Saturday, April 18, 2015

Arlecchino Am Ravenous in STEEL TOE REVIEW #20

My one-act play Arlecchino Am Ravenous recently appeared in Steel Toe Review #20. You may read it here.

The other theatrical offering for the current issue is Ron Pullins' DADA's Home. I played the role of Pico in Ron's short play of the same name back in 2011.

Thursday, August 14, 2014

Two of My Plays Appearing in Festivals In August

I've been largely neglecting this blog as of late since I have been reserving most of my musings on the arts as of late on The Arts Fuse where I am theater critic and a senior contributor.

However, I have two announcements to make.

The first of which is that both my one-act play, Arlecchino Am Ravenous which some of you have seen me perform in diverse venues in the Boston metropolitan area as well as once in Providence, Rhode Island will be presented as part of Laugh/Riot Performing Arts Company's Rollercoaster, a festival that will run from August 21 to August 31 at Edinboro University in Pennsylvania where Laugh/Riot is the resident company.

The idea behind Rollercoaster is that the audience can select the evening's bill from any of twenty-five plays. Rob Connick will direct, and Kat Lawson will play Arlecchino. Tickets for Rollercoaster are available here.

The second announcement is that a short play of mine, Two Cats Explain the Monstrous Moth Group will be making its world premiere as part of The Changing Scene Theatre Northwest's Summerplay 2014: A Festival of New Works at the Tacoma Little Theatre in Tacoma, Washington from August 22 though August 30.

The play, inspired in part by two cats I used to live with back in the 1990s and as well as my lay person's understanding of supersymmetry, group theory and animal cognition, will be directed by Pavlina Morris.

Tickets for Summerplay 2014 are available here.

Monday, April 8, 2013

2,909,547 Reasons To Ask Artists For Free Labor

(Part of a series in which I make up for not updating my blog recently.)

The CitiCenter's education department asked me to perform for free at a festival they were organizing.

I declined.

I then dug into their 2010 tax forms (perfectly legal, as the CitiCenter is a 501(c)3 non-profit and is required to make their tax returns public) and discovered that this same organization that was asking me for free labor had, in 2010, paid its top five most highly compensated officers and one bank executive a total of $2,909,547.

As I observe in my column at The Clyde Fitch Report:

Nathan Pusey, an officer at CitiBank, in 2010 received a total of $1,685,240 from the CitiCenter; more than the five highest compensated officers within the organization combined.

If one reads Pusey’s LinkedIn profile very carefully, one will see that he is so modest, that he (or the assistant who keeps his profile updated) doesn’t even hint at what it was he did for CitiCenter that warranted that $1,685,240 transaction to his person.

Sunday, April 7, 2013

Richard II's Federalist Tea Party

(Part of a series in which I make up for not updating my blog recently.)

As in previous years, I attended the annual "Shakespeare & The Law" panel co-sponsored by the Commonwealth Shakespeare Company and a local chapter of the Federalist Society, an association of politically conservative and libertarian judges and attorneys.

One of the featured panelists, David G. Tuereck, a Suffolk University economics professor with connections to the Tea Party movement, chose to read Richard II as an allegory of the current political situation and only days before Inauguration Day, stopped just short of advocating an armed coup d'etat against President Obama.

And then things got weird, as I recount at The Clyde Fitch Report:

Tuerck missed the most obvious reason why Thomas Jefferson never read Karl Marx or John Manyard Keynes: they hadn’t published anything of significance yet.

Of course, this little problem of chronology was the least of Tuerck’s problems. Like a great many associated with the Tea Party (and, for that matter, other cults), Tuerck is drunk on symbols. Without delving into his scholarly writings in economics, his public rhetoric indicates someone more interested in iconography and allegory than in evidence and hypotheses; free-association rather than reason and causality.

This is, of course, how lawyers seek to sway a jury if they think they can get away with it.

I previously wrote about the Federalist Society's and Commonwealth Shakespeare Company's takes on Henry V and The Merchant of Venice.

Saturday, April 6, 2013

Joshua Sobol interviewed on "Sinners."

In February, The Arts Fuse's Editor, Bill Marx and I sat down for an email interview with Israeli playwright Joshua Sobol while his play, Sinners was being presented as a staged reading by Israeli Stage.

The play is a powerful one dealing with the fate of intellectually and sexually independent women in Islamic-fundamentalist societies. I hope that Guy Ben-Aharon gets to stage this play in the near future.

Sobol's answer to one question was particularly interesting-- since it revealed the degree to which political-correctitude often means an abandonment of humanist values:

AF: What were the obstacles presented in dramatizing a story that had neither an Israeli nor Jewish theme or setting?

Sobol: The main obstacle to overcome was the so-called politically-correct, recently established taboos. As a white, atheist male, I am told it is none of my business to deal with what’s going on in the so-called de-colonized societies enforcing their religious laws on their citizens. But as a human being, I cannot and should not respect that dictum, and as a dramatist, it is exactly my affair and my responsibility to give a voice to the voiceless victims of inhuman savagery. A woman sentenced to death for having loved a man who is not her husband, and thus being buried alive up to her bosom and waiting for a crowd of wild males to stone her to death, is the epitome of the voiceless victim, whose voice should shatter the fundaments of our world. The duty to carry this stifled voice from one end of the world to the other has nothing to do with being Israeli, Jewish, or Christian. It has to do with being human or giving up one’s humanity.

Friday, April 5, 2013

Yale Repertory Theatre's "The Servant of Two Masters."

(Part of a series in which I make up for not updating my blog recently.)

As one of Boston's more verbose commedia dell'arte enthusiasts, it was only natural that I was asked to review Yale Repertory Theatre's presentation of Carlo Goldoni's The Servant of Two Masters when their tour brought them to ArtsEmerson this past winter.

As I write in The Arts Fuse:

This inventive adaptation opens with light pouring through a doorway that opens upon a dark stage. Two silhouetted figures enter with flashlights, discover and open two large crates, and then discuss the contents in an Italian grammalot. The pair list off the names of the iconic masks of the commedia dell’arte: Pantalone, Dottore, Brighella, and of course, the eponymous servant, Truffaldino. It as if they are discovering something vital stored away.

Soon after the flashlights become fireflies dancing against a night sky, over a maquette of Venezia. The sun rises over a city square. Under the Paramount’s own proscenium stage stands a much smaller proscenium from which the cast emerges. Katherine Akiko Day’s stage concept brilliantly references the earliest commedia troupes, while Chaun-Chi Chan’s lighting design evokes the blazing sun under which these troupes performed as well as forecasting the arrival of dusk at the story’s end.

Goldoni’s comic gift comes down to a genius for narrative design: he arranges a convoluted story of mistaken identities, disguises, miscommunications, and matters of honor by which true lovers are kept apart and then, as if by clockwork, are finally brought together. Goldoni lacks the poetic gifts and thematic depth of Shakespeare, but the Bard of Avon never plotted so tightly. Goldoni’s plot becomes so complex that he seems compelled to include a recap of the plot for the audience in the final scenes of his comedies.

Note that I also wrote about a modern adaptation of The Servant of Two Masters when I reviewed Richard Bean's One Man, Two Guvnors.