May 14th: Commedia Teatro presents Ian Thal @ Outpost 186

Or: I haven't the time to design a new poster because the show must go on!

Back in 2004, I met Jonathan Samson, who had the mad idea to create a commedia dell'arte inspired television series. This led to a rather intense period of working and playing together over a period of several weeks. Then Jonathan left for Thailand, planning to stay but for a few months, instead, he stayed and founded Thailand's first commedia troupe: Commedia del Siam! Several years later, we got to talking about doing some shows together when he is back in the states. We try to get a few gigs together and then on the on the facebook page for one of those gigs, Jonathan writes:

I'm gonna have to be there in spirit only! My transportation to Boston has been impeded by political rioting in Bangkok, the volcanic eruption in Iceland, and the poor global economy. Ian will be producing and directing a wonderful commedia show by himself... and I am so jealous that all of you are gonna get to see it live!

The room has been paid for, so the show must go on! Here's the poster anyway:


I shall be performing a short bill of:

O, Mister Sun, Don't You Fall Asleep On Me (corporeal mime and mask)
The Marmalope (mime)
Arlecchino Am Ravenous (commedia dell'arte)

The event is Friday, May 14th at 8pm

Outpost 186
186 Hampshire Street
Inman Square
Cambridge MA


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March 28th: A Staged Reading of Total War @ Outpost 186

Total War, a semi-finalist in the 2009 Dorothy Silver Playwriting Competition, is a five-act play set at a Catholic university where the student newspaper has published a Holocaust denial advertisement. Before faculty, students, and staff can begin the expected dialogue on free speech and religious pluralism, an anarchist-cell using the nom de guerre of “Total War” begins a campaign of guerrilla art attacks.

This will be the third draft of Total War to be presented at Cambridge’s Outpost 186. The first reading, in April of last year inspired a lone protester to picket the reading from the sidewalk.

The reading will feature the talents of local actors, including: Trudi Goodman, Kate Heffernan, Dan Schneider, Savanah Shaughnessy, Tom Sprague, Kendall Stewart and Matthew Zahnzinger. Anika M. Colvin-Hannibal will stage manage. Three more cast members are to be announced shortly.

Though a work of fiction, Total War was inspired by events I witnessed while attending graduate school. The play explores the history (and potential futures) of Jewish-Catholic relations, historical memory, and the conflict between grass-roots activism and institutional power. It is a story made timely after the recent scandal regarding Vatican’s recent lifting of the excommunication against the anti-Semitic Society of Saint Pius X and its Holocaust-denying Bishop, Richard Williamson.

Facebook users can RSVP here


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A Modest Proposal

More often than not, this blog has focussed on my own activities as an artist, only on occasion discussing larger issues or participating in a larger conversation. This is one of those occasions.

There has been an on-going conversation in the theatrical blogosphere about diversity in theatre. I don't intend to do a full survey, but I'll list off a few items of interest:

There was, of course, Emily Glassberg Sands' "Opening the Curtain on Playwright Gender: An Integrated Economic Analysis of Discrimination in American Theater" which while identifying a real problem also had some real flaws that Thomas Garvey suggests were introduced when others tried to co-opted her work to fit their professional and ideological agenda.

Somewhat facetiously, Isaac Butler suggests suing theatres that don't diversify. Of course, Butler's suggestion is so absurdly impractical that it comes across more as an Ayn Randian nightmare caricature of political correctness than anything a serious liberal or progressive would contribute to the discussion, but I link to it because Butler is supposed to be an important theatre-blogger, and I'm apparently banned from posting to his comments section for reasons that are unclear to me (I'm sure it's all a misunderstanding.)

The pseudonymous 99seats has addressed the issue of diversity frequently, noting the class issue of access to theatre programs, notably the MFA, if one happens to be a playwright, as well as the institutionalized racism that prevents minorities from having similar opportunities. Of course, the troublesome statistic from the Theatre Development Fund's report Outrageous Fortune: The Life and Times of thew New American Play that "seven schools account for almost nine out of ten of the study playwrights with advanced professional training" only raises more questions about the role the academic gatekeepers are having on our culture-- especially when we ask how many of our great living American playwrights actually attended one of these programs? (This is particularly disturbing considering the charges leveled earlier this fall at The O'Neill Theatre regarding their "open" submission policies.)

Now this gets to an important point, brought up by Garvey in his "Meanwhile, over on the theatrical version of Second Life..." that:

To me, of course, art is more important than politics, so what Butler calls "the quality problem" (!) matters a lot, as I think it should to any critic worth his or her salt. And let me say up front that if Butler and Walters had any particular playwright they were promoting, of any gender of race or ethnicity, whose work they claimed had been disadvantaged by the system, I would happily see that writer's work, and be an advocate for them if the quality was there. (As for the insulting idea that people in each ethnic group cannot perceive the excellence of works from other ethnic groups - please, tell it to Alvin Ailey.)

But the diversity partisans never seem to be able to point to any actual work that they feel is being ignored. Add to that issue the troubling fact that the "quality problem" we have is often due to playwrights promoted by the academic-diversity crowd, and you have a situation that - well, does not actually inspire critical confidence.

Essentially, as I often heard growing up in a left-wing household: "If you're not part of the solution, you're part of the problem" or as I wrote in the comments section:

Critics should champion the work of artists that they regard as underappreciated or even deliberately seek out new work? I'm not sure the academy would approve of such a radical notion, Thom.

Garvey flattered me as "you mischievous Ian Thal" which, of course, only incites me to greater mischief.

The successful playwright pool is artificially limited largely to those graduates of elite MFA playwriting programs, who reflect certain class interests and address "diversity issues" primarily in academically fashionable ways. Indeed, if I am granted the opportunity to propose a hypothesis (which I freely admit is but a hunch): the current manner in which "diversity" is treated by the "diversity advocates" (and please note, I am speaking only about plays and playwrights) might actually be creating obstacles that prevent playwrights of diverse backgrounds from emerging.

Despite his frequent self-deprecation, my friend, Chris Rich, who writes about jazz on his blog, Brilliant Corners, has developed something of a reputation for discovering artists and being the first to write about them. Part of that comes from his hanging about Outpost 186, where so many great and oft ignored jazz musicians play. However he has another method as well: He surfs for musicians on MySpace Music where musicians without labels and without buzz post their music. He then uses his own knowledge of the music to sort out the good from the bad. It's that simple. He doesn't wait for a major label to tell him that this musician is important.

So now for my mischief: I challenge you critics, producers, and artistic directors who should be advocating for great theatre. Find an underappreciated, underproduced, perhaps unknown playwright who should be appreciated, produced and known. Better yet: find six, eight, ten, and advocate for them. You need only go to bushgreen.org, a social media platform supported by London's Bush Theatre, where hundreds, if not thousands, of playwrights have already posted their plays, irrespective of whether or not they have the MFA. I'm already there. If you see it as your mission to serve a specific community or constellation of communities, most of the playwrights have already tagged their plays with labels to help you narrow down your search. I'm sure you will find something worthy of your advocacy.

On the other hand, maybe that amounts to usurption of the academic gatekeepers, and we can't have that, can we?

[N.B.12/26/2009: I seem to have overestimated the number of playwrights and plays currently posted to bushgreen.org-- perhaps because I had to search around for that information. There appear to be ~120 playwrights and around 400+ plays.]

Total War: Post-Reading Analysis

Cast from left to right: Lou Fuoco, Trudi Goodman, Tom Sprague, Anika Colvin-Hannibal, Savanah Shaughnessy, Daniel Schneider, Kendall Stewart, Mikey DiLoreto), Matthew Zahnzinger (sadly barely visible), and Kate Heffernan. Once again, I forget to take a lot of photographs.

And now for the post-reading analysis.

The event received blurbs from Art Hennessey's Mirror up to Nature as well as from Thomas Garvey's Hub Review. Garvey was good enough to point out that:

The topic is a fascinating one - the legacy of Catholic anti-Semitism on a very Boston-College-like campus that is, of course, not, not Boston College.

Garvey is correct: The student newspaper in the play does not even have the same name as any Boston College student publication and due to my utter lack of imagination, I did not even bother to name the school in the play. Though many theatre artists have an antagonistic relationship with critics, as we see, critics fulfill an important function clarifying such misunderstandings that the audience might have. The notion that a graduate of Boston College might write a play set at Boston College, while an easily made error, is clearly ludicrous when examined with a critical eye.

But on to the evening's main event:

Unlike last time, there was not an inarticulate Hamas supporter accosting actors and audience members as they approached (a friend reports that Rolde has also been absent from his usual activities loudly denying war-crimes in Darfur.)

However, we were not without minor crises of a more theatrical nature. John M. Costa was called away at last moment; and thankfully, though it amounted to unconventional casting, Trudi Goodman was on hand. Trudi was already reading the small role of the unnamed campus police officer, but was up for the role of Richard Doncaster, Dean of Students. The the result was plenty of unintentional comedy as actors either did or did not improvise around the changed gender of the actor! Trudi was great, by the way, and I really need to think about writing roles for her to play if I'm going to continue with this playwright thing.

As the audience filled in, and we waited for a couple of late arriving actors, I noticed a far larger turn out than the last reading. In fact, every seat in the room was filled and I even gave up my seat and spent most of the time perched on a coffee table in the back of the room.

I scribbled notes and corrections in the back as I read along with the actors. Though the play was only two pages shorter than the previous draft, the rewrites had made for a faster pace ("crisper" was the adjective used by some of the returning actors.)

I'm definitely much happier with this version, though I still feel that the pace seemed to slow down right in the middle-- not as much as with the previous draft-- but it's something I noticed. One audience member noted that including intermission, the run-time was two hours and twenty minutes and a that's too long in my mind for there to be a slow moment. The audience seemed divided as to whether the play was just a little too long or just the right length.

Another observation: I really need to put a pronunciation guide in the play. There are French, German, Hebrew, Latin, Polish, and Yiddish words and place names scattered throughout the script.

Most of the audience comments were positive though there were a few interesting questions:

One audience member wondered why at a Catholic school, why one of the key characters be so clearly identified as a lapsed-Protestant (perhaps not so unusual in the United States, but the speaker had spent some years living in Ireland) yet she also gave me kudos for properly using the term "deconstruction."

Another felt I should expand on my allusions to a certain Jewish prophet but also thought I should run the play by a Catholic theologian to make sure I am accurately representing doctrine. (Probably good advice, even though I did research the theology pretty carefully and did get an "A" in my Thomas Aquinas class in grad school.)

One of my young commedia students asked if I plan to write a sequel. No plans for writing a sequel and no intention of revisiting the setting, but there are certain themes and even a character or two I might want to revisit.

One audience member took such a dislike to Donald (played by Mikey DiLoreto) and attempted the argument that Donald was a supernumerary character. Mikey's job is safe though if for no other reason than some of the biggest laughs came from Donald's vulgar mouth, though the look on Mikey's face was priceless (sadly, I was taking notes at the time and so had pocketed my camera.)

Kate Heffernan (who played Edith) made this playwright very happy when she noted the revelation of the lack of a conspiracy which had been foreshadowed from the very first act-- despite the fact that Edith isn't in any of the scenes where this motif is brought up.

There were a number of other interesting side conversations between the actors and audience about the themes that the play explored but not necessarily about the the writing itself-- but interesting enough for me to ponder as as I consider rewrites.

Afterwards, people grabbed a few more bites of cheese and chocolate and cleared out. I was surprised that everyone shied away from the hummus.

Nika and I met several days later to go over the reading (it's useful to have the stage manager's opinions since she was more proximate to the actors during the reading than I) and we were able to unravel what differences were the result of a rewrites since the previous reading and which differences were the result of a change of certain cast members. We agreed that the cutting away of extraneous material brought certain characters into sharper focus

I still need to tighten Act III.

October 11th: A Staged Reading of Total War @ Outpost 186

Total War, a semi-finalist in the 2009 Dorothy Silver Playwriting Competition, is a five-act play set at a Catholic university where the student newspaper has published a Holocaust denial advertisement. Before faculty, students, and staff can begin the expected dialogue on free speech and religious pluralism, an anarchist-cell using the nom de guerre of “Total War” begins a campaign of guerrilla art attacks.

Last time I staged a reading of Total War, at Cambridge’s Outpost 186, the event was picketed by a lone protester with several signs and placards who accosted both audience and actors as they arrived.

The reading will feature the talents of local actors, including: John M. Costa, Mikey DiLoreto, Lou Fuoco, Trudi Goodman, Kate Heffernan, Dan Schneider, Savanah Shaughnessy, Tom Sprague, Kendall Stewart and Matthew Zahnzinger. Anika M. Colvin-Hannibal will stage manage.

Though a work of fiction, Total War was inspired by events I witnessed while attending graduate school. The play explores the history (and potential futures) of Jewish-Catholic relations, historical memory, and the conflict between grass-roots activism and institutional power. It is a story made timely after the recent scandal regarding Vatican’s recent lifting of the excommunication against the anti-Semitic Society of Saint Pius X and its Holocaust-denying Bishop, Richard Williamson.

Facebook users can RSVP here


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Call for Actors: Staged Reading of "Total War": October 11

N.B.: As of September 1st, Trudi Goodman will be playing the Officer.

N.B.: As of September 20th, Kendall Stewart will be playing the role of Erica Weiss. The roles of Jonah and Duane are still open.

N.B.: As of September 22nd, Dan Schneider will be playing the role of Jonah Gringer. The role of Duane is still open.

N.B.: As of September 30th, Matthew Zahnzinger will be playing the role of Duane McCormack.

Having found the previous staged reading a rewarding experience both in terms of working with the actors, and degree to which it gave direction to the rewriting process, I will present a reading of the latest draft of Total War. Once again, the reading will be on Sunday, October 11, at 8pm at Outpost 186 in Cambridge.

Most of the cast has elected to reprise their roles but I will be be recasting the some of the roles. As this is simply a reading of a work in progress in front of a small audience, there will be no blocking. My concern is not so much the look or age of of the actors but their interest in the story and enthusiasm and insights into the characters. I will be available to answer any questions actors have about the characters prior to the reading. I will schedule read-throughs with any actors not comfortable with a cold reading.

To quote the press release:

Total War is a five-act play set at a Catholic university where the student newspaper has published a Holocaust denial advertisement. While faculty and staff attempt to show solidarity with the small Jewish community on campus, an anarchist-cell using the nom de guerre of “Total War” begins a campaign of guerrilla art attacks before a predictable dialogue on free speech and religious pluralism can begin.

If you are an actor and this sounds interesting, continue reading:

Dramatis Personae:

Jonah Gringer: Male, mid-to-late 20s. Jewish. Graduate student in philosophy at a Catholic university. His views and actions tend towards absurdism and non-violent anarchism

Erica Weiss: Female, early 20s. President of Jewish Student Association, at a Catholic university. Senior in political science. Were it not for the anarchists showing up in Act II, she would be the protagonist of this play.

Duane McCormack: Male, early 20s. Editor-in-Chief of The Dustbowl Pulpit, the student newspaper. He attempts to be a responsible student journalist but is perhaps the only person on his staff to realize how ill-equipped they are to cover the situation his paper has helped create.

Campus Police Officer: Appears in only one scene; would be doubled in an actual production. Professional, but with a sardonic sense of humor.

I'm sorry that my budget does not allow for a stipend for the actors, but snacks and beverages will be provided. There will be a talk back session after the reading for the actors and audience to share their observations.

Interested? Drop me a note about the role that interests you. Resumes are helpful but not necessary.

After the Staged Reading: Rewriting "Total War"

A couple of weeks ago, I completed the latest set of rewrites to Total War. It was an intense bit of work that began with a trimming of both the longer passages and more philosophically dense passages and an extension of the more character driven drama, trying to expand upon some of the ironies that Thomas Garvey noted during the talk-back session at the end of the April 26th staged reading.

Another important structural element was seeing that each of the five acts had their own themes, and that an epistemological question dealt with in the first act did not need to be reintroduced in the fourth act except in the most oblique manner.

Trudi Goodman, who had also been in the audience, had some interesting notes about the derivation of the Yiddish slur, "shiksa" that also managed to find its way into the rewrite.

Mikey DiLoreto's reading of the character of Donald was somewhat unexpected and caused me to rethink the character to a point where I recited the mantra of "Donald is the type of guy who..." whenever I worked on a scene in which he appeared.

The final stage of the rewrite was helped along by the sudden arrival of summer weather in the first week of July, during which I could spend some time on my back porch along with my modest garden of basil and mint plants with a copy of the script, a pen, and a large mug of coffee, proofreading, and cutting unnecessary repetitions. Every twenty or thirty pages or so, I would get out of the sun, and type up those changes.

The result is a draft with a stronger ending (oddly enough, revolving around the same three characters), more character-based drama, and a shorter page count.

The next staged reading is booked for the evening of October 11, once again at Outpost 186, but I'm going to wait a few weeks before I start putting a cast together. Afterwards, I will see what else I need to change.

The Staged Reading and What I Learned

Cast of the April 26th reading of Total War at Outpost 186. Note that Anthony DiBartolomeo has been replaced by Stuart G. Levy. The author regrets not taking more photographs.

Despite whatever the lone protester outside of Outpost 186 during the staged reading of Total War was attempting to do, the main event was inside.

Over the previous few days of read-throughs with some of the actors, and conversations with my stage manager, Anika Hannibal-Colvin, certain problems with the current draft became evident. Corrections were often made on the fly and and some notes regarding the next draft were written down. Some of these issues were reaffirmed when I listened to the staged reading with script in one hand and a pen in the other.

Before I engage in some-lengthy self critique, I should note that on the positive end, most of the comedic banter seemed to work, the more poetic florishes were effective, the characters came across as fleshed out, and the audience seemed engaged by the subject matter and storyline, but I had not produced the reading for the purpose of self-congratulation or solicitation of allocades. The purpose was to identify the flaws, and to give direction to the next rewrite.

The Reading:

As I listened, I noted that the second scene of the first act, which had been effective as a piece of written text and would likely work well if staged by a competent director, is dreadfully boring as a purely spoken text. While there are a few good dramatic moments in the scene, but it's basically an info-dump. I still think the play needs the scene, but the scene needs trimming.

The repetitions through the play were not nearly as bad as I feared during the read-throughs, but "not nearly as bad" does not mean "great."

The last scene was somewhat anticlimactic (as I had feared,) and while I am certain a good director could stage it so that it would be more dramatically satisfying, it seemed to me that the director's job is not to make up for the authors' short-comings.

The Talk Back:

Nika took charge during the talk-back, allowing me to take a minimal role in the conversation that followed between the audience and actors. I tried to take whatever notes I could, since the goal was neither to explain nor defend the work, but to listen to others.

Andrew Hicks, amongst the actors, was the most forthright in his criticism of over-reliance on "dialectics" in certain scenes. If I understand correctly that he means philosophical back and forth about epistemology that strays away from the more concrete issues explored by the rest of the play. Jonah, the character Andrew portrayed, certainly should be concerned with epistemology, but for him to go on at length about epistemology without reference to Jewish-Catholic relations or Holocaust denial (the two historical issues the play dwells upon) amounts to a distraction and fails to convey how intertwined Jonah's emotional and intellectual life are. Some of the audience (again, otherwise engaged by other aspects of the story) stated that they felt somewhat alienated in those sections.

A number of other notes from the audience concerned simply placement of scenes, or emotional content of specific scenes. One phenomenon I noticed more than once was that when members of the audience (even in one case, a veteran actor) questioned the emotional tone of certain scenes or relationships between the characters, the actors playing those scenes were quick to defend the emotional aspect. This, I suppose, might a consequence of the very different ways the actors and audience experience the characters.

While some would balk at inviting a critic to attend the reading of a work-in-progress, Thomas Garvey's presence was invaluable during the talk-back. Besides complementing my use of several layers of irony, and his exploration of the less-than-noble qualities of the protagonist, he keenly identified the central conflict arc, and how it failed to advance beyond a certain point, though also pointing out that to fully develop this arc would require a substantial rewrite.

Observations:

The play is not hurt by the research I conducted, but there is such a thing as putting too much of my research into the dialogue. The characters who are motivated by ideology (whether political or theological) were made authentic by the research, but if I made an error, it is that I felt the need to present a logical proof of their authenticity.

Scenes are weighed down by dialectics about historiography, truth in the post-modern era and theology, and a few audience members reported not being able to follow the discussion even if they were engaged by the rest of the story. It's not just a matter of shortening these passages: the lines from these scenes that use more metaphorical or allegorical language are more successful: they convey the emotion and they give the actors and audience more with which to work. After all, Plato's dialogues are rarely performed on stage, and to the extent anyone outside the world of Plato scholarship remembers any part of his ouvre, it's because of a notable allegory or sensual subject matter. Those who enjoy dialectics should be able to extrapolate the argument from the poetry, but for the rest, give them poetry.

I was working with a smart group of actors, but there were several points where I let them down at times by inserting jokes that not only required specialized knowledge to understand (and therefore deliver) but they were further obscured by the fact that the script did not even provide a hint to the actor as to where the could look up the concept being lampooned. (Even from my perspective, they were not the funniest jokes in the play.) Telling the actors (as I did to Andrew Hicks and Tom Sprague during the read-throughs) that "deliver anything that looks like a joke as a joke" simply isn't giving the actors a chance to inhabit the characters.

And now, to begin the rewriting...

Total War Picketed in Cambridge!

Before I recap the staged reading of Total War, a process that has helped me immensely as a playwright attempting to develop his first full-length play, I have have to share with you the performance that was going on outside of the venue.

The reading had attracted a protestor. Total War is primarily about Jewish-Catholic relations, and secondarily about Holocaust denial, it doesn't portray student journalists in a very kindly manner. So one might imagine that a reading, which has been mostly promoted through the blogosphere and social networking sites, were it to be protested at all, might be protested by, say, a traditionalist Catholic group, but instead we have:

Close-up. Slight photo manipulation to make signs more legible. Note Hamas-flag and rejection of a two-state solution to Israeli-Palestinian conflict on signs.

This is not the first time I have encountered this man, who, as one can see, practically wraps himself in the Palestinian flag. He first came to my attention when he and a group identified as Boston Anti-Zionist Action (BAZA - website hasn't been updated in over a year) were heckling a bill of genocide survivors who had come to speak at a rally in solidarity with the people of Darfur. I later discovered that his name was David Rolde, former Party Secretary of the Green-Rainbow Party of Massachusetts, and at least as of October 10, 2007, was still listed as serving on the GRP State Committee. (On October 29, 2007, Nathanael Fortune, Co-Chair of the GRP informed me, that Rolde had resigned from the party.)

The oddest thing about Rolde's "protest" was that Total War is not about any aspect of the Middle East conflict: it's about Jews and Catholics. However, this did not stop Rolde from shouting "Jewish murderers!" as nauseum in a whiny voice while partially blocking the footpath between Outpost 186 and the sidewalk. I suppose he takes his street performance anywhere there might be an event that could be termed "pro-Jewish."

Periodically as the actors were preparing, I would step out onto the patio of Outpost, unable to restrain a chuckle as I could not make any sense of why he was protesting Total War. Eventually, I called out to him something along the lines of:

"Excuse me, do you know what tonight's play is about?"

To which Rolde responded, "It's a play about Holocaust denial but you're denying the genocide in Palestine! You're a Holocaust denier!"

"I'm not sure you understand the meaning of the word 'genocide.'" said I, only to take on a more condescending tone, "You could, of course, use the word to mean anything you please just because you know is has emotional resonance, but that doesn't mean you know what you're talking about. Would you like to come inside and see the play and maybe learn something?"

Rolde scuffled a few feet down the sidewalk so that my view was largely occluded by the fence. He quieted down for a few minutes. I have no idea of he scared any potential audience members away, though he apparently had a verbal altercation with at least one late arrival.

Next: The reading itself, and what I learned.

April 26th: A Staged Reading of "Total War" @ Outpost 186

Cambridge, Massachusetts, Sunday, April 26th, 8pm:

Ian Thal hosts a staged reading of his play, Total War, at Outpost 186, located at 186 1/2 Hampshire Street, Cambridge MA.

Total War was recently named a semi-finalist in the 2009 Dorothy Silver Playwriting Competition. The reading is an opportunity both for the author to develop the play through listening and for an audience to experience a stripped-down version of a work-in-progress. A talk-back will follow the reading.

The reading will feature the talents of local actors including: Dale Appel, Anika M. Colvin-Hannibal, John M. Costa, Anthony DiBartolomeo, Mikey DiLoreto, Lou Fuoco, Kate Heffernan, Andrew Hicks, Lesley Anne Moreau, Krystle Spoon, and Tom Sprague.

Total War is a five-act play set at a Catholic university where the student newspaper has published a Holocaust denial advertisement. While faculty and staff attempt to show solidarity with the small Jewish community on campus, an anarchist-cell using the nom de guerre of “Total War” begins a campaign of guerrilla art attacks before a predictable dialogue on free speech and religious pluralism can begin.

Though a work of fiction, Total War was inspired by events Thal witnessed while attending graduate school, exploring the history (and potential futures) of Jewish-Catholic relations, historical memory, and the conflict between grass-roots activism and institutional power. It is a story made timely after the scandal surrounding Vatican’s recent lifting of the excommunication of the anti-Semitic Society of Saint Pius X and its Holocaust-denying Bishop, Richard Williamson.

Facebook users can RSVP here


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Cast for Staged Reading of "Total War"

In the process of learning that self-producing a staged reading is harder work than I expected, I have assembled a cast of players to help me with the April 26th reading of Total War at Outpost 186:

Duane McCormack: Anthony DiBartolomeo

N.B.: Stuart G. Levy played the part of Duane on April 26th.

Edith Havilland: Kate Heffernan

Donald Crincoli: Mikey DiLoreto

Jonah Gringer: Andrew Hicks

Andrea Kunst: Krystle Spoon

Father Aldobrandini: Lou Fuoco

Erica Weiss: Lesley Anne Moreau

Father John Bullock: Tom Sprague

Richard Doncaster: John M. Costa

Campus Police Officer: Dale Appel

Stage Directions: Anika M. Colvin-Hannibal

Still Seeking Actors for Staged Reading of "Total War"

I've received several responses already, but I am still seeking actors to round up the cast for the staged reading of Total War which was recently declared a semi-finalist in this year's Dorothy Silver Playwriting Competition.

The reading will be held at Outpost 186 in Cambridge, MA on April 26th. The primary purpose of the reading is to allow me to hear the dialogue spoken aloud, and thus aid my rewriting process.

Interested actors should consult the character breakdown.

Call for Actors For Staged Reading of "Total War"

As part of my development process, I have decided to self-produce a staged reading of my play, Total War taking place on Sunday, April 26th at 8pm at Outpost 186 in Cambridge. I am now recruiting actors to assist in this process. As this is simply a reading of a work in progress in front of a small audience, there will be no blocking. I will not so concerned about the look or age of of the actors. I will be more concerned with their interest in the story, and their enthusiasm and insights into the characters. I will be available to answer any questions actors have about the characters prior to the reading.

To quote the press release:

Ian Thal hosts a staged reading of his play, Total War, a five-act play set at a Catholic university where the student newspaper has published a Holocaust denial advertisement. While faculty and staff attempt to show solidarity with the small Jewish community on campus, an anarchist-cell using the nom de guerre of “Total War” begins a campaign of guerrilla art attacks before a predictable dialogue on free speech and religious pluralism can begin.

[...]

The staged reading is for an audience to experience a stripped-down version of a work-in-progress, and an opportunity for the author to listen to actors and solicit feedback.

If you are an actor and this sounds interesting, continue reading:

Dramatis Personae:

Duane McCormack: Male, early 20s. Editor-in-Chief of The Dustbowl Pulpit. a student newspaper.

Edith Havilland: Female, early 20s. News Editor of The Dustbowl Pulpit.

Donald Crincoli: Male, early 20s. Associate Editor and photographer for The Dustbowl Pulpit.

Jonah Gringer: Male, mid-20s. Jewish graduate student in philosophy at a Catholic university. Andrea’s lover.

Andrea Kunst: Female, early-20s. Junior in geology, Jonah’s lover, work-study student in office of Doncaster.

Father Aldobrandini: Male, early 40s to early 50s, Professor of philosophy, Jesuit priest. Ideologically opposed to Bullock.

Erica Weiss: Female, early 20s. President of Jewish Student Association, at a Catholic university. Senior in political science.

Father John Bullock: Male, early 40s to early 50s, Professor of philosophy, Jesuit priest. Ideologically opposed to Aldobrandini.

Richard Doncaster: (Male, late 30s to 50s) Dean of Students at a Catholic university.

Campus Police Officer: (Male, late 20s to 50s) appears in one scene and likely doubled by the actor playing either Aldobrandini, Bullock, or Doncaster.

The role of Doncaster might be doubled by that of the actor playing Aldobrandini.

A reader for stage directions will also be needed.

I'm sorry that my budget does not allow for a stipend for the actors, but snacks and beverages will be provided.

Interested? Drop me a note about which roles interest you. Resumes are helpful but not necessary.

Do It Yourself: The Staged Reading

Once I concluded that my script for Total War was in such a condition that I could not really improve upon it by simply rereading it, I followed the advice of a few friends and decided to start submitting it to different theatre festivals, series, and workshops in order to get a staged reading.

A staged reading is not a full production. It is a stripped down affair in which actors simply read from scripts. It's an opportunity for the playwright to listen and determine if the written word translates well into the spoken word and solicit feedback from actors and audience members. The objective is to turn a work-in-progress into a stage-ready play.

While I have thus far, according to my spread sheet, submitted Total War to sixteen different venues just to be considered for a staged reading, I am still waiting to hear from fourteen of them: one rejected my script, and another received enthusiastic response from a staff member who, only a couple months later, was to suddenly leave her position (also leaving my play and me without a sponsor.) Even though I was actively researching opportunities, the fact that I was waiting on other people's judgments had made me feel passive.

What could I do? It's not as if Total War is a solo-piece like Arlecchino Am Ravenous which I can perform on my own in lieu of a poetry reading, or at some alternative art-space off of the theatre circuit, using the rehearsals and each performance as an opportunity to revise the script (as I submit it to festivals as well, possibly to be performed by other actors.) Total War is an ensemble piece, and a very ambitious one at that.

Finally it dawned on me: Why was I waiting on other people? When Cosmic Spelunker Theater was still active, I booked us anywhere I could, whether the space was a theatre, dance studio, art gallery, night club, or loft space. It was a lesson I had learned from punk rock: DIY (Do It Yourself.)

So I did it myself and booked a staged reading of Total War at Outpost 186 for Sunday, April 26th. It's entirely possible that someone will have said "Yes, we would like to hear your play" between now and then, but at least the play's fate is back in my hands.

Next on the agenda is finish the press release and recruit some actors.

Drinking Kool-Aid with Dead Artists

The Boston Foundation last month issued a report entitled "Vital Signs: Metro Boston’s Arts and Cultural Nonprofits 1999 and 2004" where it suggested that smaller arts organizations consider "[e]xiting the market" (page 9.) Curious, as while the Boston Foundation is a philanthropy, it only gives grants to largest of arts organizations-- indeed as Bill Marx reported this past August, to the Citi Performing Arts Center whose internal financial dealings appear to be quite suspect.

Ian Mackinnon, in response, sponsored an "Art Die Off" at Outpost 186 where those of us in the arts community could apologize for not becoming bigger arts organizations and simply die. Purple Kool-Aid and chili was provided. Big RED, and Shiny's Matthew Nash reported and Christian Holland took photographs.

In an entirely extemporaneous speech, I apologized for co-founding a mime troupe in the Boston area, when clearly, the art-form in question was ultimately unacceptable, as evidenced by the failures of Pocket Mime Theatre Company, Mirage Mime Theatre, and Cosmic Spelunker Theater to become major Boston institutions. I apologized for the fact that Cosmic Spelunker created Waltzing to War before criticism of the U.S. invasion of Iraq had become mainstream, I apologized for performing in just the sort of spaces that the Boston Foundation feels should "[exit] the market." I even apologized for confusing the audience by often performing mime while reciting poetry-- it's bad enough to work in a medium or genre that does not fit into the appropriate disciplinary pigeon-holes but to combine it with another genre in a manner that defies expectations?

Ultimately, as the purple Kool-Aid took effect, I did die, landing on my back with a nice loud thud by means of the most elegant prat-fall I have ever taken.

Markus Nechay, and Alisia L.L. Waller of And So No Sin and Mobius Artists Group (which should "exit" because despite recently opening a new space, they are simply not large enough to be seen as viable by the Boston Foundation) also presented. Eric Zinman provided musical accompaniment.

We're dead, and all of you dance companies, small presses, tiny art galleries, and small theatre troupes are next.