Monthly Archives: June 2009

DRAMA SERIAL: ‘END ZONE’ BY BOB SHUMAN (SCENE 2) ·

What follows is the second scene of END ZONE, a play by Bob Shuman; its serialization on Stage Voices will continue to run on Tuesdays for the next three weeks (Scene 1 was posted June 23 and can also be read in the blog’s archives under: Full-length Plays: Drama Serial).

 

The play was first developed at Hunter College and then given readings at The Lark Play Development Center and Second Stage Theatre. It is excerpted in two anthologies from Applause Theatre and Cinema Books.

 

In the following scene, Lucian’s oldest son is getting ready to go to the headmaster’s dinner. )

 

END ZONE

 

A Play by Bob Shuman

 

                                                           

SCENE:

A motel. It’s about a mile down the road from a prep school in the Northeast.

 

TIME

A while back, in November. Before dinner.

 

CHARACTERS:

 

LUCIAN “LUCE” TRAINER: A legendary prep-school football coach and former dean of the Masters School.  Late 70s.

 

ARTHUR TRAINER: LUCIAN’s  youngest son. A freelance composer and percussionist who emphasizes environmental sounds in his work.  Late 30s.

 

NORM TRAINER: LUCIAN’s oldest son. A sporting goods salesman in his late 40s. He has a slight Southern accent.

 

 

 

Scene 2

 

6: 30 PM. LUCIAN'S motel room.  NORM, who has just taken a shower and is in his underwear, is on the floor tickling LUCIAN.   In the next room, ARTHUR is reading from the school bulletin wearing NORM's clothes.

 

(LUCIAN and NORM are laughing.)

 

NORM:  . . . I think that’s what it is . . . 

 

LUCIAN:  No. . . . No.

 

NORM:   . . . I think you’re really ticklish!

 

LUCIAN:  Stop it!

 

NORM:  I don’t want you faking.

 

LUCIAN:  I’m not ticklish!

 

(LUCIAN is laughing.) 

                                                           

ARTHUR:  (From the other room.) . . . Pep rally tonight.

 

LUCIAN:  (Laughing.) You hear me?!

 

ARTHUR:  Boys, boys.

 

LUCIAN:  That tickles!

 

ARTHUR:  I don’t think that’s what we had in mind.

 

(LUCIAN is roaring with laughter.)

 

LUCIAN:  LET ME GO . . . WILL YA!?

 

(ARTHUR gets up and enters into LUCIAN's motel room snapping a towel.)

 

ARTHUR:  All right, all right . . .

 

LUCIAN:  . . . STOP IT!

                                                             

NORM:  Tickle, tickle.

 

ARTHUR:  Break it up, break it up.

 

NORM:  Let me get your belly

 

LUCIAN:  THAT'S ENOUGH NOW!!

                                               

NORM:  You want me to stop?!!

 

(The next two lines overlap.)

 

LUCIAN:                                                                   

Yeeessss!

 

ARTHUR:

You heard what I said.

 

(Pause.)

 

NORM: No.

 

ARTHUR:  If I’m going to take care of him tonight . . .

 

LUCIAN:  I CAN’T BREATHE!

 

NORM:  Say the goddamn, fucking . . . !

 

(The next three lines overlap.)

 

NORM:                                               :

You want me to let you up?                

You have to say the speech.

 

LUCIAN:

I’m not going to!

 

ARTHUR: YOU BETTER DO

WHAT I SAY!                                    

 

LUCIAN:  Never!

 

(The next two lines overlap.)

 

NORM:                                                                                  

I'm allowed to tickle you . . .   

 

ARTHUR:

WHY WON’T YOU JUST SAY IT?

 

(They’re ALL laughing like crazy.)

                                                           

LUCIAN:  Look out . . . !

 

(The next three lines overlap.)

                                                             

NORM:                                              

I didn't do anything.                           

 

LUCIAN:

All right, all right.      

 

ARTHUR:

There isn't anything the 

matter with that.                                                        

 

LUCIAN:   I’LL SAY THE SPEECH!

 

NORM:  WHAT?!

 

LUCIAN:  I SAID I’D SAY IT.

 

NORM:  What did you say?

 

LUCIAN:  JUST LET ME GO, WILL YA?!

                       

(The next three lines overlap.)

 

NORM:                                              

Promise.  You have to promise.         

 

LUCIAN:

I’m serious.     

 

ARTHUR:

You’re really going to say the speech?

 

LUCIAN:  You have to let me get up.

 

(LUCIAN gets up, NORM and ARTHUR are snapping their towels at each other. LUCIAN escapes and bolts.)

 

ARTHUR:  GET HIM!

 

LUCIAN:  I’m not doing anything.

 

(The next two lines overlap.)

 

ARTHUR:

WHAT DO YOU THINK YOU’RE             

DOING, GET BACK HERE!

 

NORM:

FREEZE!

 

LUCIAN:

 You have to give me an introduction, don’t you?!

 

(The next two lines overlap.)                                                      

 

NORM:  HEYYYY . . .

 

ARTHUR:  What are you talking about?

 

NORM:  I HAVE TO TELL CLAYT IN 45 MINUTES!  

 

LUCIAN:  I need an introduction . . .

 

ARTHUR:  Don’t you try anything.

 

NORM:  Clayt wants to know how it’s coming along.

 

LUCIAN:  Course I need an introduction.

 

NORM:  "8:00 pm Lucian Trainer Pep rally!"

 

LUCIAN: (Getting away.) How else am I going to do the speech?

 

NORM:  Tomorrow morning.  "7:00 am.  Prayer breakfast," Reverend Jenks and Coach!

 

LUCIAN:  I need a big build up . . .

                       

NORM:  Farts, will you give him the introduction?!

 

ARTHUR:  TONIGHT!

 

NORM:  IT’S  TOMORROW AT THE DEDICATION OF THE FIELD,  NOT TONIGHT.                                          

 

ARTHUR:  Right, right.

 

LUCIAN:  I'm not going to do a speech without an introduction.

 

NORM: Tomorrow afternoon, 2:00.

 

ARTHUR:  HERE HE IS!

 

NORM:  "Home game against Blair with half time dedication . . .  DOESN’T ANYBODY KNOW ANYTHING?!

 

ARTHUR:  Man of the hour, man of the moment.              

 

NORM:   . . . to Lucian Trainer and recipient speech!"

 

ARTHUR:   Man for all seasons!

 

LUCIAN:  (About ARTHUR's introduction.) Bigger.

 

NORM:  (To LUCIAN.) You better watch your step.

                                                           

LUCIAN:  I thought I was the best coach this school ever had.

 

 ARTHUR:  (Trying out the introduction.) . . . and now!!

 

NORM:  (Changing direction, analyzing.) . . . He's right. Needs a little more. 

 

ARTHUR(Trying to give the introduction.) HERE HE IS!!

 

NORM:  Needs a bigger introduction.

                                   

ALL:                           

Masters School football great.                        

 

LUCIAN:  That’s better.

 

(The next three speeches overlap.)

 

NORM:

Legendary football coach, Lucian Trainer.

 

ARTHUR:

LUCIAN!  THE ARM!  TRAINER!

DRUM ROLL, MAESTRO!!

(ARTHUR makes a drum roll           

sound on the table  with his hands.)

 

LUCIAN:  LET ME HEAR YA!

 

NORM:  I need a drink!                                 

                                                           

(The next three speeches overlap.)

 

NORM:                                                          

The man.

The event.                                                      

The man with the message.   

 

ARTHUR: 

Ladies and Gentlemen!

What you see before youmay

disturb you . . .                        

 

LUCIAN: I’m waving, I’m waving at the crowd.       

 

(NORM goes to make a drink.)

 

(The next three speeches overlap.)

 

NORM:                                              

(Sincere as                                           

he begins to                                        

mix drinks.)                                        

Two State Championships.                                                                

Undefeated 1950 season.

 

ARTHUR:

Standing up.

Can’t  conain . . .

Going wild!

 

LUCIAN:

Need a big Introduction.

Of course, I’m right.

 

ARTHUR:  Won’t you please join me in welcoming Lucian Trainer back to the Masters School . . . !

 

(ARTHUR and NORM point at LUCIAN to begin the speech.)

 

LUCIAN:  . . . Aaaa. (Having forgotten the speech.)

 

ARTHUR:   . . . IN ALMOST 20 YEARS!

 

NORM:  Say it!

           

(Stop. Pause.)

 

ARTHUR:  . . . You want more!?

 

NORM:  Razza-dazz.  Razza, dazza, dazza dazz.

 

LUCIAN: . . . Can't . . .

 

ARTHUR:  TAKE IT AWAY!

 

NORM:  OK, OK.

 

ARTHUR:  YOU’RE ON!

 

LUCIAN:  . . . remember  . . .

 

NORM:  (Helping.) “I’m . . .  so  . . . happy . . . to . . .  be . . .”

 

LUCIAN:  . . . Must a  . . .

 

ARTHUR:   HERE HE IS, PLEASE JOIN ME IN WELCOMING LUCIAN TRAINER BACK TO THE . . . !

 

LUCIAN:  Don't know how it . . . .

 

ARTHUR:  MASTERS SCHOOL . . .

 

NORM:  “Invited back today . . . “

 

LUCIAN:  Lost it . . .

 

(Silence.)          

           

NORM:  What do you mean? 

                                               

LUCIAN:  I don't . . . 

 

NORM:  You were practicing in the breezeway

 

LUCIAN:  Can’t . . .  

                                   

NORM:  I heard you in the middle of the night.       

 

LUCIAN:  Just had it.

 

NORM:  You couldn't have lost it.

 

(Silence.)

 

ARTHUR:  You can't remember it?

 

NORM:  Gotta get tough here.

 

(NORM tears through the luggage.)       

 

ARTHUR:  You have to remember your speech.

 

NORM:  Gotta get serious.

 

ARTHUR:  It couldn't have just disappeared into thin air.

 

NORM:  That speech must be around here somewhere. 

 

ARTHUR(Suddenly, getting an idea:) The car.

 

NORM:  Just say the fuckin speech! 

 

ARTHUR: I’ll try to find it in the car.

 

NORM:  I thought you had it memorized!

 

ARTHUR: I’m coming back . . .

                                               

NORM:  (Pulling apart the suitcases.) Find it and read it! 

 

ARTHUR:  Clayt wants to know what you’re gonna say!

                                                             

NORM:  He’s gonna be asking me, WHAT AM I SUPPOSED TO TELL HIM?!

 

LUCIAN:  (Pondering, about the speech.) Where did I put it?

 

NORM:  I gotta get to dinner, look what time it is?

 

ARTHUR:  I’ll be right back.

 

NORM:  (Nice.) Oh, I’m sorry, Farts.

 

ARTHUR:  See ya in a few minutes.

 

NORM:  (Polite.) Would you do me a favor before you go?

 

ARTHUR:  (Snapping out of it.)  Oh, a sure, Norm.  What's that?

 

NORM:  (Very polite.) I wanted you to take the keys to the car, so you can unlock the door!

 

ARTHUR:  Oh, a, right.

 

NORM:  Take the wheelchair, too, while you’re at it. . . . 

           

ARTHUR:  Right, right . . .

 

NORM:  So we’ll know where it is tomorrow when we can’t fucking find where the fuck it is!

 

(ARTHUR gets the wheelchair, exits. Pause. NORM gets dressed.)

 

NORM:  I gotta get dressed, I gotta get moving here. 

 

LUCIAN:  (About the missing speech.) I'm sorry about this, I . . ..

 

NORM:  I’m supposed to be there.

 

ARTHUR:  Let me get the wheelchair.

 

NORM:  Clayt wants me there at quarter to seven . . .

 

LUCIAN:  It'll come to me.

 

NORM:  He doesn't have the fucking speech.

 

LUCIAN:  (Trying to stop NORM'S bad language.) Hey, hey, hey.

                                   

NORM:  I thought you had it! 

 

LUCIAN:  That’s enough now.

 

NORM:  I needed to shave.

 

LUCIAN:  . . . Don't have to use that kind of language!

 

NORM:  Name your first team captain! 1942!

 

(Pause.)

 

LUCIAN:  First team captain. . .

 

(Pause.)

 

NORM:  Tiny Thompson.

 

LUCIAN:  Tiny Thompson.

 

NORM:  You must really be falling apart, Trainer . . .

 

LUCIAN: . . .  weighed 287 pounds.

 

NORM:  . . . can't remember your first team captain.

 

(NORM mixes another drink. Pause.)

 

LUCIAN:  I told you I didn't want to come back here!!

 

NORM:  GET FARTS DOWN TO GEORGIA, YOU'LL STILL HAVE THE GOOD WEATHER FOR YOU HEALTH– HE CAN TAKE CARE OF YOU, FOR CHRIST SAKES! 

 

(Silence.)

 

LUCIAN:  You don't start drinking.

 

NORM:  Don't tell me what I have to do.

 

LUCIAN:  I don't want you drinking, now, you heard me.

 

NORM:  What you have to do is . . .   

 

LUCIAN:  Makes me mad.

 

NORM:  Get him down there! 

 

LUCIAN:  You don't have to–

 

NORM:  Yes, I do!  Yes, I do! I’ll drink if I want!  I don’t care if you don’t!  What are you doing tellin me  . . . ?! 

 

LUCIAN:  (About HIS speech.) I know I had it with me . . . 

 

(NORM takes a huge swig of bourbon from the bottle.)

 

NORM:  . . . My wife’s in AA . . .

 

LUCIAN:  (Trying to remember his speech.) "I want to thank everyone . . . " 

                                                           

NORM:  . . . Incontinent father who thinks his wife talks to him from the dead. . .

 

LUCIAN:  ". . . So happy you could all come out here today."                                                           

           

NORM:  . . .  a brother who comes out from underneath a rock!

 

LUCIAN:  (Still trying to remember speech.)  No, no.  That's not it.

 

NORM:  (Unimpressed.) I get the chance to introduce you at half-time?!

 

LUCIAN:  (Trying to make up speech.) "I want to thank everyone . . .

 

NORM:  (For his coat pocket.) I need a handkerchief.

 

(LUCIAN continues looking for his speech as he picks up the scattered clothes.)

 

LUCIAN:  . . . for coming out here today. . ."

 

NORM:  Starts Thomasia all over . . .

 

LUCIAN:   . . . No, no, no.  I have to mention your mother first.

 

NORM:   START HER ALL OVER AGAIN!

                                   

(Pause.)

 

LUCIAN:   Go along with you now.

 

NORM:  SHE TAKES ALL YOUR MEDICATION!

 

LUCIAN:  You just keep going!

 

NORM:  ON DRUGS!

 

LUCIAN:  I WATCH HER.

 

NORM:  Not well enough, apparently—

 

LUCIAN:  I LOCK MY PRESCRIPTIONS UP, I PUT THEM AWAY!

 

(Silence.)

 

NORM:  Come on, you're coming with me to the dinner.

 

 (Pause.)

 

NORM:  Didn't you hear what I just said?

 

LUCIAN:  No, sir . . .  

 

NORM:  Finish getting dressed.

 

LUCIAN:  . . . not me.

 

NORM: I'm tired of talking about it.                                    

 

LUCIAN:  Go on if you want.

 

NORM:  Put your clothes on. Of course they fucked you over, what do you want them to do?      

 

LUCIAN:  (About Clayton.) I told you I wasn't going to see Clayton!

 

NORM:  I’m tired of talking about it.

  

LUCIAN:  You knew I didn't want to come here.

 

NORM:  Hurry up, do what I say! 

 

LUCIAN:  (Remembering his past at the Dean's office.) You're the one who wants to come back.

 

NORM:  You say to him, "Clayt, give my boy the job!"

 

LUCIAN:  I shouldn't be here!

 

NORM:  They owe it to you.

 

LUCIAN:  I don't belong here anymore.

 

NORM:  Of course, you belong here, it's your—it’s OUR– home!   

 

(Silence.) 

 

LUCIAN: (Remembering the day he was fired.)  I saw Clayton that morning . . .  

 

NORM:  "Give it to my boy."

 

LUCIAN:  Walking up to me after not even seeing for weeks. . .

 

NORM:  . . . All you have to say.

                                   

(Silence.)

 

NORM:  I know what you’re thinking . . .

 

LUCIAN:  (Remembering the day he was fired.) . . .  I know what’s happening.

           

NORM:  (NORM helps LUCIAN get dressed.) You’d do that for me, wouldn’t you?

 

LUCIAN: (Still in memory, reliving his firing.) . . . Clayton doesn't shake my hand. 

 

NORM:  . . . . Doesn't matter after so many years.

 

LUCIAN:  (As if talking to Clayt.) "What's wrong, ?"  

 

NORM:   It’s twenty years ago!

 

LUCIAN:  (As if talking to Clayt.) "It's me, Lucian.” 

 

NORM:  Do you know how many people. . . GET FIRED. . . !?  FOR THINGS . . . THEY’VE NO CONTROL OVER, THROW THEM IN THE STREET WITH ABSOLUTELY NOTHING?!

 

(Pause.)

 

NORM:  You were too old.

 

LUCIAN:  At least you could shake my hand.

 

NORM:  They didn’t like you.

 

LUCIAN:  (Coming out of the past.) I WAS NOT TOO OLD!

 

(Silence.)

 

NORM:  Jenks is the problem.

 

LUCIAN:   I coached Clayton.

 

NORM:  I know what it is.

 

LUCIAN:  Zant bragging he'd get my job.

           

NORM:  Doesn’t surprise me.

 

LUCIAN:  Shake my hand!

 

NORM:  They're going to give me the director's . . .

 

LUCIAN:  (Still at his firing.) I’ve watched all of you.

 

NO RM:  Listen to me.  They’re going to give me the alumni director’s position.

 

LUCIAN:  I see what you do!

 

NORM:  This is important, Coach.

 

LUCIAN:  . . . I’ve been very loyal . . .  

 

NORM:  Not just as a representative.

 

LUCIAN:  I’ve been at The Masters School forty years.    

 

NORM:  They want me to be the Director of Alumni.

 

(Pause.)

 

NORM:  Clayt wants me to have it!

 

LUCIAN:  . . .  Alumni?

 

NORM:   Alumni Director.  

 

LUCIAN:  Don't know what you're  . . .

 

NORM:  They’re givin’ it to me Coach.

 

LUCIAN:  . . . talking  about . . .

 

NORM:  The Big Cigar!

 

(Silence.)

 

LUCIAN:  They lie to you.

 

NORM:  THEY’RE NOT LYING TO ME! 

 

LUCIAN: I won’t listen to this . . ..

 

NORM:  . . .  They lied to you!

 

(Silence.)

 

NORM:  . . . A Christmas card from Jenks.  The one he sends you: "In hopes of finding strength for the year to come."

 

(Pause.)

 

LUCIAN:  (To Norm, about working the job.) How are you going to do a job? 

 

NORM:  . . . That’s a lie . . .

 

LUCIAN:  How will you do that?!

 

NORM:   I don’t see why you’re so friendly with Jenks!

 

(Pause.)

 

NORM:   It was Jenks who led the vote to have you taken out!  

 

LUCIAN: No!  

 

NORM:  He did!

 

LUCIAN:  You don’t know what you’re talking about! 

 

NORM:  Clayt told me he blackballed you!

 

LUCIAN:  Don’t know . . .

 

NORM:  Jenks is not your friend!

 

LUCIAN(Faltering.) Jenks would not. 

 

NORM:  He was never your friend!  

 

(Silence. NORM puts on his own coat and goes to LUCIAN.)

 

NORM:  Get up.  

 

LUCIAN:  I worked here my whole life . . .

 

NORM:  We're going to be late.

 

LUCIAN:  Got up every day . . .

 

NORM: Come on.

 

LUCIAN:  Till I looked like someone in my job, thought like someone in my job, till you couldn’t see me as anything else than my job . . .  

 

NORM:  You hear me!

 

LUCIAN:  (As if talking to Clayt.) “You’re trying to get me out, Clayton?!” Sneaking behind my back.  I  wiped your nose . . . ! 

 

NORM:  Do what I say.

 

(Pause.)

 

NORM:  You don't think I would . . .

 

LUCIAN:  I know you would do it!

 

NORM:   I would put you in these places, I would put you in that center, so help me!

 

(LUCIAN grabs hold of NORM, spitting in his face.  It is sudden and disgusting and LUCIAN will not let go of NORM, virtually climbing on him.)

 

LUCIAN:  This is what you want them to see? 

 

NORM:  . . . Stop that!   

 

LUCIAN(As he's spitting.) This is what you want them to see of me at this dedication?! 

 

NORM:  . . . Get it off of me.

 

LUCIAN:  Look at it!

 

NORM:  (Repulsed.) Owwf.

 

LUCIAN:   This is what you're talking about!

 

NORM:  Get off!

 

LUCIAN:  Look at me!

 

NORM:   . . . What are you doing?!

 

LUCIAN:  You won't get it, you won’t get this job.

 

NORM:  It’s all over me!

                                                           

LUCIAN:  You think they would give it to you?!

                                                           

NORM:  Jesus!

 

LUCIAN:  You’re not smart enough, what people do you know?.

 

NORM:  You get it all over!

 

LUCIAN:  Don’t tell me, I know it!

 

NORM:  Stop it!

 

LUCIAN:  What school did you go to?

 

NORM:  . . . I said stop it!

 

LUCIAN:  They want someone to tell what to do.  Someone to kiss their ass, to make fun of and talk about behind their backs!  Deciding what’s to be done with you until they can get you out for somebody else  . . .

 

NORM:  It’s no worse than what I have.

 

LUCIAN:  Until someone’s younger than you or smarter than you or thinks they deserve more and wipes your face in what you’ve had to build—DESTROY YOUR SOUL. LISTEN TO WHAT I SAY! 

 

(Pause.)

 

LUCIAN:  I was made into the same!

 

(NORM turns away.)

 

(END OF SCENE)

 

 

(END ZONE is excerpted in One on One:  The Best Men’s Monologues for the 21st Century and in the upcoming Duo!:  The Best Scenes for Two for the 21st Century—both from Applause Theatre and Cinema Books.)

 

 

(END ZONE, © 2008, before being revised, was entitled GLORY DAYS © 1994 and then DEDICATION. All rights, including but not limited to professional, amateur, motion pictures, recitation, lecturing, public reading, all forms of mechanical or electronic reproduction, including information storage and retrieval systems and photocopying, and the rights of translation into foreign languages, are strictly reserved.  Permission for the use of END ZONE or any portion thereof must be secured in writing prior to such use from the Author’s agent, Marit Literary Agency, 3801 Hudson Manor Terrace, Suite 6I, Bronx, New York 10463; Maritagency@gmail.com; 646-667-8512; ATTN, Bob Shuman.)

ALAN AYCKBOURN: ‘PRIVATE FEARS IN PUBLIC PLACES’ (REVIEW) ·

(Dominic Maxwell's article appeared June 29 in The Times of London.)

Private Fears In Public Places at the Royal, Northampton

Alan Ayckbourn’s excellent thirtysomethings fear loneliness, yet also fear the exposure that too much closeness brings

The most recent of this year’s revivals to mark Alan Ayckbourn’s 70th birthday, Private Fears in Public Places is a play that doesn’t join its dots. In short scenes, over 100 minutes, we follow six protagonists who lead overlapping but lonely London lives. And if it doesn’t quite cohere like Ayckbourn at his most revealing, well, disconnection is the theme. Secrets that you expect to become clear stay murky. Characters you expect to hook up stay separate.

I’m not convinced that everyone here quite belongs to 2004, when this was first performed — Ayckbourn’s computerless estate agents are a touch too square, his ex-Army boy is a shade too Young Edward Fox. But I also know that I would happily sit through another 100 minutes to find out more about characters whose frailties and frivolities are always convincingly human . . .  

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/theatre/article6596389.ece

DORIC WILSON ON STONEWALL: “OUT OF THE TWILIGHT” ·

(Playwright Doric Wilson's blog on Stonewall–the 40th anniversary of the riots is June 28–appeared May 20, 2009.)

STONEWALL + 40 by Doric Wilson

It seems unreal that Stonewall was forty years ago.  Sometimes it seems like it’s been 100 years, sometimes only last week.  I wonder if I will be around for the fiftieth anniversary.  My remaining days seem to be numbered like the grains of sand in a goldfish bowl.

 

For the past few months I have been interviewed by everyone from a straight clueless kid from the BBC to a very smart and prepared Ronnie (“Make Me a Supermodel”) Kroell for his new “Straight Talk” program.  I’ve been filmed for a documentary on Stonewall being prepared for “The American Experience” with a planned airing on PBS in April 2010, and featured in a David Carter article in the June/July issue of The Advocate with a great photo by Shen Wei (see the post for April 10th below).  “In the Life” is even presenting a dialogue between literary giant Edmund White and me this August on PBS.  (And you thought the Museum of Natural History had a lock on the dinosaur market!)

 

And the more I get interviewed, the less I know where we are at.  A few years back I lost all hope for the future of the two movements I more or less dedicated my life to, alternative theater and the queer community. Both were reeling from burnout and AIDS and the intramural sniping of political correctness.  But suddenly I started meeting theater people like Mark Finley and Barry Childs and Kathleen Warnock and Chris Weikel and Shay Gines and Jonathan Reuning and Frank Kuzler and Jamie Heinlein and Mark Waren and Christopher Borg and the list goes on and on.  And I know there is indeed a new generation more than willing and able to grab the torch and carry it high.  With people like Ronnie Kroell, writer Kirk Reed (How I Learned to Snap), photographer Shen Wei, the same seems to be happening for the GLBT family . . .

 

(Read more)

 

http://doricwilson.blogspot.com/

 

Visit Doric Wilson’s Web site: http://www.doricwilson.com/

 

Visit the Website of TOSOS, New York’s first professional Gay theatre company, which Wilson cofounded:  http://www.tosos2.org/

HOW BROADWAY TALKS TO ITS AUDIENCES USING SOCIAL MEDIA ·

(The following article by Ken Davenport appeared on Mashable, June 26th, 2009.)

Ken Davenport is a Broadway and Off-Broadway producer and the founder of the social networking website, BroadwaySpace.com. He is the author of TheProducersPerspective.com, a blog about producing theater, and was featured in an iPhone commercial.

Broadway is one of the biggest businesses in New York City, with almost a billion dollars in sales reported for this past season alone. Amazingly, though, this powerhouse that provides so much fuel for the economic engine of the city itself, is about ten years behind in terms of its adoption of new technology, such as social media.

It makes sense, however. The majority of today’s Broadway audience were born well before the PC era. Marketing 101 will tell you to speak to your audience in the language that they understand, and one of Broadway’s prime demos is the “55 Year Old Woman.” But for the people in our industry that recognize tomorrow’s audience grew up in front of a laptop instead of a TV, there is a concerted effort to begin to speak in the new language of social media.

And as luck would have it, doing so helps us overcome one of the greatest challenges we have in the industry: the permission to speak to our customers.

The Problem

Broadway producers, are like movie producers and book publishers, in that we don’t actually sell our product directly to our customers. All of our tickets are distributed through third party ticketing agents like Telecharge and Ticketmaster (and the ever growing StubHub-like “secondary market”). Since we are not a part of the transaction process, we have no access to the customer’s information, thereby making it impossible for us to know who exactly is purchasing our product and negating any opportunity for us to market to our customers directly. It’s a Marketing Director’s worst nightmare.

Social Media has given Broadway, and the other industries like it, a workaround to this communication issue. Here’s how a few shows are using it to their advantage.

(Read more)

http://mashable.com/2009/06/26/broadway-social-media/

MICHAEL JACKSON MUSICAL, ‘THRILLER LIVE’ GOES ON IN LONDON ·

(Chris Wiegand's article appeared in The Guardian, 6/26. Note: as per comment below (thank you!), Thriller Live is also now playing in Germany.)

Show goes on for Michael Jackson musical

Lights will be dimmed tonight for productions of Thriller Live in London and Manchester, but performances to go ahead

Lights will be dimmed outside the Lyric theatre in London's West End tonight as a mark of respect to Michael Jackson, who has died in Los Angeles aged 50. Since January the theatre on Shaftesbury Avenue has been home to Thriller Live, a jukebox show celebrating the King of Pop's career – from the Jackson 5 years to solo hits such as Beat It, Billie Jean and Thriller – with all the trademark moves. The show stars Ricko Baird, who danced on tour with Michael Jackson and performed as his double for the video of You Rock My World.

Thriller Live's executive director and co-producer Adrian Grant, the author of a book on Jackson, has expressed a "deep sense of loss and sadness" at the singer's death. "I am shocked beyond belief that Michael has died," he said. "The Jackson family have lost a son and a father and the world has lost one of the greatest entertainers of all time, a true legend." He continued: "My main focus right now is very much on Michael Jackson the person. He was warm, genuine, funny and smart, as well as the musical genius we all admired."

http://www.guardian.co.uk/stage/2009/jun/26/michaeljackson-theatre

‘Thriller Live’ on You Tube: http://www.youtube.com/watch?v=qaE6ovMhCUQ

KEN URBAN AND ALL THE YOUNG GUNS ·

(The following interview with playwright Ken Urban appeared on Adam Szymkowicz’s blog, June 25. Investigate his site further for additional Q&As with up-and-coming dramatists.)  

Tell me a little about your SPF show that's coming up.

THE HAPPY SAD is about a group of seven people in an east coast city with subways and irony, all trying to figure out how to make relationships work in a world of too many options. The play starts with a straight couple breaking up and another couple, a gay couple, negotiating the monogamy question. Since cities are like villages, we see how their lives of these different people end up connecting. And sometimes when things get difficult, they break out into song.

It’s my ode to bisexuals. Not really. Actually, the play has a really clear origin. I was on Amtrak heading back to Boston from New York, right before Thanksgiving in 2007, and I ran into a friend. We sat and talked for a long time. She told me how a guy she was dating broke up with her that weekend, but she was also seeing someone else. Then the next day another friend told me how he and his boyfriend were thinking of “opening” things up. And I kept thinking: wow, there are so many options and possibilities now. We aren’t confined in the way our parents were – get married, buy a house, have kids, get old, die. We can try something else. But having lots of options doesn’t necessarily guarantee happiness. I wanted to write about that excitement and confusion.

I like to give myself rules when I write. Keeps me focused. For this play, I had two: one, to write about the subject matter with utter honestly, even when it cut very close to home; and two, the characters would sing, but that the play was in no way a musical (i.e. the songs did not advance the plot in the way they do in a musicals).

I am excited for the SPF workshop. Trip Cullman is directing and we have a great cast, which includes many of my favorite actors. I’m touched they are giving up their July to do the show and to do a pretty revealing play with two weeks of rehearsal. There is a fair amount of nudity in this show and everyone is so brave about it.

 

http://aszym.blogspot.com/

(Ken Urban’s work is included in One on One:  The Best Women’s Monologues for the 21st Century and the upcoming Duo!:  The Best Scenes for Two for the 21st Century—both from Applause Theatre and Cinema Books.)

 

NY TIMES: GENDER BIAS IN THEATER ·

(The following article by Patricia Cohen appeared in The New York Times, June 23.)

Rethinking Gender Bias in Theater

When more than 160 playwrights and producers, most of them female, filed into a Midtown Manhattan theater Monday night, they expected to hear some concrete evidence that women who are authors have a tougher time getting their work staged than men.

And they did. But they also heard that women who are artistic directors and literary managers are the ones to blame.

That conclusion was just one surprising piece of a yearlong research project that both confirms and upends assumptions about bias in the playwriting business.

http://www.nytimes.com/2009/06/24/theater/24play.html?_r=1

Two additional sites with coverage of this story:

The Hub Review: http://hubreview.blogspot.com/2009/06/update-on-emily-sandss-presentation.html

Off-Stage Right: http://www.off-stage-right.com/2009/06/emily-sands-opening-the-curtain-on-playwright-gender-complete-powerpoint-presentation.html

DRAMA SERIAL: ‘END ZONE’ BY BOB SHUMAN ·

(On Tuesdays, for the next five weeks, END ZONE, a play by Bob Shuman, will be serialized on the Stage Voices blog. It was first developed at Hunter College and then given readings at The Lark Play Development Center and Second Stage Theatre. It is excerpted in two anthologies from Applause Theatre and Cinema Books. In the first scene, a father and his two sons are reunited after eight years. )

 

END ZONE

 

A Play by Bob Shuman

 

                                                           

SCENE:

A motel. It’s about a mile down the road from a prep school in the Northeast.

 

TIME

A while back, in November. Before dinner.

 

CHARACTERS:

 

LUCIAN “LUCE” TRAINER: A legendary prep-school football coach and former dean of the Masters School.  Late 70s.

 

ARTHUR TRAINER: LUCIAN’s  youngest son. A freelance composer and percussionist who emphasizes environmental sounds in his work.  Late 30s.

 

NORM TRAINER: LUCIAN’s oldest son. A sporting goods salesman in his late 40s. He has a slight Southern accent.

 

 

 

ACT 1

 

SCENE 1

                                   

(Norm helps Arthur fix his pants.)

 

ARTHUR: Jesus Christ.

 

NORM: Get out of the way so I can look.

 

ARTHUR: I can’t get it to catch.

 

NORM: Will you stop moving so I can see?

 

ARTHUR: I knew this would happen.

 

NORM: What the hell did you do to it?

               

ARTHUR: I told you I didn’t want to wear it.

 

NORM: This is a Mauritzio suit.

 

ARTHUR: Haven’t even seen the guy in—

 

NORM: Got the whole fly coming apart.

 

ARTHUR: You’re the one who wanted to arm wrestle.

 

NORM: Eight years! It’s been eight years since you’ve seen him.

 

(Arthur furiously tries to fix the fly again.)

 

ARTHUR: Where is this mother?!

 

NORM: So you gotta act right this weekend.

 

ARTHUR: Get this clasp . . . .

 

NORM: Your father spent forty years at this school.

 

ARTHUR: . . . so I can zip . . . up . . .

 

NORM: Somebody better recognize him.

 

ARTHUR: . . . my . . . pants . . .

 

NORM: MY pants.

 

ARTHUR: . . . get these runners . . .

 

NORM: Just get him over to the campus in the morning.

 

ARTHUR: . . . like THAT.

 

(Pause. The fly is fixed. Norm looks at Arthur, unbelieving.)

 

NORM: You’re kidding.

 

ARTHUR: (About the pants.) You can take them back to the thrift shop when you get home.

 

NORM: You actually got that to work?

 

ARTHUR: Got all this baggage.

 

NORM: You need to go through it.

 

ARTHUR: I could beat you if we arm wrestled.

 

NORM: Can’t even talk to him.

 

(Pause. Norm takes the CD Arthur has been wrapping.)

 

ARTHUR: What do you think you’re doing?

 

NORM: I need it for Clayt.

 

ARTHUR: That’s not for him.

 

NORM: He saw you playing the industrial piping in New Hope.

 

ARTHUR: I want it back.

 

NORM: Quite the musical aficionado, this headmaster.

 

ARTHUR: It’s for Coach.

 

NORM: I don’t want to hear about you being an artist, we’ve all seen how far you’ve come with that.

 

LUCIAN: (From his bed, in his sleep.) Who you talking to?

 

ARTHUR: Coach.

 

NORM: (Suddenly.) He’s up.

 

LUCIAN: Who’s that?

 

NORM: You woke him.

 

ARTHUR: (Calling.) You all right, Coach?

 

NORM: Be quiet, will ya!

 

ARTHUR: Should we get him?

 

NORM: Shut. Up!

 

ARTHUR: (Quietly.) Is that you, Coach?

 

(Silence. Norm checks on Lucian.)

 

NORM: He’ll sleep a little longer. . . . 

 

(Norm drinks—a diet soda he’s put a shot of alcohol in.)

 

ARTHUR: I’d like to help but . . .

 

NORM: I really don’t think . . .

 

ARTHUR: I don’t have any money. . . .

 

NORM: . . . it’s worth talking about

 

ARTHUR: You keep bringing it up.

 

NORM: Pull up your pants!

 

ARTHUR: I’m out of work.

 

(Pause.)

 

I could beat you!

 

NORM: Yeah, right.

 

ARTHUR:  I don’t want to beat an old man.

 

NORM:  I’ll kill you!

 

ARTHUR: That’s my CD!

 

NORM: Send him another one.

 

ARTHUR: Last one’s for Coach!

 

NORM: That’s mine!

 

(Norm and Arthur begin arm wrestling, grunting and groaning through their dialogue.)

 

NORM: (NORM’S wife is named Tom-asia–like the continent.) My wife–Thomasia can’t take it—

 

ARTHUR: You said you’d take care of him—

 

NORM: We need you to help us—

 

ARTHUR: He can’t come to New York—

 

NORM: Then move back to Georgia.

 

ARTHUR: You know what it would be like?

 

NORM: I can’t pay taxes.

 

ARTHUR: You can’t expect me—

 

NORM: I haven’t paid my taxes in two years.

 

ARTHUR: Bullshit.

 

NORM: You’re dead!

 

(Norm slams down Arthur’s hand on the table and wins.)

 

ARTHUR: That’s not fair.

 

NORM: Beat ya!

 

(Pause.)

 

ARTHUR: You lied!

 

NORM: His bawling and moaning and his emphysema, flushing his medication down the toilet.

 

ARTHUR: You pay your taxes. . . .

 

NORM:  Everything I’m telling you is true.

 

LUCIAN:  You’re here, aren’t ya, Norm? 

 

NORM:  (To ARTHUR.) Don’t believe me.

 

(NORM goes to help LUCIAN; LUCIAN sits on the edge of the bed.  He is sick and looks old.)

 

LUCIAN: Who’s talking like that?

 

NORM:  (Going to help LUCIAN.)  There we go.  That’s a little better.

 

LUCIAN:  (Groggy.) Thought I lost you . . .

 

NORM:  You warm enough? 

 

LUCIAN:  You went away, boy.

 

NORM:  I don’t want you to get cold. (Finding a sweater for LUCIAN.)

 

LUCIAN:  Didn’t know where you went . . .

 

NORM:  (With sweater.) Let’s get this around you. 

 

LUCIAN:  (About the sweater.) Nothing wrong with me.

 

(Pause.)

 

ARTHUR:  . . . Coach.

 

LUCIAN:  This weather’s good for you.

 

NORM:  Somebody’s come to visit you. 

 

(Pause.)

LUCIAN:  I don’t want to see ‘em.

 

NORM:  This guy here came all the way to see how you were doin’, Coach.

 

LUCIAN:  Tell ‘em to go away.

 

NORM:  It's all right. It’s nobody that matters. 

 

LUCIAN:  They don’t want to see me.

 

ARTHUR:  Do you know who it is?

 

NORM:  (To ARTHUR.) Don’t you get him all excited now . . .

 

ARTHUR:  (Coming forward.) Recognize me, Coach? 

 

NORM:  I said I don’t want you getting him all upset!

 

(Silence.)

 

NORM:  It’s Arthur, Coach.  Arthur.

 

(ARTHUR steps forward, not knowing what to say. Pause.)

 

ARTHUR:  You hear it might . . . .snow?

 

NORM:  What?

 

ARTHUR:  I heard it might snow.

 

NORM:  Who said that?

 

ARTHUR:  That’s what they said.

 

NORM:  It’s not going to snow.

 

ARTHUR:  On the radio.

 

NORM:  Get out of here.

 

ARTHUR:  On my way up here.

 

NORM:  Are you crazy?

 

ARTHUR:  Flurries.

 

NORM:  Oh, well, flurries, that doesn’t matter.  It’s not going to snow. They’re not going to cancel the game because of flurries–I was just going to tell him about the limo, Coach.

 

ARTHUR:  Limo?

 

NORM:  And the Tiffany trophy.

 

ARTHUR: That’s pretty neat, Tiffany . . .

 

NORM:  (Imitating ARTHUR.)  Yeah, that’s pretty neat.

 

ARTHUR:  Anybody want a Lifesaver?

 

NORM:  (Refusing Lifesaver.)   I’m not paying for the Limo, too.

 

ARTHUR:  One of the alumni?

 

NORM:  Yeah, kinda.

 

ARTHUR: (Having a Lifesaver.) What pigeon are you going to get to pay for a limo so we can drive around campus?

 

NORM:  That’s something I wanted to talk to you about.

 

ARTHUR:  Clayt?

 

NORM:  Driver gets here at 11:00 tomorrow morning.

 

LUCIAN:  It’s as if . . . nothing has ever changed, isn’t it, Art?

 

NORM:  Get out of here.  Everything’s completely different.          

                                                `                     

 

                                                (END OF SCENE)

 

(END ZONE is excerpted in One on One:  The Best Men’s Monologues for the 21st Century and in the upcoming Duo!:  The Best Scenes for Two for the 21st Century—both from Applause Theatre and Cinema Books.)

 

 

(END ZONE, © 2008, before being revised, was entitled GLORY DAYS © 1994 and then DEDICATION. All rights, including but not limited to professional, amateur, motion pictures, recitation, lecturing, public reading, all forms of mechanical or electronic reproduction, including information storage and retrieval systems and photocopying, and the rights of translation into foreign languages, are strictly reserved.  Permission for the use of END ZONE or any portion thereof must be secured in writing prior to such use from the Author’s agent, Marit Literary Agency, 3801 Hudson Manor Terrace, Suite 6I, Bronx, New York 10463; Maritagency@gmail.com; 646-667-8512; ATTN, Bob Shuman.)

DRAMA BOOK SHOP PICKS: BRYAN FOGEL AND SAM WOLFSON ·

Each week the expert staff of the renowned Drama Book Shop in Manhattan, just seconds away from Broadway, recommends one play that's new, interesting, or just flat-out fantastic. This week they’ve chosen two! Picking the best of published work, they help keep us up to date and aware of the little known, broadening our horizons and encouraging dialogue. Order a play from The Drama Book Shop, read it, and e-mail them with your thoughts–they'd love to hear from you: info@dramabookshop.com.

 

THIS WEEK'S PICK:

Jewtopia by Bryan Fogel and Sam Wolfson

Gentile or Jew, you will love Jewtopia. Fogel and Wolfson’s ridiculously funny piece immerses us in the world of Jewish tradition with immaculate comic timing. Chris O'Connell, a Gentile, and Adam Lipschitz, a Jew, combine forces in order to achieve what every single man of thirty dreams of: marriage to a gorgeous, rich Jewish girl. Chaos ensues.

This play has an abundance of comic energy. I know little of the Jewish tradition – in fact a lot of the jokes escape me – but still I can appreciate the humor and sympathize with the struggle of the leading characters as they try to fit in.

Everyday at the Drama Book shop we get asked for recommendations for good contemporary comedic scenes. Well, Jewtopia is full of scenes in every shape and size, hot and fresh.

Cast: 3M, 3W

Scenes/Monologues: Jewtopia is a goldmine for two person scenes for two male actors. Also, Act Two includes a family scene, which I hope none can relate to but will leave all with laughter-induced pain in their sides and a hunger to cast and perform it.

Recommended by: Muiris

 

Jewtopia
by Fogel, Bryan, Wolfson, Sam
Format:  Trade Paperback
Price:  $9.95
Published: Samuel French Trade, 2009 

 Drama / 2m

The Drama Book Shop, Inc.
250 W. 40th St.
New York, NY 10018
Tel: (212) 944-0595
Fax: (212) 730-8739

Order online: http://www.dramabookshop.c

 

SUSAN BOYLE BACK WITH SHOW TUNES ·

Boyle in triumphant stage return

Britain's Got Talent star Susan Boyle has made a triumphant return to the stage after missing four concerts this week on the talent show's live tour.

The 48-year-old singer received a standing ovation when she appeared at Wembley Arena, in north-west London.

She sang I Dreamed A Dream from the musical Les Miserables, which brought her international fame when she first performed it on the ITV1 show.

She missed shows in Liverpool, Cardiff, Nottingham and Manchester over stress.

'On their feet'

A spokeswoman for the show said the crowd were "on their feet for her" as well as for the TV show's winners, the dance group Diversity.

http://news.bbc.co.uk/2/hi/entertainment/8112005.stm