The show’s over. Donny and Bobby are going surfin‘.
The show’s over. Donny and Bobby are going surfin‘.
Thank you to the wonderful cast — Robert Ayala, Leslie Kandel, Anthony Wolff, Carla Zackson Heller, and AJ Ruiz — and director Jerry Jensen for bringing “Can’t Live Without You” to life this past weekend. It is everything and way beyond what I hoped for.
The show has three more performances: Friday, April 5 and Saturday, April 6 at 8 p.m. and Sunday, April 7 at 2 p.m.
Mayor Pete Week — Eric Lach at The New Yorker on the current boomlet for Pete Buttigieg.
It’s already boomlet season in the 2020 Democratic Presidential race. “The Mayor Pete boomlet is real,” the CNN analyst and polling maven Harry Enten tweeted, on Thursday, referring to Pete Buttigieg, the young, can’t-we-all-be-reasonable mayor of South Bend, Indiana. Enten pegged this boomlet in part to a new Quinnipiac poll of the 2020 Democratic field, which showed Buttigieg jumping all the way up to four-per-cent support, good for a fifth-place tie with Senator Elizabeth Warren. Boomletissimo?
It’s true that Buttigieg, who technically is still in the “exploratory” stage of his campaign, has recently been everywhere, which in American Presidential politics is defined as television and the early-voting states. After an appearance on MSNBC’s “Morning Joe” last month, Buttigieg was praised for his poise. During an interview on the New York City morning radio show “The Breakfast Club,” the host Charlamagne Tha God declared, in amazement, “This guy seems like he’s telling the truth!” “The Daily Show” did a segment on how to properly pronounce his many-lettered last name. (“Buddha-jedge.” Say it fast.) The Broadway star Lin-Manuel Miranda followed the candidate’s husband on Twitter.
Part of Buttigieg’s appeal is that he offers a kind of political refuge: he’s a candidate that lets you forget about the baggage and conflicts of the race’s front-runners, if only for a little while. He sounds comfortable discussing complex issues, smiles warmly, and has no visible political enemies. Putting himself forward as an alternative choice has been part of Buttigieg’s brand for as long as he’s been on the national political stage. Two years ago, during his unsuccessful effort to become chair of the Democratic National Committee, he held himself out less as the millennial candidate—a mantle he’s fully embraced more recently—than as the compromise candidate. He was the third man in a contest that featured a lefty, Keith Ellison, and an establishment figure, Tom Perez, who both seemed like avatars of the Party factions that had done battle during the 2016 primaries. “I don’t know why we’d want to live through it a second time,” Buttigieg said at the time. Put that on a bumper sticker.
As a Presidential candidate, Buttigieg isn’t triangulating so explicitly—it would be tough to do that in field this crowded—but he’s still working to synthesize the disparate forces animating the Democratic Party and its voters in this moment. “Sometimes pragmatism points you in a comparatively radical direction,” he told my colleague Benjamin Wallace-Wells, earlier this year. For someone getting so much credit as an intellectual—news stories about him mention the fact that he’s a Rhodes Scholar just about as often as they mention that he would be the country’s first openly gay President—Buttigieg’s policy ideas are more gestural than prescriptive. He’s for eliminating the Electoral College and packing the Supreme Court, and he speaks often about how, as the millennial in the race (he’s thirty-seven), he has the right perspective to tackle issues such as climate change, health care, and the legacy of the country’s recent wars. He has a name for the approach this perspective leads him to: intergenerational justice.
In lieu of an armful of specific policy and legislative proposals, like Elizabeth Warren has, or a signature idea, like Cory Booker and his “baby bonds,” Buttigieg touts his time as a governing executive in South Bend. Like Ronald Reagan, who while running for reëlection, at age seventy-three, famously promised not to hold his Democratic opponent Walter Mondale’s “youth and inexperience” against him, Buttigieg takes questions about his age and reframes them as ones of record. “I think local leaders, where the rubber meets the road, where you’re dealing with everything, from filling potholes to economic development to public safety—that’s the kind of background that I think would serve us best at a time when Washington can’t get anything done for them,” he said on “The Breakfast Club.” It’s at least an argument—one that Buttigieg likes to back up by reminding people that South Bend is a diverse city and that unemployment has fallen under his watch.
Buttigieg is going bigger in one notable way. Like most of the rest of the 2020 field, Buttigieg resists being simply an anti–Donald Trump figure. But lately, it seems like he might be O.K. with becoming an anti–Mike Pence. “He’s been consistently horrible, and holds beliefs that are sincerely awful when it comes to L.G.B.T. equality and a lot of other issues,” Buttigieg said of Pence this week, on the Buzzfeed morning show “AM to DM.” “I’m sure he does not consider himself to be a racist. But I think the moment you come on board with a project like the Trump campaign or the Trump-Pence Administration you are at best complicit in the process that has given cover for a flourishing and resurgence of white nationalism.” This wasn’t how Buttigieg always talked about Pence. In “Shortest Way Home,” a book he published just a few weeks ago, Buttigieg wrote of getting to know Pence, despite his views on L.G.B.T. rights, as personally “gracious and decent.” Here might be evidence of the political newcomer’s evolution: he appears to have picked an enemy. What might next week hold for Mayor Pete?
From Writer’s Block To Stage — J.W. Arnold in South Florida Gay News on a certain playwright’s journey.
Miami writer and playwright Philip Middleton Williams is still trying to finish his novel, “Bobby Cramer.” It’s been more than two decades.
“Sometimes an old dream, like an old friend, can show up when you need it the most,” Williams explained.
That’s exactly what happened with “Bobby Cramer.” In 2001, while visiting the Florida keys with his parents over Christmas vacation, the title character of the novel inspired a new play.
“As I was driving, it occurred to me, what would happen if Bobby Cramer walked into the room?” he recalled.
By the time, Williams and his parents reached their motel room, he had sketched out the first scene in his head and by the end of the vacation, he would have the story finished. Now, that play is getting a new production by the Playgroup at the Willow Theatre at Sugar Sand Park in Boca Raton.
The play centers around Donny Hollenbeck (Anthony Wolff), who thinks he has created the perfect life for himself. He has a lucrative career writing romance novels (under a female nom de plume), a nice girlfriend (Leslie Zivin Kandel), a go-getter realtor with ambitions beyond the next closing, and a beautiful home in Florida. But, when Bobby Cramer (Robert Ayala), a character from a novel he abandoned years ago, pays Donny a visit, he starts to realize his dreams took a wrong turn somewhere.
“The story is really about Donny’s struggle with his alter ego. His girlfriend wants him to settle down and start a family and his agent wants him to keep cranking out books,” said Williams, whose last play, “All Together Now,” was produced last season by the Playgroup. “I do that a lot—borrow characters from my other projects.”
While Donny is probably not gay, there are some twists.
“He’s attracted to this good-looking guy, Bobby, the yin to his yang. Bobby could be gay, but he’s questioning. Donny had experiences and it’s certainly a convenience to have a girlfriend,” said.
After pausing, the writer continued, “I’m still writing the novel. I may never finish it and it may certainly never be published, but that doesn’t matter, the novel is my Bobby Cramer. I may be writing a play or other stories, but I’m always coming back to that novel.”
Even though Williams created his characters before the more recent era of pansexuality or omnisexuality, the play also seems to predict many of the attitudes that are predominant with young people today.
“In many ways, it’s tough for people to admit they’re gay or straight and this fluidity that people are experiencing is because they’re being labeled, wrapped up in a package,” he said. “We have gay and straight actors and they all bring a sensibility to the study. I have not been to any rehearsals and I stay away because the playwright just sitting there gets in the way. I let (director) Jerry Jensen do his magic. My part is done and now it’s Jerry’s turn.”
Doonesbury — Dating himself.
Final dress rehearsal tonight.
As any good scene designer will tell you, it’s the details that make the difference. Set designer Teresa Biber LoMonte has added touches to the set for “Can’t Live Without You” that, to me, give it a polish and sense of the story that take the scenery beyond just a place for actors to perform in.
One is especially meaningful, at least to me. In the play we learn that Donny has a twin brother named Danny. Look at the photo over the printer and the pink flamingo. That’s my father and his twin brother.
The final dress rehearsal with an invited audience is tomorrow night; opening at 2 p.m. on Saturday, March 30.
Last night the cast and crew went through the first technical (light and sound cues, costumes) rehearsal of “Can’t Live Without You.” It was their second night on the set designed by Teresa Biber LoMonte.
As the playwright, I make it a rule not to attend rehearsal because the play is in the hands of the director and the actors; my work, for the most part, is done. So last night was the first time I saw the play since we had our read-through in January.
I also know that the role of the playwright is to not make comments to the actors; any notes are given to the director. But when the lights came up at the end, I had a hard time talking to Jerry, the director, because I was sobbing with joy and wonder at the work he and the cast had created. About all I could muster was “Thank you.”
The show opens Saturday afternoon.
More shameless self-promotion: An interview with director Jerry Jensen, playwright Philip Middleton Williams, and producer Teresa Biber LoMonte about “Can’t Live Without You,” produced by The Playgroup, LLC at the Willow Theatre in Boca Raton, Florida, from March 30 to April 7, 2019. Video by Carter Bogush.
Video by Teresa Biber LoMonte. Tickets on sale at the Willow Theatre.
And now for some long-awaited news: My play “A Moment of Clarity” has been selected for the 27th annual Valdez Last Frontier Theatre Conference in Valdez, Alaska, June 8 through 15.
Bet your musher I’m going.
And now for something completely different…
March is going to be a very busy month for the characters in my plays.
Opening tonight and running weekends through March 10 in Lauderdale-by-the-Sea, Seaside Players present eight short plays, including…
Opening March 16 for one night only at the South Miami-Dade Cultural Arts Center in Miami, “Ask Me Anything” will be produced by True Mirage Theater.
Opening March 30 and running for six performances at the Willow Theatre in Boca Raton:
Stay tuned; there’s news coming soon about the further adventures and journeys of this playwright.
Here Beginneth the Lesson — John Cassidy in The New Yorker on how Trump got schooled.
Perhaps the most disturbing lesson of the stupid and pointless five-week partial government shutdown, which ended on Friday, is that Donald Trump and his cronies—step forward, Wilbur Ross—are just who they appear to be: rich, out-of-touch old white guys who don’t have any conception of what it is like to be a regular government worker living from paycheck to paycheck. The other takeaway, a more encouraging one, is that Trump is also just a regular politician, subject to the normal laws of political gravity.
Speaking in the White House Rose Garden on Friday afternoon, the President said he would sign a temporary spending bill, which will enable shuttered federal agencies to reopen and allow about eight hundred thousand federal employees to start receiving back pay for the wages they have missed out on. He also expressed confidence that Republicans and Democrats on Capitol Hill would use the three weeks to reach a “fair deal” on additional spending for border security. And he claimed that the Democrats had “finally and fully acknowledged that having a barrier, a fence, a wall, or whatever you call it, will be an important part of the solution.”
The Democrats haven’t acknowledged anything of the sort. Earlier in the week, House Democrats indicated that, if the President agreed to reopen the government, they would support a $5.7-billion spending package—matching Trump’s figure—for over-all border security. They also made clear that this package wouldn’t include any money for a wall. With his poll ratings falling and some key Republican senators threatening to abandon the White House, Trump did what any other President who had dug himself into such a hole would do: he capitulated and tried to put a positive spin on things. But the lengthy, campaign-style speech that he delivered didn’t fool anybody on either side of the political divide. “This is the first time I’ve ever seen a President go to the Rose Garden and take a defeat lap,” the Democratic congressman Dan Kildee, the chief deputy whip, said, on CNN. Jonathan Swan, Axios’s White House correspondent, tweeted, “A former White House official texts me, unsolicited: ‘Trump looks pathetic…he just ceded his presidency to Nancy Pelosi.’”
That was going too far. Trump is still the President, and, at the end of his speech, he repeated his threat to use his Presidential powers to declare a national emergency if he doesn’t get what he wants out of the upcoming negotiations. But, whatever happens next, he’s just learned a pair of harsh lessons: how futile government shutdowns are, and how constricted Presidential power is when the opposition party controls at least one house of Congress. In the modern era, divided government has become the norm in Washington. At some point in their Presidencies, Trump’s four most recent predecessors—George H. W. Bush, Bill Clinton, George W. Bush, and Barack Obama—had to learn how to deal with it. Now it is Trump’s turn. In the words of Robert Reich, a former Labor Secretary in the Clinton Administration, “Nancy Pelosi just showed that Congress remains a coequal branch of government, despite Trump’s refusal to accept the limitations of his own power.”
The President can’t say he wasn’t warned about the risks he was taking. Back before Christmas, when he started the shutdown and indicated that he was prepared for it to be an extended one, he was apparently working on the theory that the longer it lasted, the more leverage he would have in his campaign to get the funding for his beloved border wall. Practically everybody else in Washington, including Mitch McConnell, the Senate Majority Leader, and Paul Ryan, the departing House Speaker, believed the political dynamic would work in the opposite direction—the longer the shutdown went on, the more angry the public would get, and the more pressure there would be for the President and his party to cave. Of course, he could try to blame Democratic obstructionism, but that was always going to be difficult, especially since he had preëmptively seized ownership of the shutdown during an Oval Office meeting with Nancy Pelosi and Chuck Schumer.
According to reports, McConnell and Ryan both advised Trump not to take the plunge. He ignored the advice, as he is apt to do. And, of course, the wizened old pols turned out to be right. As a two-week shutdown turned into a three-week shutdown, then a four-week shutdown, then a five-week shutdown, stories emerged of federal employees attending food banks and being unable to afford their chemotherapy sessions. Public opinion turned sharply against the President. By Friday morning, even Christopher Wray, the man Trump appointed to lead the F.B.I. after he fired James Comey, had had enough. “Making some people stay home when they don’t want to, and making others show up without pay, it’s mind-boggling, it’s shortsighted, and it’s unfair,” Wray said, in a video message to the Bureau’s thirty-five thousand employees, many of whom were working without pay. “It takes a lot to get me angry, but I’m about as angry as I’ve been in a long, long time.”
By that stage, Trump had already accepted the inevitable and decided to sue for peace. This was all but confirmed on Wednesday, when Pelosi refused to allow the President to deliver this year’s State of the Union address from the House chamber; rather than going into a rage, Trump responded more or less politely. At that point, McConnell, who had remained above the fray for weeks, reëngaged. The same night, Lindsey Graham, a Trump ally, floated the idea of using a temporary spending resolution to reopen the government and allow time for further negotiations on some sort of border-security package, even with no guarantees of any money for the wall.
Even though the President had stated repeatedly that he wouldn’t open the government until he received adequate funding for his wall, this was the deal that he ended up accepting. Once he made the announcement, it didn’t take long for the darts to start flying in from right field, including this one, from the columnist Ann Coulter, who was one of the people who encouraged him to start the shutdown in the first place: “Good news for George Herbert Walker Bush: As of today, he is no longer the biggest wimp ever to serve as President of the United States.”
Get Your Programs — Laura Collins Hughes in The New York Times on what it means to hold a theatre program in your hands.
You can feel the bafflement percolating in the audience when ushers have nothing to give out before a performance in New York. We theatergoers have gotten used to the fact that some shows don’t want us getting our paws on a playbill until afterward — they don’t want us distracted, maybe, or a surprise spoiled — but the new twist is no program at all.
At least not one we can hold in our hands.
Often, they want us to go online to read a digital version — a money-saving move, surely, but one that shortchanges artists and audiences alike.
That lovely Palestinian actor, Khalifa Natour, who starred in “Grey Rock” at La MaMa in early January? I’d have loved to glance down at a piece of paper that evening and find out that he’d been in the movie “The Band’s Visit,” which I adored. But that fact was in the program, and the program was online.
I don’t mean to pick on La MaMa. Going digital has become such a trend Off and Off Off Broadway that I’m no longer surprised to be directed to a theater’s website if I want to know whose work I’m seeing. It’s not just a wrongheaded tack, though. It’s also counterintuitive, because it’s contrary to the spirit of live performance.
Theater is one of our most intimate art forms, one that asks us to step away from the outside world and — this sounds like yoga talk, but it’s valid anyway — be present for a while, our attention on what’s unfolding in the room.
But any information you access on a phone or tablet exists in a space that lets the whole restless world in, coming at you in a calm-shattering barrage of text messages, emails and news alerts. A digital program doesn’t stand a chance of holding someone’s attention against all that. It’s not a great place to send people to think about the art and artists they’ve just seen.
And an e-playbill, unlike a printed one, won’t ease anyone into the experience of seeing a show, acclimating them as surely as an overture would. If that sounds like an exaggeration, think about how focused you feel reading a physical book or newspaper, and how relentlessly interrupted when your eyes are on a digital device.
I don’t say that as a Luddite; I’m writing this on a digital device. It’s not that I’m unconcerned with saving trees, either, or unaware of the punishing economics of nonprofit theater.
But theaters have been alert for a long time to their need to compete for an audience that has a jillion other ways to spend its time. That’s part of the reason they devote such resources to engagement, with all the pre- and post-show programming, and all the fun extras that they put online.
Programs, though, aren’t extras; never mind what the British have decided, with their practice of charging for them. They’re essentials that help spectators navigate the production and process it afterward. (That’s why those one-sheet playbills can be so frustrating, with their frequent lack of bios and other crucial information.)
My youngest brother, who is in his 20s, isn’t a habitual theatergoer, at least not yet. But when he goes with me to a show, he sits down and opens his program right up, reading it to see which actors he knows and what the director might have to say. He peruses the ads for other shows, too, in case any of them appeal.
So it’s not just the oldsters who like a good paper program, though they can be downright poignant in their dismay when they don’t get one. Recently at Classic Stage Company, a good chunk of the row behind me went all aflutter when they thought for a moment that someone sitting nearby had printed out the online program.
I’m sure that wasn’t the effect Classic Stage intended. But when a theater bypasses paper playbills, it is outsourcing a job to its audience members — saying that if they want to know more, that’s on them. Why do that to people who’ve already proved their curiosity by their presence? If they don’t want to take the thing home, they can always give it back.
I’m not a program hoarder, either, actually; I hang onto all of them for a while, then keep the ones that mean the most to me. I find it comforting — and useful — that Playbill, the company, has an archive of its programs online, and that digitization is preserving other programs from long ago. But that’s for history. In the moment, I want that tangible souvenir.
When I admire something I’ve seen onstage, I often spend my subway ride home scouring the artists’ bios, my paper program in full view of fellow riders — advertising that doubles, sometimes, as a conversation starter. But honestly (and I’m talking here about shows I’m not writing about), if the onus is on me to track that information down, there’s an excellent chance I won’t do it. When I turn on my phone, I’ll probably use it to read the news.
Program-wise it seems lately that many theaters — whether they use e-playbills or not — are moving boldly in a direction to which the audience is meant to adjust. So it was heartening at the Public Theater’s Under the Radar festival to see an about-face midstream.
Early in the run, ushers politely told theatergoers that if they wanted a festival program, they could find one in the first-floor lobby — not the most helpful response if you’re two stories up at the time, and stymieing given the scarcity of booklets down there. (My personal quest to get one took two days.) Later in the festival, though, ushers would hand one right to you. Progress!
Still, after that, I caught myself feeling relieved at the Prototype Festival to be given a program with my ticket. And I was completely charmed by the buoyant young usher at “Colin Quinn: Red State Blue State” who greeted each person with: “Would you like some programs?” Plural.
The most sensible approach I’ve seen recently on the playbill front was at Rattlestick Playwrights Theater, where when I arrived for “Lewiston/Clarkston,” the box office offered a choice: Printed program, e-program or both?
I went with printed, of course, and what I got was nothing fancy — just a sheaf of pages stapled together. But, riffling through them, I found everything I needed.
Doonesbury — Vocal disconnect.
On Tuesday night the cast of ‘Can’t Live Without You’ met for the first time to get to know each other, their characters, and read the script out loud so that the director and I could see how it all comes together. (Spoiler alert: really well.) So here we are:
The cast for Can’t Live Without You – A Play by Philip Middleton Williams: left to right, AJ Ruiz, Carla Zackson Heller, some dude, Robert Ayala, Anthony Wolff, and Leslie Zivin Kandel, all under the stellar direction of Jerry Jensen.
I’ve set up a Facebook page — click the link above — and read all about it as we go from page to stage. You’ll find bios of the cast and other tidbits. If you want to buy tickets, go here.
And while we’re at it, here’s the poster for the show.
On with the show.
Time for my annual recap and predictions for this year and next. Let’s look back at how I did a year ago.
- There will be indictments at a very high level in the administration as the Mueller investigation rumbles on. Plea bargains and deals will be made and revelations will come forth, and by summer there will be genuine questions about whether or not the administration will survive. But there won’t be a move to impeach Trump as long as there are Republican majorities in the Congress, and invoking the 25th Amendment is a non-starter.
I’ll give myself a B on that since it was pretty much that way a year ago and the gears of justice grind slowly but irresistibly. No high-level members of the administration were indicted, but shame and scandal did bring down an impressive number of folks who had hard passes to the West Wing.
- The Democrats will make great gains in the mid-term elections in November. This is a safe bet because the party out of power usually does in the first mid-term of new president. The Democrats will take back the Senate and narrow the gap in the House to the point that Speaker Paul Ryan with either quit or be so powerless that he’s just hanging around to collect pension points. (No, he will not lose his re-election bid.)
I’ll go with a C on that since I hit the nail on the head in the first sentence; I should have just left it there. But no; I had it backwards: the House flipped but the GOP still has the Senate, and who knew that Paul Ryan would decide to quit?
- There will be a vacancy on the Supreme Court, but it won’t happen until after the mid-terms and Trump’s appointment will flail as the Democrats in the Senate block the confirmation on the grounds that the next president gets to choose the replacement.
I’ll take an A- on that since I got the timing wrong, but I think Brett Kavanaugh did a great job of flailing (“I like beer!”) before the Senate Judiciary Committee. The predator still got on the court, though, and we all hold RBG in the Light for at least another two years.
- There will be irrefutable proof that the Russians not only meddled in the 2016 U.S. election, but they’ve had a hand in elections in Europe as well and will be a factor in the U.S. mid-terms. Vladimir Putin will be re-elected, of course.
- Raul Castro will figure out a way to still run Cuba even if he steps down as president, and there will be no lessening of the authoritarian rule.
Another A+, but what did anyone expect? Trump’s half-assed attempts to restrain trade with Cuba, along with Marco Rubio doing his yapping perrito act, only make it more ironic when it’s the administration’s policy to cozy up to dictators like Putin and the Saudis. If Trump owned a hotel in Havana he’d be down there in a second sucking up to the regime with video to prove it.
- The U.S. economy will continue to grow, but there will be dark clouds on the horizon as the deficit grows thanks to the giveaways in the GOP tax bill. If the GOP engineers cuts to entitlement programs and the number of uninsured for healthcare increases, the strain on the economy will be too much.
I’ll take a B on this since I didn’t factor in tariffs and the trade war(s) he’s launched that led to wild uncertainty in the markets, not to mention Trump’s bashing of the Fed chair that he appointed and told him to do what he’s doing.
- This “America First” foreign policy will backfire. All it does is tell our allies “You’re on your own.” If we ever need them, they’re more likely to turn their backs on us.
I get an A on this because it has and they are.
- The white supremacist movement will not abate. Count on seeing more violence against minorities and more mass shootings.
Sadly, a very predictable A on that.
- A viable Democratic candidate will emerge as a major contender for the 2020 election, and it will most likely be a woman. Sen. Elizabeth Warren is considered to be the default, but I wouldn’t rule out Sen. Kamala Harris of California or Sen. Kristen Gillibrand of New York just yet. (Sen. Gillibrand would drive Trump even further around the bend. She was appointed to the Senate to fill Hillary Clinton’s seat when she became Secretary of State in 2009.)
I get a B on this because it was rather easy to spot and I’m already getting begging e-mails from Ms. Harris.
- On a personal level, this will be a busy year for my work in theatre with a full production of “All Together Now” opening in March and several other works out there for consideration. I will also be entering my last full year of employment in my present job (retirement happens in August 2019) but I’ll keep working.
This was a great year for my playwriting with a lot of new friends and opportunities out there and more to come in 2019 (see below).
- People and fads we never heard about will have their fifteen minutes.
Yep. I’ve already blocked them out.
Okay, on to the predictions.
Okay, your turn. Meanwhile, I wish continued good health and a long life to all of you and hope you make it through 2019 none the worse for wear.
Sometime scrolling through a news feed can be frustrating. Trying to find something interesting to read that doesn’t have me reaching for a second dose of BP meds is difficult enough with idiots and racists running the government, but the sheer stupidity and hypocrisy of a lot of what passes for news as we ramp up to the midterm elections makes it even harder to find something to laugh at, which is why I chose that little piece of Chico and Harpo Marx tickling the ivories for ALNM last night.
This morning it wasn’t a whole lot better: Trump would rather do Nuremberg 2.0 in Pennsylvania than stay in D.C. to monitor hurricane relief, even though we know that’s just for optics because there’s not a lot he could do even if he was competent; that’s what FEMA is for. Hillary Clinton said it’s time for the Democrats to take the gloves off and the right-wing Orcosphere goes nuts, but that’s their setting anyway anytime she says please pass the butter. A stringer reporter disappears in Turkey at the hands of the Saudis and suddenly the White House doesn’t even know how to get in touch with the perps. The Supreme Court is already showing their complete disdain for Native American voters in North Dakota; they can’t be real voters if they don’t have a street address like real Americans do in all the cul-de-sacs in Maryland where teens really know how to par-tay (right, Brett?).
So now what? The mid-terms are in a few weeks, and so now we have to switch to the cable pundits wondering just how the Democrats will blow their lead just like they did in 2016. It’s enough to make me turn off the TV and start Googling cheap retirement in the Caribbean. But you have to balance it out. There’s good stuff to be had, even if it’s small or seems trivial. The Miami Metro Rail ran on time yesterday. (Karma alert: the trains were messed up this morning.) My friends up in the panhandle checked in safe after the hurricane passed. My friend Christopher got a great write-up in the New York Times about his play opening next month on Broadway. Someone shot a Youtube of the Miami International Auto Show and included nice things to say about Memory Lane and my car.
So while the news may be depressing, aggravating, annoying, and laugh-so-that-we-may-not-weep, sometimes we just have to remember that there are small blessings, too, and it does put it all in perspective. For a little while, at least.
As Fats Domino noted last night, I’m going to Kansas City this weekend for the 2nd annual Midwest Dramatists Conference, held in the lovely suburb of Olathe, Kansas. It will be three days of readings, discussions, and just plain camaraderie that happens when writers get together. (Oh, yes, there will be plenty of what Harry Truman referred to as “striking a blow for liberty,” but I’ll be by-sitter for that.)
So things are going to be quiet here, at least as far as blogging the news goes. I’m sure a lot of attention will be paid to the theatre going on in the Senate today, but I prefer the real thing, at least this weekend.
I’ll be back Sunday and pick up after you.
“Who am I anyway? Am I my resumé? That is a picture of a person I don’t know…”
In honor of the people who turned out to audition today for “Can’t Live Without You” today.
The Playgroup LLC and the Willow Theatre of Boca Raton present:
Donny Hollenbeck thinks he has created the perfect life for himself. He has a lucrative writing career, a nice girlfriend, and a great-looking home in Florida. But when Bobby Cramer, a character from a novel he abandoned years ago, pays him a visit, he starts to realize the place where his dreams took a wrong turn.
Opening Friday, March 30 through Sunday, April 7, 2019. Subscription sales start today; individual tickets go on sale on September 1. For more information, click here.
Fifth of July is not just a date, it’s a play by Lanford Wilson. It opened off-Broadway in 1978, then, after some revision, on Broadway in 1980. It’s also the play that was the starting point of my doctoral studies and the subject of my doctoral thesis in 1988.
In 1985 I directed a production of the play at the Nomad Theatre in Boulder with a great cast.
In the course of my studies I became friends with Mr. Wilson, and the director of the productions, Marshall W. Mason. So ever since then, I have marked the 5th of July as a special day for me and my love of theatre.
“Matt didn’t believe in death and I don’t either…. There’s no such thing. It goes on and then it stops. You can’t worry about the stopping, you have to worry about the going on.” – Sally Talley, Fifth of July.