Thursday, December 29, 2011

Open Mic Night: Act II, Scenes 2 and 4

Open Mic Night: The Conversos of Venice
Pictured: Ron Pullins as Capitano Spavento, John Geoffrion as Shylock, and Corianna Hunt Swartz of Flat Earth Theatre as Gessica. Not pictured: Diana Durham who read stage directions. Both Diana and Ron also presented work that night.

November 21, 2011. The Small Theatre Alliance of Boston's Open Mic Night, this time hosted by Fort Point Theatre Channel presented a scene and talk back for my work-in-progress, The Conversos of Venice.

I had presented an earlier scene at the inaugural Open Mic Night and the misgivings I had afterwards did not manifest this time around. Indeed, of the times I have heard actors read my words since I began, this was the time where what I heard was exactly what I had hoped to hear and we had some lively discussion before we moved on to the next playwright's work.

Still there's the rest of the play to write, and ever more research to be done!

Wednesday, December 28, 2011

And Now For Something Completely Different: A Unicorn in a Bank

It was a very strange gig for this unicorn, who was led around the town of Brookline one November evening to appear at one boutique, three banks, and a crêperie. Let me tell you: three hours of wearing a unicorn head is a lot of stress on one's shoulders, but little girls and middle-aged women just love the beast.

Mask and costume by Eric Bornstein of Behind the Mask. Unicorn wrangling by Ashley Yarnell, who provides vocals.

Tuesday, December 13, 2011

Savyon Liebrecht's "The Banality of Love"

The Arts Fuse has published my essay on Israeli playwright Savyon Liebrecht's The Banality of Love a play about the romance between German philosopher (and card carrying Nazi) Martin Heidegger and his Jewish student, the political theorist Hannah Arendt. I attended a reading of the play last month at the Goethe Institut as part of Israeli Stage's series of readings of contemporary Israeli plays in Boston.
[...]Liebrecht does not address Arendt’s rationalizations or the reasons for her dedication to Heidegger, though the dramatist’s title suggests that it is the banal truth of the irrationality of love. This neglects both Arendt the theorist and Arendt the public intellectual. Is her portrait of an innocently banal Heidegger merely the flip side of her portrait of Adolf Eichmann as a ghostly bureaucrat?[...]
Read the rest on The Arts Fuse.