Who Knew Neil Simon Could Be So Educational?

Students from the Camden Community College Theatre Department in Blackwood, New Jersey, recently produced Neil Simon’s THE STAR SPANGLED GIRL and did a superb job producing the play in record time! Student performances were great, the lighting and sound spot on, and the set quite remarkable.

With the exception of professional shows, most plays these days are produced in five or six weeks. The CCC production team had only four weeks. One of those weeks was committed to technical aspects of the show, so not much time for tweaking–not that it seemed to need much.

Three actors and thousands of lines, blocking and direction were memorized, then executed as intended by the playwright. That’s putting it all in a very small “nut shell.” The performances made the show and most of the pressure was on them to make it work. The cast did a did a pretty good job, despite working unfamiliar material. I can’t imagine they were familiar with Neil Simon’s unique style.

With the exception of direction and technical support, this was a student-run production. A full-length play with only three characters means a lot of work, including building the set–and a lot of time management, especially for students.

Actors: Trent Davis-Rozycki (Norman), Julian Class (Andy), and Katheryne Koch (Sophie) all made the audience smile, chuckle and groan in fabulous Neil Simon fashion.

THE STAR SPANGLED GIRL is challenging from the start. Simon’s plays require a special comic timing and rhythm. And even though the play is 47 years-old and the cast half that age, the CCC cast managed to put on a first-rate production of a difficult play.

Although some might call the play dated, I think this cast would disagree. In some ways this play is not typical Neil Simon. It wasn’t one of his big successes on Broadway, but it still holds up–and it’s relevant today.

In 1967, half the U.S. population was divided on a number of subjects, especially politics. And today, only the protests are different. Is it comforting to turn back the clock and see we haven’t changed? I don’t know. That, perhaps, is why we should pay attention to the world around us. And, theatre helps us do that.

Theatre often provides a vehicle for time (or dimensional travel to another reality), as well as a mechanism for implanting and clarifying ideas.

The theatre arts are a collaboration of many individual arts, with a single purpose. Sometimes, that purpose is to make us laugh at ourselves, at our foibles as humans. These arts include music (even if it is in the background or between scenes, it affects our perception), movement and dance, creating sound and lighting effects, sometimes even puppetry, and, of course, drama.

THE STAR SPANGLED GIRL takes place in 1967. In a small 1960’s-styled apartment. Its occupants are roommates engaged in publishing a protest magazine. To get us to that point, the theatre must use the arts of scenic design, realistic painting, and decorating. Music embellishes the period, effectively placing the audience in 1967.

After the show, the student actors and student technical staff of THE STAR SPANGLED GIRL sat on stage for a “Talk Back” for the audience. I was surprised most of the audience stayed to ask questions not only about the play, the actors and their experience. I was pleased with the answers.

These community college actors spoke of their burning desires to perform their art, and their intentions to continue as long as possible in the theatre arena. This conviction comes at a time when most students haven’t clue as to their future, so it is surprising in freshman and sophomores.

None of the actors said that they wanted to be a “star,” and each realized his or her passion might be limited or last only so long. Actors aren’t always limited by their ability; more often, they are limited by the world and opportunities around them. College is the time to show them the reality of what they want to do.

I asked a seemingly unrelated question. I asked if the actors saw a connection with psychology or sociology (hinting at deeper understanding), and all three students agreed most definitely that they viewed theatre as a way to see and explore how other people think and behave.

When asked why they did theatre, the students didn’t respond that they loved the applause, but more importantly that they viewed their experience as an opportunity view society, thus, giving them wider perspectives about the world around them.

“Who knew theatre could educational”–even Neil Simon?

 A note for Neil Simon fans, critics and others who may regard his work as simplistic. His plays are simple, but ask yourself if you are laughing at the simpicity or because there is truth between the lines. His one-liners are entertaining, but beneathe that sarcasm is a message for theatre-goers. Simon has contributed more than thirty plays and almost as many films to the entertainment industry. He has won one Tony, had numerous Tony Award nominations and won many other awards. His style relies on one-liners, sarcasm that has an almost slapstick effect, but at the same time, his characters can be poignant and make more a serious point–all the while his story makes us laugh at the stereotypes he captures for us.

The Reality of Being Human – a Musical About Love in The Road Company’s Triumphant THE COLOR PURPLE

Kim Spencer as “Shug” Avery and Danielle Harley-Scott as Celie. Photo by David Gruen

Resilience and Redemption

Audio Voiceover.

“Unlike any other art, the total, intense focus of theatre is on the human being, his or her existence, and his or her relationship with life. It is a part of human nature to need to examine who we are in relationship, with where we are. Consequently, basic elements of theatre and drama exist in every society.” Debra Bruch, PhD – from her work at the University of Michigan, The Experience of Theatre.

This is one answer to the question of why we go to the theatre; however, there are many more. We also go because we love the magic, we like to feel, and we want to be entertained. In pure theatre terms, it is cathartic, allowing us release our hearts and souls through the art.

All of those things were present, in a full house on a Thursday opening night, when I saw THE COLOR PURPLE, THE MUSICAL at The Grand Theatre in Williamstown. The Road Company’s production is remarkable: an exuberant, emotional rollercoaster of the resilience and the redemption that love can bring.

THE COLOR PURPLE, based on the Pulitzer Prize-winning novel by Alice Walker, features music and lyrics written by Brenda Russell, Allee Willis and Stephen Bray, with a book by Marsha Norman. On Broadway from 2005 to 2008, it earned eleven Tony Award nominations, winning one for one of its actors.

This is the story about Celie, a woman who undergoes tremendous cruelty in some of its harshest forms, recovers and grows stronger still, and eventually takes charge of her life without depending on others. The time is the early 20^th century in rural Georgia.

Dev Eagle as the Preacher, Bryan Pitt as Mister, Danielle Harley-Scott as Celie. Photo by David Gruen.

After bearing two children, fathered by her stepfather, by the time she is fourteen years old, Celie is forced to marry a man, whose sole intention is to use her as a slave, taking care of his children, his farm and him. Known only as “Mister” in the first act, he finds her “ugly,” while two women he really wants have rejected him.

SPOILER ALERT.

From the early high-energy gospel scene, you might think THE COLOR PURPLE is about the spirit of religion, but it is not. Not really–although you could say our characters are re-born, and ultimately remind us of the wonder of the world. It is a grim reality to start with, exploring the depths of human cruelty—with humiliation, physical and mental abuse and slavery.

The musical explores the enormous heart and strength we have to survive and thrive after experiencing the cruelty of our fellow man. What doesn’t kill us, makes us stronger echoes throughout the play. Surprisingly, race plays a very small role, and purposely so.

Benita Simpson as Sophia and John Clark as Harpo. Photo by David Gruen.

THE COLOR PURPLE is full of contrasts and juxtapositions, pitting wretched misery against the cheerful and beautiful in song and dance.

The most telling songs, though, are the quiet, simple numbers; the more raucous ones seem designed to thrill an audience with vibration rather than give it something to think about. The music is very good overall, and the singers divine. It’s good to stir these emotions, and remind us we are human.

Spanning four decades, this dark tale is an unbelievably vibrant, vivid and victorious celebration of life. The Road Company production of THE COLOR PURPLE was indeed powerful in all the important ways that matter to the theatre–the acting, the music, the dance, the costumes and the lighting. What could be better for a show that celebrates anything than lights changing the set’s colors scheme? Steve Pracilio’s lighting design fleshes out the scenes brilliantly. Ruslan Odintsov’s musical direction provided the perfect sound for the sweet and soft songs to the bold and brash ones.

Danielle Harley-Scott as Celie. Photo by David Gruen.

Director Suzanne Baldino-Jones did an amazing job of staging so many scenes with so little set, but the fantastic ensemble cast helped with its ability to remove the focus from environment and turn it over to the action. By itself, the set: a southern tree, steps with a voluminous background and front porch, doesn’t seem like much at first. Arthur Leo Taylor’s choreography, amazing in its diversity, takes advantage of any leftover space onstage and, and sometimes, in the aisles. There hardly seems time to breathe without action of some kind all over the stage. It’s not that an elaborate realistic set wouldn’t be nice; it’s just not needed.

However, when the scene changes to Africa, everything seems jarred out of place, with the play suddenly becoming as big as the real world. Then again, since the characters are growing rapidly, so should the world around them. Perhaps there is more relevance than we might think. The tribe in Africa, Nettie discovers, is as proud and as hard as her own people back home in Georgia, USA. The music pounds in the second act, revving the audience for a finale. The stronger the beat, the stronger the characters we’ve come to admire, and the stronger we become.

Danielle Harley-Scott is ideal as Celie, sweet and meek in Act I, ferocious and fearless in Act II. Benita Simpson’s “Sophia” exemplifies a woman with a tough exterior but soft inside. Bryan Pitt as “Mister,” singularly great in both acts, seamlessly makes the transition from the cold, callous bastard of the first act, to the reverent man in the second. Kim Spencer’s “Shrug Avery” is enchanting as a temporarily defeated woman who finds the strength to come back, making the audience watch her every move as Celie does. John Clark does a fine job as “Harpo,” Mister’s son who struggles to be his own man, and B. Lauren Thomas is truly engaging as Celie’s sister, Nettie. The singers are astonishing.

The first act is eventful, serious and taut, while the second act goes wild and so does the audience. The Road Company’s THE COLOR PURPLE, THE MUSICAL, brought the audience to its feet with thunderous applause and without hesitation. While the story is dark and gloomy, the end leaves you with an odd feeling inside, tears in your eyes and a smile on your face.

THE COLOR PURPLE runs through November 8.

THE COLOR PURPLE
Based on the novel by written by Alice Walker and The Warner Bros./Amblin Entertainment motion picture
Book by Marsha Norman
Music and Lyrics by Brenda Russell, Allee Willis and Stephen Bray
Directed by Suzanne Baldino-Jones
Choreographed by Arthur Taylor
Music Direction by Ruslan Odintsov
The Road Company at
Grand Theatre
405 S. Main Street
Williamstown, NJ 08094
http://www.roadcompany.com

GODS–A Mythical Reality

A Real Beginning for Rob Kristie’s GODS–A Mythical Musical at The Grand Theatre.

We have all seen directors cringe as they watch a production they have directed after leaving it in the hands of cast and crew. Imagine if you wrote the script… In this case, Rob Kristie wrote the book, music and lyrics for GODS—A Mythical Musical that was “performed” on the Grand Theatre’s stage in Williamstown, New Jersey.

GODS is Kristie’s second original musical. The first was entitled THE DOLL–a Raggedy Musical, which began as a staged reading at the RITZ Theater in Haddon Township, NJ. Later a full production evolved with eight performances at the Sketch Club in Woodbury, NJ, and that musical was nominated for a Perry award in 2011 for OUTSTANDING ORIGINAL MUSICAL.

Rob Kristie’s GODS was a different kind of stage reading for me in that it was a musical, and therefore contained more elements than the standard play reading. A review of a staged reading is not unheard of, but it, too, must contain the reflection and comment in a proper perspective.

GODS—MYTHICAL MUSICAL took place at the Grand to a nearly full house to see if this pared down realization of his idea resonated with an audience. While the staged reading experience with amplified acting, music, sound effects, and lights was unusual, it was necessary. Obviously if a play contains music–well, that has to be audience-tested, too. With the bigger audience, there was more opportunity for proper input. Hence, The Grand Theatre was a great venue choice.

Edith Hamilton’s Mythology—a book many of us used in school–about the Greek, Roman and Norse gods whose dalliances with humans created an exciting bridge to an immortal world inspired Kristie.

The world in which the gods operate is a little different now. While active in ancient times, the gods (all of them) exist in a passive state, coming to Earth only to observe or participate briefly without getting involved.

As you might expect, immortal gods and mortal humans once again collide. This time it’s on a cruise ship at sea. Here, a beautiful goddess catches the eye of a handsome British performer, and they fall in love at first sight. Of course, they can never be together—or can they? How does a human prove worthy to a god(dess)? For that matter, how do any of us prove our worth to  the guardians of someone we care about? Naturally, there is more, but I don’t want to spoil it for you. We must not anger the gods.

The musical is essentially an interesting variation of “boy wins girl,” “boy loves girl and she loves him,” “girl loses boy,” and “boy gets girl back.” All that and be careful not to anger the gods.

We see the world briefly from the eyes of the gods. We see a detached but meaningful look at world society today. The characters are interesting and the music is engaging, while the story takes us back to our childhood studies of human beliefs.

Making theatre magic is not as easy as it looks…and that is because most of the productions we, audience members, attend have had the benefit of testing, and changes and/or adaptations suggested by another audience.

In this setting, the audience must create each scene in its mind while attending to the action on stage…so the experience is participatory to say the least. The actors/singers themselves have to produce art with the barest of direction, seeing their characters in a stage designer’s environment, in a production that hasn’t happened yet. However, the audience must try to do so as well. Actual productions would differ with the casting and directorial vision. In Rob Kristie’s GODS –A MYTHICAL MUSICAL, there appears to be plenty of room for production style variations. That’s a good thing.

Kristie has created an extra character, a narrator, to tell the audience the stage directions. Accidental or not, the narrator, played by Glenn Fennimore, was quite entertaining and presented an intriguing element in the theatrical storytelling not unlike the mythology itself. Nine actors/singers, including Fennimore: Jeff Blomquist, Cierra Olmo, Danielle Dipillo, Lani Campagno, Chuck Gill, Steve Pracilio, Amanda Peacock and Tyrone Fuimaono gave enthusiastic, finished performances on stage.

The music was consistent and lively with catchy lyrics, although a couple musical numbers and dialogue among the gods seemed to slow down the action in the second act. The first act ended in a “chirp,” rather than an exciting change. A tableau of frozen character action might have achieved a stronger effect or depth of change. Or, a stronger song. Or, any number of theatrical devices. Perhaps, even the opposite of a tableau—a dance number—might achieve the same success.

It takes a staged reading to see those very comments emerge.

Although all the songs had merit, one number in particular stood out for me. It had a country feel to it rather than the typical “musical theatre” sound. By itself, it seems out of place, but such a good song deserves to be heard, and maybe more with same “difference.” Then, the GODS musical would be distinctive indeed.

Theatre is a collaborative art that has to start somewhere. Somewhere is not always a theatre. It is often a bare room with actors sitting around a table with a small audience looking on. Kristie has done better than that in having both staged readings in established theatres and by doing so was able to add more elements, i.e., sound effects, music and some lighting. Ultimately it will be he who will weigh and make the decisions to sublimate his art.

A staged reading is the first time an audience sees the beginning of theatre magic. It works without the benefit of direction, blocking, creating and setting, costuming and lighting a stage—essentially the minimum of what appears to be the beginnings of a theatrical production. If the “reading” is a musical as this one, the instruments are basic as well. From this, the creator solicits feedback intended to improve the work. A brave move, but it is the next step.

As an actor who has collaborated on several original plays and screenplays, I can tell you that bringing an original work to the stage takes nerve, but it is an exhilarating and innovative time for all involved. Even for the audience. Harder work is ahead.

Of course, this is not really the beginning for a production; the creator has decided it is time for audience input. Long before that, friends and family members gave their input. Often, it takes years for the theatre artist’s conception to fruition on stage even in its barest of forms.

It’s good to see this one made it. The best is yet to come.

For more on GODS – A Mythical Musical, check out its Face Book page.

GODS–A Mythical Musical
Written and directed by Rob Kristie
Coming soon to a theatre near you.

Vicious Reality in David Mamet’s Pulitzer Prize-Winning GLENGARRY GLEN ROSS

Clip from the film. Instead of swimming with sharks, these real estate salesmen are vicious jackals and hyenas—feeding off each other, while moving in on each other’s kills—or leads, contracts, etc. These salesmen will do anything to close a deal. When their competitors, each other, or even contrary prey affect their ability to survive, they attack as suits them.

The Eagle Theatre’s production of GLENGARRY GLEN ROSS stunned the audience tonight and won them over with its portrayal of cutthroat, backstabbing, conspiring, conniving, lying and stealing, willing-to-do-anything real estate salesmen fighting to keep their jobs and/or avoid seeing one of their competitors walk away with an extra prize.

David Mamet’s Pulitzer Prize-winning play opened originally in London, and a year later on Broadway. Nominated for several Tony Awards, it won one. It also won several other awards, too many to mention in this forum. Later made into a film, GLENGARRY GLEN ROSS received much critical success despite the disappointing box office, proving that Mamet was not for the broader audience.

This production has it all, including rat-a-tat monologues and overlapping dialogues requiring fierce acting, raw language, weaseling, and smooth-talking characters. Naturally, violence follows when the characters are frustrated and unable to reach their goals. Director Ted Wioncek III and his ensemble cast guarantee vicious action over two days of the sales’ competition.

Intended to be a black drama, GLENGARRY GLEN ROSS is not a realistic representation of sales people today, but rather one that makes its point as each character reveals a certain primitive darkness. Hate, distrust, jealousy, worry, fear and anger abound. Congeniality, friendship and love are absent, except when someone hopes to gain an advantage.

It’s easy to see our characters reduced to scavenging, which includes a lot of positioning with claws bared, lashing out at everyone. We see the protagonists begin as a pack of wild animals, no longer able to compete in its environment. Faced with a goal that seems impossible to attain, they struggle and fight for survival. Together, they are hungry and desperate for game, feeling the pressure of being corralled, starved and desperate, knowing at least one of them most certain to die, and one shunned (fired).

The animal pacing is quick. The brutal landscape abounds with rocks, crevices and a few valleys, but never a flat field–or level playing ground. It is a mixed metaphor, I know, but it seems appropriate.

Mamet’s play raises some interesting questions as our “sales” animals roar, bark, and growl at each other.Do our characters ever recognize the consequences of their primeval behavior? It seems we, human animals, are capable of similar behavior in the face of high stakes, unfairness in the workplace, or even losing our ability to perform–to achieve as we once did.

However, when we raise the stakes too high or make achieving them impossible, do we put aside our values–our morality to gain an advantage? Are we simply predatory animals? What separates us from the beasts and makes us human? Animals in the wild avoid confrontation; they attack only when threatened in some way. When facing hostility, we return it.

How are we supposed to act when we see someone taking advantage of us or someone else? How bad does a situation have to be before we lose our veracity, our conscience or our ethics in seeking reward?

The answer is simple. There are times and situations that bring out the animal in us. Mamet, without saying it, reminds us that jackals will eat anything and hyenas have the most powerful jaws, but warns that jackals and hyenas are not as ferocious as some others are.

Lions, leopards and cheetahs will prey on jackals and hyenas if nothing easier to kill is around. Even vegetarians such as an ox or elephant can do them harm. The animal metaphor is mine, not Mamet’s, but I think the animal behaviors hold true.

The Eagle Theatre has certainly earned the name “South Jersey’s Premier Equity Theatre.” Its operation is a “class act” and a tough act for any professional theatre to follow.

Here, it again does not disappoint. From the moment you walk into the theatre you feel something big is about to happen. The bar is center stage (uh-oh, not the Wine Bar; that’s to your left as you walk into the theatre.) The Act I set background works well as bar or restaurant wallpaper, rich and elegant, but also is reminiscent of an old theatre or a circus drape.

The set was interesting and the lighting quick. The scene changes were in a total blackout, or so it seemed to the audience. The first act is shorter than the second—opposite of what you might expect—but gives the audience a perfect introduction.

The theatre company has done a remarkable job with a very tough work. David Mamet is never easy. His repetitive lines and overlapping sentences require the most talented actors. GLENGARRY GLEN ROSS is a different experience for many theatregoers.

The harsh language is appropriate in this play’s context, giving it a raw, primitive feel. Contemporary drama doesn’t get much better. It is an amazing acting feat to perform such rapid monologues with overlapping dialogues, but the cast was up to it. There was also a rhythm to the steady flow of words—the flow purposely interrupted by intense physical action like a cat lashing out.

This production’s worth the trip from wherever you live.

GLENGARRY GLEN ROSS
Written by David Mamet
Directed by Ted Wioncek III
April 25 – May 7, 2014
The Eagle Theatre
208 Vine Street – Downtown
Hammonton, NJ 08037
609-704-5012
http://theeagletheatre.com/

Originally posted by Jack Shaw for Stage Magazine.

 

 

Visceral Reality in Sam Shepard’s TRUE WEST

South Camden Theatre Company’s production of Sam Shepard’s TRUE WEST rocked audiences with its intensity and powerful performances primarily by the play’s leads, Jason Cutts as “Lee” and Patrick Alicarlo as “Austin”. The cameos by Breen Rourke and Kris Andrews provide the right touch as well.

Robert Bingaman’s set is perfect. Andrew Cowles’ lighting design contains beautiful sunrises and sunsets, and Josh Wallenfels’ great sound pulls us even more into the house in the desert.

TRUE WEST is the story of two brothers who come home to where they grew up–about 40 miles outside of Los Angeles—in one of the many desert family communities. The brothers share little in common: Austin has lived a “normal” life having gone to college, gotten married, etc., while Lee has survived the desert and in life, primarily by being a thief. Dad is a drunk and lives somewhere in the Sonoran desert near Juarez, Mexico.

While his mother is on an Alaskan cruise, Austin, an accomplished screenwriter from the city, is house-sitting for her, and his brother drops by to prey on the neighbors’ household appliances. Austin objects to Lee’s intentions, but eventually allows him to stay–if he is out of the house when a film producer arrives that afternoon. Lee returns from a heist while the producer is still there. Instead, he talks the producer into a playing golf and looking at an outline based on an idea he has for a screenplay. Austin helps his brother with the outline, but not without humiliating his brother by overstating his own successes.

The next day, Lee returns jubilant after gambling on the golf game to get the producer to drop Austin’s project and produce his.

You can imagine the sparks that fly next. Sam Shepard is one of America’s most prolific and celebrated playwrights with his work fitting a variety of stages. Shepard, known for narration in his plays, uses short quips and retorts to send his message this time, but the message is as powerful as always.

Why does Shepard place his story about sibling rivalry among other things in the desert location? It seems distance and their mother may be buffers between the brothers’ polarity. They seem to be trying, quite literally, to bust each other’s head in. Lee, of course, leaning more toward his dad’s side, argues vehemently that Austin couldn’t survive in the desert or steal a toaster. This time, Austin is on the defensive. Each tries to emulate the other, but there is no connection. Is that the message? Maybe we are supposed to be who we are for ourselves and no one else. Or, do we need a buffer, too?

Although their father never shows up, he is at the heart of the play. One brother refuses to be anything at all like his father, while the other is already showing signs of the same pattern in his life. Shepard’s plays continually pick at the father-son relationship. In this case, the sons are “bound by fate” to follow the father however dismal the future.

Despite Robert Bingaman’s realistic scene design (and it’s a good one), the emotional intensity of the brothers’ battles ensure that this production is not realistic, and stays on point. Even with the outstanding sound and lighting effects that draw us into the scene. We are stuck there as the brothers are, tied to home, the last place we knew who we were. If anyone yelled at us, the way these two carry on, we’d leave the house or call the police.

While the play could be played with less volume —especially in a small house—and still work, I’m glad director Christopher “Jumbo” Schimpf chose to go with the playwright’s intention, which I think, gives energy to his message.

What we might think, Shepard realizes and makes us see. Sam Shepard’s plays, like any good playwright’s, are not about the stories he or she tells.

TRUE WEST is full of symbols, motifs and meaning, but it is also quite entertaining. It is a dark comedy, but so full of emotion that it doesn’t feel like it. Remember, it is not a farce, but a Human Comedy, so you can expect it to affect you deeply. Bring tissues. The play is funny, sad, angry and full of despair at times.

The South Camden Theatre Company production of TRUE WEST does a great job of reminding us that we, too, can fall victim to what people say, and that we should strive to be true to ourselves. The acting performances alone are worth the price of a ticket, but you should go for the whole deal.

TRUE WEST
Written by Sam Shepard
Directed by Christopher “Jumbo” Schimpf
April 25 – May 11, 2014
Fridays and Saturdays at 8:00 p.m.
Sundays at 2:00 p.m.
South Camden Theatre Company
Waterfront South Theatre
400 Jasper Street
Camden, NJ 08104
866-811-4111
http://www.southcamdentheatre.org

Originally posted by Jack Shaw for STAGE Magazine.

Check out this video with Gary Sinise and John Malkovich.

The Good Parts

The lifeless Bio figure (what was left of it), suspended in a translucent, golden-colored, gem-hard substance, its biological eye stuck nearly popped out from his wretched skull, his look frozen in time like an insect preserved in amber from the moment it had been trapped 20 million years ago. The only difference was that the man—what was left of him–still lived. He did have a body of sorts now.

The hexahedron slab of amber, some ten feet high and four to five feet in diameter, hung in the air without apparent support. There were no visible wires or chains. Beginning its descent into a green colored vat below, it rotated on an invisible axis, spinning slowly, causing the image of the Bio inside to appear as a distorted, disjointed, disfigured form to anyone who might see it. Once there, the opaque amber gemstone began to melt as it touched the green nano-gelatin. What was amber in color was now green. As the chemical reaction took place, the man melted, too, becoming a creature hardly recognizable, a blob of cells. Yet he lived, held prisoner in the glassy green gelatin composed of tiny single cell-size nanocyberts that were rearranging his cells to form connectors to his nervous system so his new stainless steel and titanium body would answer to his once human brain. Hidden in the microscopic Cyber design, of course, was Makr’s will.

Am I leaving out the best parts of the novel when I give you snippets? Yes, I think I am. Most of what I have taken is from the front of the novel when characters are first introduced. The piece below is taken later in the novel. It could be a spoiler for you if you are planning to buy the book anyway, it’s one of the “good parts.” Spoiler Alert!

Physically he would never see, hear or feel like he did before, but he would have sensors with far greater capacity than his original Bio sensory organs. Had he dreamed up this transformation himself, he would have been delighted to lose his ugly exterior. He had always wanted to be smarter and stronger, but that hadn’t been humanly possible. However, it was Cyber possible. He was what he was and that was that. He wanted more—more of everything he was and what Makr would make of him. He wanted to be smarter and stronger. Could he also be invincible and more powerful?

A voice boomed in his head again.

“You’ll have all you desire and then some. You will indeed be more of everything; you won’t be a Bio anymore, but you’ll be a perfect product of Makr. You’ll be something totally new. You’ll be a creature feared for its power. You’ll be among the giants of this new world.”

With those last words, Harlan Leach’s moment of ecstasy was nearly over. His lifetime of horror had just begun.

Sickening, hideous images.

In his mind, he saw his own body sucked into a machine, shredded and regurgitated. He witnessed his own death—in stringy spaghetti threads of humanity swirling about until it all became liquefied and one substance. He saw Death waiting patiently. He grieved for himself. He felt a loss knowing someone very important to him had died. Was there any such person? He didn’t think so. Now he knew that he was the one who had died. No one else would feel his loss; he was sure of it. He had no specific memories of anyone who might care—not even the parents who had abandoned him as a baby.

Suddenly, unbelievable pain. He felt a hundred heartbreaks and disappointments, as many fleeting moments of happiness, and unbearable loss. Soaring joy. Unfathomable sadness. Memories. Past. Happy. Sad. Remembered. Forgotten. He sensed he was screaming. He was screaming! Nothing came out! He couldn’t scream without a mouth. He heard screams all around, but not his own. The eternal agony of others… He knew the awful helplessness of being Bio, fragile, trapped and doomed! In a millisecond, he sensed an explosion, a tearing apart of his own soul… Hopelessness! He wailed. He moaned. He became one of the screamers. Once he was with them, they stopped screaming and were singing.

Then, no singing. No voices. No sound. Now music. No music. Nothing. No! Memories gone. Who? No matter. Feeling content. Warm, comfortable, cozy, secure. Makr! The man, who no longer remembered he had been anything, realized he was not alone. There were billions like himself. And, yet, he still felt alone, totally alone. Although he knew he must be in a factory where Bios lost their minds and were reconditioned, but this—this had to be different. The Bio man, Leach, awoke, a little tired, but otherwise not feeling worse for wear. Whew! What a dream, he thought. Then he noticed it. It hadn’t been a dream! He discovered the shocking truth. His body was gone. In its place were shiny, finished metal structures. It was only his Bio mind that remained. Had he a mouth he would have screamed. Actually, he had a way to speak; however, Leach had not figured out how to use it yet.

Worse than that, Makr had left him most of his tongue (minus that part that had been bitten off) and a single human eye.

It is always interesting taking another deep look at your work. You think, “Wow, was I that profound,” or “that clever?” But you also say, “I think it will work better if I say it this way.” So, I made some minor changes over a couple of days and republished at both Amazon and Smashwords. Both have their advantages. Harry’s Reality is now available through both Amazon in kindle format and offers a free app, and Smashwords in many formats, including mobi format, which is for kindle, with instructions on how to download to your device. There, of course, is only one way to read between my lines…

Reviewing: A Bridge to a Novel

Jessica Lynn Kramer (playing Beatrice Carbone) and Gary Werner (playing Eddie Carbone) in A VIEW FROM THE BRIDGE at Haddonfield Plays and Players. (Photo credit: Tommy Balne)

 

Just finished writing my review of A VIEW FROM THE BRIDGE for STAGE Magazine and to my chagrin it was excellent. I say that not because I wanted it to fail–not by any stretch, but as a critic it is rare for community theatres to get the most out of modern drama. Granted, VIEW is one of Arthur Miller’s less cryptic plays, but its stern acting demands and subtlety for a powerful result are there and Haddonfield Plays and Players in Haddonfield, New Jersey pulled it off extremely well. And, I’m was proud.

This reviewing experience once again got me thinking about how much I love modern theatre. With a well-written script, the message between the lines is evident, the symbolism effective, and the story as a whole very satisfying. In theatre terms–cathartic. I remember writing a piece on this forum some time ago on what a reviewer or critic should be. What a review or critique should be is an educated opinion and so much more.

A good reviewer should offer perspective, representing the play to an audience even if it is not the his or her kind of play. I find that professionals know better. Here’s the other article so you don’t have to search this blog site for it. You might find the answers surprising. So often, people (audience’s too), performers, crew and directors alike think a review is a matter of opinion; however, are quick to use the reviews when they are positive and even use parts of the review out of context to promote the show.

Perhaps reviews are opinions–to some. Some certainly are that, and some reviews don’t deserve to be called reviews at all; synopses or reports might be a better terms. The term “review” is often interchangeable with “critique;” however, critique sounds negative so most publications stay with review. As with anything, there are good “reviewers” and bad ones. The tone of a review is can depend on editorial policy as well.

Reviewers themselves who are afraid to hurt feelings say nothing negative, forgetting there is tact and constructive criticism. Of course the opposite is true, too. There are those reviewers who lack tact. This usually why a major newspaper speaks with one voice. The scope of the internet has made that almost impossible. What might be nice now would be a set of rules for reviewers to follow. By the way (and I’m not suggesting this is it, but it’s a start), I have a e-book that I published a while ago, Acting Smarts Reviews Local and Regional Theatre that you can download for free on the site. You can also view previous reviews and articles on the STAGE Magazine link on this site.

I am also in favor of previews where a reviewer would come to the theatre before the open and watch the show in late rehearsal, asking questions and offering suggestions. It’s a win-win. The theatre receives the benefit of another set of eyes and reviewer will learn why some decisions were made. Oftentimes, there are reasons that some choices are made by the director that seem wrong to the reviewer, but may not be helped for technical reasons. Perhaps another blog.

I studied reviews of Pulitzer Prize-winning plays from 1920 to 1980 and what I found was that even in major newspapers like the New York Times during that period, the role of the reviewer was not well-defined. Often it depended on what socialite star was back for a returning role, or just an opinion–often with little tact. It was only later that we began to see the more academic analysis that grew along as the legitimacy of the theatre arts grew. Not only can you get an advanced degree, even a talent-based BFA or MFA, in Theatre, but you can specialize in many aspects of the art. Besides experts in acting and directing, there are theater administrators, stage management, dramaturgy and theatre history experts because theatre matters in the world.

Why does it not follow that those who view theatre should not benefit from a person who understands how theatre works, what playwrights intend in their plays, how theatre presents important messages to humanity? Why don’t most theatre companies, especially community theatres see reviewers (good ones) as a boon to them today–as a chance to see what the audience is seeing, to see if the company did the playwright justice, or even better, to improve on the power of his or her message, and to learn the basics of good theatre they may not know, or have forgotten?

I suppose that is why I went from being a literature major in graduate school to literary criticism to working on an interdisciplinary degree with theatre culminating in performance criticism. I saw so many similarities on the face of a good novel as I do in a good theatre performance. A good theatre performance is as complex as good novel. Many people don’t see that. I wonder, do many novel readers go to plays? Then, again, I don’t see many of my theatre friends doing much novel-reading; they read mostly plays and are great observers of life. Of course, the latter is what they have in common with novelists. That same ability to become one with the world is what makes both a great novelist and a great actor.

Honestly, I Tried to Be a Good E-Book Reader

Honestly, I’ve tried recently to be a good book e-reader, but I keep coming back to my “old’ friends. I find too many agendas and surprises out there and disappointments. I think everyone is like me. I think I wrote a book, while probably not a best-seller is worth a look, but it may not get a serious review because it is e-published. I went the rounds with conventional publishing. I think my novel is too thoughtful, too layered and the science fiction does not go far enough out of today’s science.

I can easily write and publish the what I consider the easy stuff, the how-tos, the 5 steps, the sure cure, the secrets of; unfortunately, I save that for my blogs for which I write two, along with dramatic criticism. Even with my blog articles, I resist the “easy,” making them real commentary. I know some writers aren’t going to like what I’m saying so I guess this is a rant.

My science fiction doesn’t take place in space and the world hasn’t been totally annihilated until only a few survivors are struggling to live. I don’t think we’d get that far. I think we’re too smart, but we will make some mistakes along the way. My novel is about that.

I wrote and published early in life and took a long hiatus to work in a different world (still writing), but nothing has really changed since then. As a performance critic (it has a double meaning – literary and performance) I have a standard for the art, perhaps it is a classic standard, but essentially, it means the work must move me, make me feel something, do something more than entertain. If a book does just entertain, it better do that better than anyone else. As for the gimmicks and self-help, I abhor them, but some people need them like they need other simple pleasures like reality TV–to each his own. Some people abhor ebooks without knowing them. And, we need history books to tell history. Physics books to tell physics, etc. Is there a reason they have to always be on paper?

Wait! Change is hard, but students could use a break.

The publishers still hold the key to “making” it–even if you are the publisher, because it then becomes up to you to invest, market and sell your book even if it is garbage. We’ve all seen garbage marketed and consumed by the public. Whoever that publisher is.

A vetting process to get reviewed? Sounds a lot like conventional publishing. And then I get reviewed? Someone should just read the damn book. I might as well try to publish hard copy and wait a year to hear it doesn’t meet what the current market will buy, which is code for I have enough blockbusters in my inventory.

Enough vent. Sorry. So it goes in the writing business.