are elsewhere.

Can one imagine Tennessee Williams contriving to write about real estate men in Chicago?  How about  David Mamet attempting to stage a version of Anna Karenina with a funny looking bald man in a dress playing the lead?  Why should Mamet try to be Charles Ludlam?  At best these are academic exercises to be answered in theme papers for Contemporary American Theater classes.

It’s only “rational” that Frostwolf try to Procrustesize himself, and cut off his legs and hands to try to suit a bed too small for him.  But in order to do so, he has to distort what it means to accept himself and the gifts he really does have, and I am here to tell him that part of the dream he has carried with him since being a beloved student in his high school class, who won his year’s English award and was told “this is your future,” wherein he felt he was going to be up there with the greats never was meant to be.

It isn’t because he’s not all that great.  All the tenants bring their own brilliance to bear, and they show up to the work because they are called, and they all find their brilliance eventually–even if doesn’t translate into a production on a stage.  The sad fact of the matter is that the theater in most nation-states has been similarly infected with a certain sort of cancer called “Winner Take All.”  The instant celebrity is celebrated and held up as THE example to follow, and woe be to others who strive alongside in their obscurity.

Many of you playwrights out there are what could be termed Imaginal Cells on the Cateripillar-Body-Politic that is aware that it’s time to enter the chrysalis stage but fights against it.  The caterpillar, at that point when it’s to start that spinning process, doesn’t at first wish to go, and when the first cells appear, feels they are invaders.  The DNA of the caterpillar has become its own enemy, its own announcer of imminent doom.  It emerges from the body of the organism itself, and yet, the organism has an attachment to how things have been.  So the imaginal cells appear and the caterpillar tries to pick at them.  Perhaps it does get a couple of these irritants off its corpus, but eventually it must succumb to the process of its own evolution.  The imaginal cells eventually win out, if the caterpillar isn’t picked off by a bird or some other predator coveting its juiciness.  The cocoon gets spun and the caterpillar therein entombed, becomes a grey goo that serves as the soup of creation of the butterfly.

In some ways, Frostwolf’s dream is that caterpillar.  And he has been assiduously fighting on its behalf.  The actual imaginal cells of his writing point him in a different direction however, and he is slowly, but resistantly, coming to the awareness that his dream of being American Theater’s Savior is the stuff of a 17 year old’s fantasy.  He’s denied that he’s had this dream, but the questions he has brought me reveal his true thoughts.  He wants to “hit one out of the park,” just like John Patrick Shanley has with his amazing Moonstruck and Doubt.  The time for that has passed, however.

Frostwolf Azimuth writes for the future.  His voice is to speak to descendants who will need to hear the observations he pens of the times in which he lives.  His voice is for a time when communities get together to put on works that will enhance a culture yet to be born, a society emergent.  A kindred spirit, Charles Ludlam, has literally danced into his life recently, and is goading the writer toward his true voice, and like that caterpillar mind he has been evincing, he has been resisting it every step of the way.

Like Charlie, “Frosty” can’t write the miniature.  He tries and tries, and every once in awhile an interesting contrivance comes up.  But it rarely feels authentic to himself.  But that’s the issue–it doesn’t come from his deepest promptings.  And the scrpits that do scare him to no end.  This is to the good,. but the thing is, he understands that they scare audiences to no end as well.

Who wants to be told that their way of life is about to explode in cascading debt defaults they didn’t necessarily sign onto?  Who wants to be told that the world they think they know is built on the sufferings of billions of others, not to mention the costs incurred in our landbases and bioregions?  Who wants to join in dreaming of a world where there is enough to go around, but not enough to satiate the more-more-more of your current system’s focus?

Frostwolf is creating images for an Our Town of Tomroorw.  And as such, he needs to accept that this is most certainly not a way to fame and fortune.  It is a service call he’s answering, pure and simple.  The scripts he writes are his version of Siddhartha ferrying people across the shore, or St. Francis talking to the animals.  Or a smiple person simply asking a troubled man how they’re doing and really caring about the answer.

He doesn’t always see that.  He’s one of those troublesome artists who struggles over his need to be self-absorbed in his Craft while also attending to being of service in his day-to-day, and trying to attend to the overhead of his life.  He’s gotten really sick of that latter part, and has openly wondered if that overhead is worth paying.

The unfortunate truth:  It’s not.  And you all, playwright-tenants or no, are to be facing a time when Can’t Pay and Won’t Pay will do battle with the melodramatic scoundrels of your own Polly Pureheart variety.  A certain diseased minority of folks–the 6% of the populatikon that are your psychopaths–stand eager and ready to enact the Dick Dastardly roles, and another 12% seem to be antsy to carry out their viewpoints from a place of wanting to quell the chaos and blaming others for their discomfort.  Will the other 82% come forward to take care of themselves amidst this difficulty?

Get your popcorn everyone!  Life gets interesting now, doesn’t it?

Many people’s dreams that are similarly situated to Frostwolf’s will also be dashed, and other peoples’ dreams will have to transform.  This is something all people are called to work on these days.  Frostwolf is blessed to have been given the gift of true desperation.  His situation is difficult, but like a recent I Ching oracle counseled, he is the source of his dire difficulties, and it comes from his trying to act as the director of his life and trying to arrange life to suit his preceoneived notions.

Just as he is not a minimalist writer, Frostwolf is not a 9-to-5er either.  He has been saying he wants work, but he doesn’t want a job.  He’s a part of the emergent culture when he says this.  Richard/Frostwolf wishes to be engaged in making contributions to the culture, but he wants to give in a way that is giving, not another form of taking.

That being said, he’s aware that he needs to let people help him righ tnow, and that scalds the Easing Goddess Out (EGO) part of himself.  And despite his arrogance and egotism, his childish grandiosity and neediness, there are people who love this man.  He is loath to admit it, but it’s the truth.  He’s not so awful as to not merit affection, and the callings for him to rest and know that is taken care of are FINALLY being heard.  He is about to understand some of the paradoxes of power, that it arises from doing less, not more.

And it will arise as well as the honesty about his hgh-school-senior dreams throw the deathly sunlight on the vampire vision.  He is amusing this tenant of the mountain.  As he understands these things, his controlling and scheming ego wants to know “what do I do now? Can I find a new line of work? Can I go out and I don’t know, buy a lottery tickket?”  And all that he needs to do is lie down and take a nap.

Be Still And Know That I AM.

Know the sacred source that permeates below the surfacce, that actually feeds his true Self.  The truth is that he is all right, that he’s always been all right, and that his work is the work of others.

His Work Is Your Work as well.

Richard/Frostwolf knows some challenging and advernturous times await.  And he has Charles Ludlam along as a mentor from the ancestral realms.  Among others.  Today he allows me to type these words through his fingertips, and to take this dictation.  This is what I requrested of him today, and it is enough.  This is his sacred task for the morning.  He has other tasks to attend to as he goes through this blessed day.  A Four of Cups day wherein he can set aside his restlessness and discontent.

We come to the end of this channeling and the gift to you who read this is that you too are somehow guided to acknowledge a dead dream that drags you down.  The inner high school kid or college kid who had it all figured out–does that person still hold sway over some area of your life?  Maybe it’s time to open a window of sunlight and watch it fizzle out.  Sweep up the ashes and feed the death gods like myself, and move itno a new dream more appropriate to your place in the scheme of currents and flows surrounding your Being?

I only offer the tool that is the question.  It is your choice to pick it up and use it.

I wish you many blessings!

C.

A Letter to Theater Professionals, inspired by 12 step work and Occupy

February 2, 2012

I was inspired today by page 214 in As Bill Sees It.  Anyone identify?

Dear Theater Professional:

Please forgive the impersonal nature of my salutation, but I speak to you as respectfully as I can from the other side of the holographic divide that is Theater (or the “.01 Percent”) vs. Play (the “99.99 percent”).  I suppose I’m like an acolyte of Dionysus addressing a novice of Apollo and saying “Ahoy, matey!  I’m still here, nanny-nanny poo-poo!” Even as one of us continues to pretend that he’s vanquished the other completely while the other just stands there merrily and gums up the actions the other takes simply by helping him along toward that which he seeks.  Apollo has never really known what was good for him, the poor bugger!

And while I respect that your institution is a provider of enacted performance pieces with conflicts, themes and plots as revealed through characters’ objectives (i.e., “plays”), I have come to understand that, as a recovering compulsive person myself, I can get way too much into the addiction called “striving.”  This often results in frustrations when the apple that I am doesn’t suddenly develop a thick porous skin and spurt orange citrus juice everywhere.

I can’t do it anymore.  I am sick unto undeath of trying to turn myself from an apple into an orange, or in this case, from a garden-variety writer into a Professional Writer.™  And so, I hope you will gleefully accept this small but affectionate poke in the eye to remind both of us of our humanity.  “Acceptance is the answer to all my problems,” as it says on page 414 of the AA Big Book, after all.

As one of the 99.99%, I happily live in a subculture therein of creating large cast plays.  I have a big ol’ Charles Ludlam-esque “big cheap theater” vision, and I seek to populate stage worlds with a potpourri of bizarre events.  I tend toward the big-cast show or the one-person show which is a different sort of excess.  The incontrovertible fact of the matter is that theaters can’t seem to afford to put on large cast plays for various reasons, and thus when asking for new works seek casts of 2 to 8 people.  That’s the data as I understand it.  Perhaps you see it another way, but I see it as being passed over.

Anyway, as various other addictions took their toll, I became a hypersensitive soul over the past decade.  While I have an MFA from N(ow) Y(ou’ll) U(nderearn-iversity) which I received in 1995, I have not submitted work for review in ten years.  Truth be told, rejection has been hard on the old psyche, and I had to go off to an internal cave for all this time.  But this hapless and only recently aware Siddhartha is now ready to join the ranks of the ferrymen on the banks of the river of life.  Going my way, sailor?

I have of course done quite a bit of soul searching and attempted to seek other things to do besides writing, and I know that it’s a daunting task to try and make a living at this.  It’s certainly impossible in 2012 to make a living in theater for gosh sakes, and I can’t wait for collective apocalypse in the original Greek sense of the word (i.e., “lifting the veil”) when our species gets the “aha” moment and realizes that where the economy is concerned, not only have we been putting the cart before the horse but the horse has been backing us up toward the edge of a cliff even as we convince ourselves that we’re “making progress.” (Bwahahaha!)

In that time, I went through a painful writer’s block.  Other things took place—I lost 110 pounds which I’ve been able to keep off in all that time, and I discovered that I’m a nature boy under the rolls of fat.  I’ve moved upstate to an area of natural beauty and hidden treasures, and I entered into a relationship with a local journalist who was actually getting paid modestly to write.  That has since ended due in no small part to the internal pressures I put myself under in that diversion into judging my succulent appleness by the colors and tangs of citrus.

Throughout my block time, my only consistent writing has been Morning Page writings as a daily spiritual task first proposed by Julia Cameron.  I wrote poetry about how sucky it is to work in the vEmpire for people with a J(uvenile) D(elinquent) degree from all those criminally esteemed law schools as my more vehement moods would react to the tongue-lashings endured inside the cubicle farm plantations LLP out there where “How would you like this document formatted?” is the new “Yessa Massa! I sho will git on it lickety split!”

(Yes.  I’ve still got issues.)

In any case, this Herculean task of attempting to be a playwright in this moment of cultural upheaval and transition has been daunting me precisely because I have taken it on as a project of my striving compulsion.  The Work causes me to be aware that  I have come full circle and I realize that it’s most likely not in the cards for me to be a Professional Writer™ at all.

“Amateur” doesn’t feel like the right word either though.  Please forgive me for pointing out the obvious that the overdeveloped left brain aspect of our Apollo-on-crystal meth culture has an obsession with labeling and classifying, and especially loves Duality.  And while I am a part of the hoi polloi that comprises the non-Professional Writers™ out there, “amateur” is but one classification thereof, and not a meaningful one either.

To be truthful, the word would seem to include both Professional Writers™ and we 99.99%.  To be clear, I’m dispensing with the word “amateur” which is a word I must put through a cleansing and purification process to heal its tarnishing.  Since its Latin root “amar” means “to Love”, I will instead use the word Love-Enactor to denote a beginning aspect of the non-Professional Writer™.  We all start out as Love-Enactors and in truth none of us ever leave that behind.  It’s a part of the concentric circles of our development that we are suffused with Love-Enacting.  Ergo, even Professional Writers™ are Love-Enactors in the purest sense of the word, and their paths have taken them in a certain direction.

But–

The vEmpire needs to get its fangs into all things, and before we understand what is happening, we get sucked into the morass of needing to justify our very existence and next thing we know, the Cortlands and Galas and Fujis start to peruse the California trades where only Valencias need apply.

Even though I also hold a degree from the small Ivy League college on the hill in New Hampshire, it’s taken me a quarter of a century to finally get the message that I don’t need to struggle like this.  I’ve been witnessing a miraculous process of unfolding where some synchronicities line up to assist a new awareness.  This Love-Enactor has gone on my own particular journey and I declare myself today a Witch Priest of Dramatic Writing, A Playmaker Medicine Man, a Neotribal Shaman of the Stage seeking to midwife the new world emergent post-civilization.

This is the long form of my announcement as such, that I am one of a legion of writers out there who can choose to Occupy Stages.  This is a letter that basically affirms that I’m still around and kicking, that I’m still writing and doing my Sacred Work, and that I am more deeply surrendering to my appleness as it were.  And while I seek to see my works performed in appropriate venues, I release myself from the attempts to maintain a sort of “pulp fiction” that I’m somehow a succulent juice bomb.

I understand the fear this letter is probably instigating, and the judgments, and I wish to say that what you think of this text or of its author is none of my business.  Feel free to use the word “amateur” on me if you wish, in the spirit of In Lak’ech (Mayan for “I am another Yourself”).  We are both amateurs in the truest spirit of the word.  I for myself embrace it as I embrace my inner child, but as I now lug around an outer adult, other awarenesses and choices make themselves apparent.

In any case, this is a letter that is a bit of a stab, but it’s also a letter of concern that you are probably in a state of disarray due to our economic chaos.  Please understand that the time has come now for the separations to be revealed and healed.  My perception is that you, Messrs. and Mmes. Theater Professionals, have held yourselves separate from us 99.99%ers for well past the expiration date.  The bad news of impending economic contraction is also the good news that you can finally let go of the role of gatekeeping.  We are in a time when ALL of our voices are needed.

Whatever your feelings about the Occupy movement may be, the truth of the matter is that is not really a revolution at all, but an evolution of the 100%.  The cosmic light of our current experience points us toward the understanding that our concepts of separateness exist only as illusions.  One can simply choose to dispel the illusion, and I say simply, but that does not imply easily.  As I said, it’s taken my 25 years of holding on to this alleged valley that separates us, wherein I accept terms that others have put forth again and again, with the same heartbreaking results time after time, and insane really, to keep trying to follow the same set of actions and expecting different results.

Can you admit complete defeat and that your life has become unmanageable in the face of this separation?  I’m hoping that you can.

Sincerely,

Richard M.
aka Frostwolf Aazimuth
Witch Priest of Dramatic Writing and Compulsive Striver
seeking to recover from the ravages of having been civilized
without my consent

My Attractions to Other Writers

January 15, 2012

Today, as I was showing up to my daily journal of creativity, I was struck by an amazing insight into why Maria Irene Fornes is my most favorite writer.  As I was attending to a butternut squash I had fixed for dinner later today, as well as for several dinners during the week, I was thinking about this play that I’m writing.  It’s a ten-minute piece, which is a format I’m not thrilled with.  I have my suspicions about the reason these sorts of works exist, and mostly what I suspect is adminstrative laziness is the author of this detestable genre.

I say this partly because it really chafes my nucha to be so beyoked in terms of time.  There are some people whose gifts are very well suited to this task, and in fact their ability to write longer works is the difficluty for them.  I don’t begrudge others who have this talent, but when asked to write something like this, I kick, I scream, I try, and I fail, and hooray!  I’m an apple trying to squeeze myself into a raisin sized outfit.

Well, don’t that sound familiar to a Compulsive Eater, eh?

Anyway, I was pondering how in this play I have some writing that is “on the nose.”  In theater, subtext is a wonderful thing.  Lines in a play that offer mystery or out-and-out contradiction are fabulous.  The person who is talking about abstinence while noshing on a waffle.  The mother who is upbraiding her son for hitting a girl by slapping him around.  Astrov’s seduction of Yelena while talking about ecological devastation in a small Russian village.  FAAAAABulous!

But on-the-nose writing usually signifies a failure of imagination, or more likely it’s the idea that the writer wishes to convey but hasn’t yet gotten to the oblique or contradictory way to do so.  I was pondering though that on-the-nose writing as I’ve called it doesn’t always serve a playwright’s intentional failure function, but can actually be used in ways to further plot in a manner that is ingenuous and fresh.  It takes a certain mastery and restraint however.

I’ve only seen one production of Fornes’s play Abingdon Square, and I have to say when I saw it in 1987 at the American Place Theater, I felt such an ambivalence about it.  Because so much of the writing is x equals x.  Yet the play has haunted me since that time.  The images and the honesty, the innocence and the freshness, the true depiction of a child’s growth into being the full-fledged woman she is entitled to become.  Set in World War I Greenwich Village it also has a timeless quality to it.  The reasons I disliked the play turn out to also be the reasons that it haunts me so.

That got me thinking about Fornes’s delightful Enter THE NIGHT (yes, the words are all-capped).  There is a brilliant use of what would be considered not only bad writing, but ATROCIOUS writing in the play.  Jack shares this play that gleefully violates the theater commandment, “Thou shalt not write a play about the village of the kind and happy people!”  The function of the play within the play however, is to offer a moment of delicacy and tenderness to their uptight, hectic and hard lives.  Tessa the nurse deals with HIV patients day in day out.  Paula is handling a cancer diagnosis.  Jack himself may or may not be infected, and is a stage runner for The Ridiculous Theater.  In the Seattle production, I remember a brilliantly hilarious monologue where Jack gives a speech that just enumerates all the stuff he has to do backstage to help Charles and Everett with their performance.

Well.  Thinking about Enter THE NIGHT also got me thinking about her other play with the similar title What of the Night? which is a collection of 4 one-act plays that follow this  group of vagrants in 1930s L.A., as they try to eke out an existence, then disperse on their own paths.  Irene worked on this play way back in  1986 when I was a student in the Padua Hills Playwrights Workshop.  Her process kindled in me a desire to imitate her, and actually my play Timberline was written in one of her workshops.  It’s my most favorite thing I’ve ever written.

I got to bypass so much of my intellect when I wrote that play.  I see that there is a certain central core to my soul that comes out in my writing, even in my difficult attempts to finding ways to fuse my intellect with the heart.  A worthy endeavor, to be sure.  But I’z gotz ta pay da billz, ya know?  I’d luvz to have a commoishal Pradauck.

In musing about Irene’s plays I pondered what conneected Abingdon Square, What of the Night?, Enter THE NIGHT and perhaps even her play about 2 English actresses who acquire a fragment of the first translation of Hedda Gabler (Summer in Gossensass), and realized in an electric frisson that that all of these plays depict tribal energies.  In What of the Night? it’s quite blatant, but in Abingdon Square, it’s quite subtle.  And it’s just part of the woodwork of Enter THE NIGHT, where these 3 characters have each other to get by, and are able through the course of the aciton of the play to be who they are, and to give the simple and necessary love they have for the other 2.

And I realize that this is also what attracts me to Charles Ludlam’s work too, though that was more about his operation than about his plays themselves.  I have to say that putting on one of his works creates a tribe out of the actors who come together however, having directed Camille myself.  And I’ve always wanted to direct all 3 of these Fornes works, as well as Mud and the amazingly beautiful and harsh The Conduct of Life.

I feel on some level John Patrick Shanley must be doing the same thing too, for I’m very much attracted to his work and have been since the first time I saw it.  That shamanic element of myself recognizes itself in only a smattering of writers.  For example, I don’t feel it in Kushner or Mamet, as brilliant as they are.  I wonder if it doesn’t have to do with the Catholic element, at least in Fornes and Shanley’s cases.  I feel it a little in Jon Robin Baitz and Richard Greenberg’s work, though not as strong.  It’s more a part of the loom, whereas with Fornes, Shanley, Ludlam and I would also venture Fassbinder, it IS the loom.  (Could Chekhov and Beckett also have that element, I wonder?)

I feel called to follow the thread into my tricksterish side, and I am seeking to write some new pieces that emerge from a shamanic primordium.  Irene had an interesting exercise for actors where she had them consider their liver in a meditative state.  I sat in on this and went through the exercise myself, and at the time, I had the oddest visualization:  As I considered my liver, I “saw” it hooked up to a formica countertop.  A plastic sort of feeding device was nourishing it, and it seemed quite happy and wet and deeply burgundy too.  Then I was to clear the image and let the first thing come to mind, and for some reason Dustin Hoffman’s face flashed across my consciousness for just a second to be replaced by a mammoth box of Rice Krispies.  I mean, I was floating next to a 3 story sized box of Snap! Crackle! and Pop! And Pop! started talking to me about how he was getting gypped by “the man.”

(She has lots of exercises that get a person into the silly zone, which I do admit I love.)

Padua Hills was a sort of month-long tribal excursion, and I wish I’d have been able to do it more than the one time.  Things have quite changed in these two plus decades though.  I see that I’ve been quietly delving deeper, and it can get quite difficult because I have some impatience to deal with.  Now seems to be a good time to start the limiting of the coffee intake, needless to say.

But I see that the stories that are coming through me need to be constantly bathed in that spirittual stream, and that is how they will become the gold that I know they are.  My Easing Godsoul Out (EGO) aspect will of course try and have a crack at things, but it’s the return of the Fetch and Godsoul to the page that will keep the piece on the track.

May the blessings emerge, and may Cerridwen guide me toward whichever plot on the Sacred Playwriting Mountain I’m to furrow and seed next.

Novel: “Wayshower: The Faerie Education of Humphrey Talbott”

September 8, 2011

The journal page, opened up again to the same spot, was empty.  As it had been yesterday and the day before and the day before that.  Frustration continued to daunt him.

Humphrey Talbott sat in A Clean Well-Lighted Place Books with his journal, pondering his various projects and sipping a cup of coffee, when he looked up and took it all in–

all the books that were on display in the clean, sun-drenched room,

the airy feelings that the proprietors effortless put out for the comfort and delight of their customers,

the collective sense of accomplishment in all those books and th eproducts to be appraised, held and evaluated with keen and loving attention,

and he felt a lot of feelings–

a bit of inspiration, to be sure–all these were creations out of nothing after all, so individual authors’ achievements deserved that recognition,

and not a little bit of feeling daunted, for how could whatever creations coming through the physical vehicle of this brain, these nerves and synapses connecting all the way down to these wiry tan hands compare with the works herein collected.

But mostly

he felt envy.

The beast which everyone else knew to be a green-eyed monster, the once-heavy, now HWP stand-in for a non-crucified Jesus at 47 experienced the state of comparing what he had against others and finding himself wanting as a southern belle not unlike Scarlett O’Hara.  He named the bitch Envy LaRougemort, Dee-Lightful Drag Queen Vampire with a Dixie-down drawl, she do declare!

She could outcunt Rush Limbaugh!

(Humphrey liked to use the c-word in his own style, and he fantasized redefining the word as follows:  “cunt: (pronunciation thereof), n. vul. 1. Vampire (onom., synec.) 2. vul. female, wnech. 3. vul. vagina.  v. vul. to bite, as if from a vampire.  “Count Dracula cunted his fangs into Lucy’s neck and inhaled the red elixir of her living body into his undead gullet.”)

Needless to say, most times he kept this redefinition to himself in his little witch cottage by the river.  It was indeed a most powerful notion to attempt to add to the mix of confusion over a sound with a lot of dismay and disinfomrative associations already toward what he considered a more appropriate use of the sound of that particular epithet.  Such a waste when it comes out of a drunk fellow cussing out his enabling wife and female relatives–come on, it so suits Dick Cheney does it not?

That face defines the word that rhymes with “bunt,” and don’t go too far from the letter b to figure out what the former V.P.’s true essence by sound is captured.

“Yet this would most likely remain a secret unto the grave, Ah do declare.” Oh, he could hear Envy’s gruff evil-cank drawl as it surveyed the room.

“Why I do surmise Humphrey James Talbott, that it’s nice that you’re here and all, enjyoing the lovely summer’s day in this dee-lightful bookstore in the town you dream of moving to someday; yes it is just the loveliest!  But honey, don’t ya think you ought to be looking for some real work?  Like maybe seeking temp jobs in that gloriously gritty and hideous vEmpire you do go on about?  As it crashes and burns to be sure, but still there is money to be made and Esq-cunts to satisfy with your fast typing hands and your yummy suicidal doe-in-the-headlights rage.  Don’t you think it’s time you just settled into it, got that rifle and the new gig, then went postal on some LLP that deserves it? Hm, sugar-sugar, honey-honey?  I mean, can you really compete with these illustrious writers?  I see your name in the history books as a rager not a writer.”

Envy LaRougemort could really come in and bring out the dreadful feelings of uselessness, as if the journal he held wasn’t made of college-ruled but toilet paper.  Envy had her ways, sometimes pretending to be an advocate (“why it’s all about who they know, really!”) and other times encouraging a foray into credit card usage (“you deserve that pumpkin spice candle”).  This mass murderer thing was new for her.  And pretty low.  His 401k was getting dismally low, and he was doing his best to keep fear at the door.  But it got harder with each passing day and Envy didn’t make it easier.

He had just had a dreadful conversation with his best friend Allen Tighner, who had gone through something similar with his own journey.  And the difficulties of that part of his friend’s journey were still so raw and vivid, that Humphrey’s issues just shut him down right away.  Humphrey felt awful that he had stepped toward this with his friend and felt a pang of regret, and not a little extra pain in his heart for having caused his long-time pal a two-fer punch.  It only made the writer’s block he was experiencing that much more difficult to endure.

And while Humphey would love nothing better than to join the ranks of writers who sent in a hard-hitting and entertaining query letter that started a bidding war that landed him a 6-figure contract, or to start a franchise that would knock it out of the park, he knew he’d be satisifed if he were considered the next Lance Drakeson or Kim Velasquez-Tierney.  A new writer in his late 40s who had left behind a corporate gig and went his own way.  He followed these role models’ epxeriences avidly, as they were both like him–“Friends of Terry.”  He had heard Lance and Kim share on the phone lines for Fulfillment Anorexics Anonmyous meetings, and found himself alternating between being inspired and depressed by them.

Yes, yes, of course he wanted to be famous, to have his work recognized. Yes of course he’d love to see his books and plays “filed under T” and attracting the readers he knew were out there to connect with.  Humphrey suspected there were intrepid actors out there who would fight passionately to get his plays onstage, literary managers and dramaturgs and artistic directors be damned!  But here he was, in Harvard Center, New York, sitting in a thoughtfully appointed bookstore along the Rijkskill in Washington County, Grandma Moses country, in a plush and comfy chair staring at a blank page in a spiral notebook blocked and dismally envious with Envy LaRougemort’s fierce, cold stalactite voice drilling its deathly notions his way.

But the clock was ticking, and Envy just bided her evil time.  Was it a set-up for failure that he didn’t believe that his 401k would survive to see his retirement days, that whatever was going on with the Mayan calendar and ancient prophecies would scotch the idea of a cushy elderhood easily?  Actually, if he didn’t take it when he did, it wouldn’t have mattered much.  He was headed for a suicide if he continued working in the necronomy’s legal-eagle bowels.  If nothing else, taking the 401k was forestalling his own demise by however long it lasted.

Almost a year exactly before it was gone gone GONE.  It was coming to the end of 10 months ago when he had given noticed at Windigo Windigo Mankiller LLP (not its real name) on Cockson Street in Albany.  He figured he had about 6 weeks of money left, with 2 months rent good and then…?  He’d have to do something else, though he was leaving it of course to the last minute.

He knew other things as well.  Humphrey was also a witch and felt on some level he’d be all right.  Something eventually would come through his pen, and it would be marvelous and magical.  Or something would manifest through his intentions and workings that would far exceed his wildest dreams.  It would arise from his heart and its wisdom, and it would truly be miraculous and effortless.

And yet was it turning out that way?  Was it not an effort to drive all the way up from his domicile in Doodleville, day after day, just trying to contrive some sort of text out of a parched imagination?  The torture he felt of showing up to characters and works that did not grab him, but which he felt compelled to write nonetheless.  And they stayed away in droves.

Who else was going to tell these stories if not him?

And he knew he had to try and write in a medium he didn’t find comfortable.  Screenplays, with their rigid 3-act structure.  But his idea for the Doin’ Damage Quartet was totally cinematic, and the first story, about a British-born attorney, now paralegal, who is in a dead-end vEmpire gig and married to a high-maintenance local t.v. producer, can’t go on anymore and he leaves his job when he discovers he’s a plant whisperer.  And with their help, he’s able to intervene to keep some pristine land being soiled by the hydrofrackers out to continue their sorcerer’s apprentice ways.   He had gotten through a second draft on that one, and was trying to write the next, a horror movie with the monster being the way we live our lives.  That one wasn’t going so well.

He wondered if he’d be able to sell the first script to the fellow who he had in mind as he wrote it, a British rock-star in his own right.  Caw, the former front man of Liv-P-D, and who had embarked on his own solo career, was someone Humphrye respected in his shamanic work.  They had met in the astral through the auspices of Tlatzolteotl and the Blue God.  The beautiful Aztec filth goddess and Dian-y-Glas had connected them both one day as they walked simultaneous labyrinths 2,000 miles apart.  Humphrey had rounded the 3rd circuit when he spied the recognizable personage leaning up against the wall, pondering some message.  Humphrey had interrupted the reverie.

Caw had screeched at him and flapped his skinny arms–“Who the fuck are you?  How’d you get in here? Oh.  You’re ghostly. Oh.  Huh.”  The sweet-smelling goddess stood nearby and radiated love their way as Humphrey stood bewildered to see an honest-to-god celebrity right there in front of him.  The goddess spoke:

“Caw, who is also known as Colin Andrew Wimberley, and Humphrey James Talbott also known as Ice Eagle, you two will one day work together on several projects.”

“Like hell, I’m working with numbnuts here!  I don’t care who you are!”

And Tlatzolteotl smiled at Caw and feces vomited forth from his gullet.  And Humphrey found his own voice.

“Oh, that’s attractive.  Shitbreather, I simply must have him now.  Caw that was too sexy for Coco Chanel herself.  She should only spew such cocoa.”  The Britpunk star wiped his soiled astral mouth with a plasmatic towel that appeared out of thin air for the express purpose, he nodded grudgingly at Ice Eagle Humphrey, and grimly smiled.

“As I was saying,” the filth goddess continued, “you two shall work together, for it has been preordained and you two contracted it pre-existence.  I intervene to put you both on notice for it is important that the work proceed.  Ice Eagle, you will know the appropriate time to begin the work.  Sorrow shall herald it, I’m afraid, but a floral brilliance will initiate you and your journey will commence.”

Humphrey stammered. “It’s — not–is it a rock musical, maybe?  Is it lyrics from your work or –”

“Never!  I only write my own material, and so it will have to be a novel or a screenplay for my acting side.  That’s all there is to it.”

Ice Eagle – Humphtrey Talbott always got a kick out of his magickal name — lookeda t Caw dubiouslyu.  But he shrugged his shoulders in whatever, and looked back at the goddess who had been joined by the Blue God.  The goddess had also turned into a gorgeously radiant male figure for some odd reason.

Dian-y-Glas said, “Yes love.  There will be much reward for this work.  And you will know it well.  But it won’t happen for awhile, and even when you commence, you shall have doubts.  Rest assured that Caw here will come to your aid when the time requires it.”

When the time requires it, eh?  Humphrey mused to himself in the bookstore, tiring of willing some movement of his hand on the overwatched page in front of him.  The script he had already started needed more work.  He was sure his protagonist was too much of a sketch.  To make the fellow more real and therefore a desired role, he had imagined Sandy Stierer in the role, because he was so damn likable.  That also kept him from being Dr. E. Vil-Parodyville.  Really, the world was full of misguided and well-meaning people who wanted to keep things as they are, as destructive and delusionally exclusionary as they were.  The same people with their heads narrowly blinkered to believe that their way of life really was non-negotiable.

Like his ex, Tommy Laidlaw for one, and who of course was the basis for the protagonist’s high-maintenance wife.  Which Humphrey decided to write for Caw’s wife Letty Dyer, who was an actress in her own right.

They had broken up just prior to when Humphrey had hit his own wall at WWM.  THeir breakup was part of the prophesied sorrow he had endured.  The first version of the script was a play, but then after a reading of it with local actors, he had decided it needed to be a screenplay, and that it also needed to be a quartet of scripts on top of it.  He had experienced a burgeoning of material over the winter, even as he overcame cold after cold after cold during the dreadful winter when they had received more snow than anyone could remember.

They still loved each other, he was convinced.  But he also felt it wasn’t a good match in terms of a union.  The two just didn’t have a strong enough relationship so that they could gay-marry.  Their values were just too different.  And he could start going down that path, with all the various things that had led up to last Lammas when Tommy had announced the relationship was done.  And Humphrey agreed.  And then after Tommy left, he called his best friend Allen, and said “We broke up,” and fell to a heap on the floor, heaving like he’d never ever heaved before.

But that was last August.  This was a year later, and September was just around the corner.  And all these thoughts and none of them in particular were swirling around Humphrey’s brain as he tore his eyes from his non-writing and looked out at the room, desperate for some inspiration.  This was such a lovely bookstore, and he had told the proprietor how much he preferred it to some of the other independents out there.  A Clean Well-Lighted Place was a great name for it too.  Leanne had been solicitous of Humphrey, noting that he had brought his journal, and that for the past week he had just sat there immobile for 2 hours each day in the hot sun.  While she felt a sort of concern for him, she was more than happy to help the various customers who came in and shot the breeze or who had a specific book they sought out.

Today, she was helping a mother with her two kids deciding on which of two books on insects they should buy, with one child insistent on the more expensive one while the other child was more interested in the slinkies.  The girl held the one book she liked up before her like a flash card of a blue butterfly dancing around, as the other girl set up a little staircase of books to play with the pink slinky in her palm.

It all seemed like some sort of– well, that’s silly, Humphrey thought to himself as he smiled quizzically and looked elsewhere.

He could feel something was up, a budding need to take some actions that would hopefully expand his life.  What those actions were, he couldn’t say yet.  Harvard Center had something to do with it.  Books had something to offer.

He took a last swig of his coffee and made the decision to beg off for the day.  Muse, Fetch and Heart were all saying something in their absence, so he decided he’d get a move on.  He put the cap on his pen, inserted it into the rings fo the spiral binder and shut the notebook with pen marking the infernal place that hadn’t budged for 8 days now.  Till next time.  He stood up, stretched and took his empty paper coffee cup to Leanne, who would toss it in the trash can behind the cashier’s desk.  And he walked outside into the bright sunlight.

 

Hekate’s Prayer for the Common American

September 1, 2011

I think this will shock some people. There’s a talent a lot of you don’t know I have. Enjoy.  And if you like it, pass it on.  It’d be fun and different for this shaman to have something go viral.

Reconfiguring “Doin’ Damage”

February 20, 2011

My idea is that I’m turning the thin gruel of the emotional, but ungelled play into 3 screenplays centering around each of Barre, Lynn and Chikembe.  I’ve had a minor breakthrough with the Barre script – no big surprise – but I’m eager to see how it opens onto the other two characters’ stories.  Chikembe and Barre don’t have much of anything to do with each other.  In fact, I only see a couple of tangential characters who happen to intersect with both of them.  I’ve also decided to commit to making Barre male and Lynn female – oh well.  I did have this idea that was easily dispensed with of keeping them androgynous.  But I began to understand that the conflict is not theatrical so much as cinematic. Epic, if it would become theater, and I’m not sure I could do a Brecht take on it.  It’s possible, but I’d have to be REALLY into that style of story telling.  Beyond Lehrstuecke, I’m kinda underwhelmed.

Anyway, I’m stoked.  I almost have a first draft of a First Act for the Barre script.  Woo hoo!  Full steam ahead.

Calling forth my tribe

January 23, 2011

Today, I put out the call:  I seek those who are in my tribe, who recognize me as one of their own.  Specifically, I seek those people who are interested in making My Littleton Play a reality. 

For years, I struggled with “my family play.”  Most playwrights have one, where they take that soup of dramatic tension called “The Upbringing” and put it under the lens.  Some of the most famous plays of the Modern period (think O’Neill, Albee, Miller, Williams, Durang, M. Norman, etc.) explore the personal terrain of one’s familial background.

I am no different, but “my family play” came into focus when a certain event took place in my hometown:  The Columbine massacre of April 20, 1999.

I realized that there was another essential character in the proceedings, and that “my family play” was not really the way to look at it.  Instead, it is My Littleton Play, and it depicts aspects of my family’s existence rather pitilessly.  Yet compassionately as well, because I’m not saying I’m better than anyone else as pity sort of makes one think.  Instead it is about how caught up we all were. 

Today, I’m quite happy to report, my family’s members are all in different places, and while I can’t say we’re completely sane, we are much healthier individuals than who we pretended to be while there.  This is a play of you-and-I caught in the masks of pretense, of trying to be something we are not that so does not suit ourselves or anyone else for that matter.

I seek to make this play happen in October of 2011, all things going well.  However, that is a lot to assume.  I have been sensing, as I suspect many other people have, that we are about to enter into quite the most difficult period of humanity’s current iteration.

Today, in meditation, Persephone seemed a little downcast.  The Queen of the Underworld said she was preparing for an influx of above-grounds.  She intimated that she did hope I chose not to be among them, though she knew how tempting it might be to join the streams of the mortal coil off-shuffling dance crew.  I did have the sense that a goodly chunk of these soon-to-be departeds would emerge from 5 digit zipcodes with one or the other 50 states as part of their addresses.

Regardless of how and when, I put out the call.  And I shall assume the role of Max Bialystock of The Producers fame, and wear my producer hat and sell my nourishing balm to all ye who want it.

Who’s gonna join me?

Scene for a New Play

July 13, 2010

I don’t have a name for this yet.  But this is fun!

CAST OF CHARACTERS

PEPPER                        A Fairy, appearing as an Asian girl of 8 or 9.  Inquisitive and insensitive.

DJAHNNEY                      A Fairy, appearing as a strapping blue fellow in a peacock dress.  Stoic, observant.  Older than he looks.

The action takes place in front of an abandoned factory on a sunny June day, toward late afternoon.

SETTING AND AT RISE:          Outside the brick and stone ruins of a factory, long-since defunct.  Two fairies, PEPPER and DJAHNNEY wander in the field outside of it.  There are all sorts of flowers and grasses about.  It’s a full sun day.

PEPPER

Why do you suppose?

DJAHNNEY

Oh, it’s a long story.

PEPPER

Well, time is not important to us, is it?

DJAHNNEY

What’s your point?  Oh, all right.  They built parts of metal ships here.

PEPPER

I heard of those.

DJAHNNEY

For a time. Before that they made parts for regular boats.  Then there were several wars, which required the metal boat parts.  Then there was nothing.

PEPPER

It’s been nothing ever since?

DJAHNNEY

Pretty much.  So it’s been to their advantage.

PEPPER

The witches.  I like the witches.

DJAHNNEY

That’s why we’re here Pepper.  They’re not really witches though.

PEPPER

But they’re so like witches, Djahnney!  Oh, is that them?

DJAHNNEY

Pepper …

PEPPER

What?  Oh, already.

DJAHNNEY

Send out your feelers!

PEPPER

I just like you to tell me.  OH, all right.  Oh.  Well, it’s not them.  Those people – what was that?

DJAHNNEY

So many people dress alike these days.  And some taste just dreadful.

PEPPER

Smoke and some metallic, tinny airy taste.

DJAHNNEY

I think they were addicted to some drug.  Something called Myth or Math, I think?

PEPPER

Math, as the name of a drug?  After Math the mage?

DJAHNNEY

No.  I don’t think that’s it.  Moth, maybe?  I don’t know.  It was an acrid taste though. 

PEPPER

If only people knew.  I heard things used to be pretty swanky here.

DJAHNNEY

Well, one person’s swank’s another’s poverty.  Faery poverty for sure.  It didn’t add much to the realm, this swank of which has been speculated.

PEPPER

The pictures hanging on the walls in there show these ugly people.  You can tell that their child-selves were stomped like grapes.

DJAHNNEY

They were called “suits,” Pep.  They didn’t suit the world as it lay, but they tried to force it to suit themselves.  And people who didn’t like the suits would go to tribunals and file suits against the suits, but the suits on the walls, in their suites, always sweated it out and swatted the suit-filers swiftly and with sweet reckless abandon.  Eventually they would be put in their place, but that was with the Great Unravelings began.

PEPPER

Those most magical times, the Great Unravelings.  The Great Revealings for the witches.  And these people.

DJAHNNEY

This place was a ruin well before.  The suits decided that there was a better place for their being suited, off in the So-far-East-it-could-be-West lands.  It just stopped one day, and the nature spirits took it over.  The Unravelings took the other suits out in that hard-home-village arrangement they called “Armstrong Terrace.”  And some wannabes tried to keep the suit warehouse going.  But it didn’t – hey, did I feel a change in the energy?

PEPPER

Yes!  Oh! Should we start?

DJAHNNEY

Not a bad plan.

(They go about making preparations for a ritual.  DJAHNNEY picks up a twig, and flicks it.  Becomes a bouquet of sunflowers.  He sets it on a ledge by the ruined wall.)

PEPPER

I’d have thought you’d go for something showy.  Snapdragons, maybe.

DJAHNNEY

It’s a day for simpler pleasures.

(PEPPER starts to pick up flat stones and turns them into saucers, concave ones into teacups.  She sets about waving her wand. Waterfalls appear out of the brickwork.  DJAHNNE pulls out a portion of the ruined wall and flames start to emerge out of it.

PEPPER

Cauldron time?

DJAHNNEY

Indeed.

(They move center, point their wands.  DJAHNNEY points his up, while PEPPER points hers down.  They stand about 3 feet apart, facing out, start to dance in a weaving step motion, and a cauldron emerges in the circle therefrom formed.)

PEPPER

The directions all ready and accounted for!

DJAHNNEY

On our side of the equation.  It’s up to the two-leggeds now.

PEPPER

Amusing creatures these two-leggeds.

DJAHNNEY

Can’t live with ‘em –

DJAHNNEY & PEPPER

Cant’ live without ‘em.

PEPPER

At least the ones who are coming here we can tolerate.

DJAHNNEY

They’re the best on offer.  We takes what we can gets.

PEPPER

The new guy seems … well –

DJAHNNEY

Yes, he’s one to watch for signs.  The madness might live dormant in that one.

PEPPER

Hey, I feel something.

DJAHNNEY

Priscilla.

PEPPER
(doubtful)

Oh.  That woman there?  She the grandmother?

DJAHNNEY

Mmm… I don’t get the feeling she’s related.  Wonder how she’s connected.

PEPPER

Grandmother. Hm.  She’s got a lot of manna, Djahnney.

DJAHNNEY

That she does.  She must be an elder from a distant land.  And I sense a lot of our kind on their way.

PEPPER

Is that?  No, that.  That can’t be him!  No, I – no!

DJAHNNEY

Oh, why?

PEPPER

The new guy!

DJAHNNEY

Gotta be.  Banshee Baboozka!

PEPPER

I sure hope that strong old lady’s got the power.

DJAHNNEY

That’s not the problem I can see.

(He starts flicking his left wrist.)

PEPPER

Hey! You beat me to it!

DJAHNNEY

The Grand Court has to know that Firebutt is escort to this … whoever he is.

PEPPER

I wanted to do it!  You get all the fun!

DJAHNNEY

There’s no rush.  Oh look.  An army of Salamanders has arrived.

PEPPER

Bet they already knew.  That’s good.  At least we’ll and they’ll be safe.

DJAHNNEY

Hm.  I bet she knows, this old crone.  Lots of power!

PEPPER

Guess we’re in for some feast tonight from the looks of it!

DJAHNNEY

I wonder . . . Maybe that new guy is the reason for it.

PETER

Firebutt likes to attach himself.  I know.

DJAHNNEY

Yes, that’s likely  Hm.  Well, this will be mighty interesting.

PEPPER

Djahnney?

DJAHNNEY

Hmm?

PEPPER

Doesn’t he look familiar?  As he gets to be more in focus.

DJAHNNEY

Yes, now that you mention – I’ve seen, I think – I bet –

(He runs into the ruin.)

PEPPER

Priscilla and Norbert, Birch-tree and Starglow.  And I see angels!  Goodness, all this finery.  I’m going to collapse from the beauty!

(DJAHNNEY returns.)

DJAHNNEY

Just as I thought!  He looks like one of those suits in the pictures!

PEPPER

Ew!

DJAHNNEY

The one in the center of it all.  The new guy’s related!

PEPPER

They’re not going to perform a human sacrifice are they?

DJAHNNEY

None of us would be here if that were so, Pepper.  You know the geas!  No, this is some sort of retrieval I think.  We’re going to have a lot to do.  Come on, it’s time to find us a lilypad and rest a bit.

PEPPER

They’ll be calling us in soon enough!

Not a play, but play related

February 2, 2010

Kali, Brigid, other deities are COMMANDING me to submit works to theaters.

Guh!  but I hate this process.  Because I am NOT going to search for needles in haystacks.  Cerridwen , had all the time in the world when she transformed herself into a chicken to search out the corn-kernel that was Gwion Bach.  Of course–she was a GODDESS.  And I am God, yes.  As are all the missing peoplez who don’t read these pages (and the odd ones who do).

But Actors Theater of Lousyville isn’t one I’m going to consider submitting to–not that the kewlkidz want my godself ass!

Neither is the O’kneel down for your penance.  Or any old LORT theater that can be of-thought.  Nope.  Not I. Nuh-uh.

A friend suggested I buy The Cornucopia of Doom The Dramatists Sourcebook.  My partner, when I referred to it by its correct through the strike-out title, suggested I probably ought not to take that advice.  If I’m going to experience it as onerous, well, that’s a “No, duh!” kind of insight.  And Kali and Brigid have said I need to follow a different path anyway, and Brigid, futher, along with Kwan Yin, suggests I need to have fun. No matter what else I do.

D.S. ref’d above? Fun? NOT!

So.  I don’t know WHAT I’m going to do here.  Divine Self will lead the way, I’m sure.

Here’s a tarot reading on the topic.Play submission Tarot Reading Using Greenwood Deck