I blog about lots of things. And this blog is almost eleven years old. I like to keep track of what people who follow the blog like to read, and how people find the site who have never visited it before.
I have hidden certain posts for the time being, those which aren’t very interesting and yet seem to drive traffic to the site. The one on Chef Boyardee, for example, receives hundred of clocks a year. And the death of Eliot Ness. If that’s why you came here, you might never return.
This is a list of the most popular posts written in the year 2020.
A fascinating, pandemic-era return to a script originally written and performed for live audiences of thousands in schools and libraries, now packaged for safely viewing at a distance.
From time to time I have provided a self-assessment, where I am in my work. What has been happening in general. How is my mental and physical health. These often drop when I have been away from the blog for a bit.
Zelda
At this point I was taking a vacation, and reflecting on three hundred days of consecutive writing (I am currently on Day 465) and what had transpired since then, the death of my mother, the pandemic, and even good things, like a show I had written that was about to virtually “open.”
Each April I read one full-length play from those posted at New Play Exchange. This was one of my favorites, written by Kimberly Belflower, and has been receiving a great deal of deserved attention. The title of this play was actually the inspiration for my most recent full-length; the working title was “John Bender is the Villain,” but I have since changed that.
The recent passing of producer and choreographer Ann Reinking brought me back to this one, an examination of how to break down the “great man” theory of history.
A document of the last live, public performance of a play I saw in a theater, the night of Friday, March 13. This melancholy celebration was only appropriate.
This one gained traction no doubt because the film had just dropped and folks were interested in that. But it generated a great conversation about adaptation, woman-centered narrative, and modern themes presented in period drama.
A letter from my grandfather to my college-aged mother, posted a few hours before my mother died. It is only just that this was the most visited and shared post of the year. It’s a good letter.
"High (short play)" (Center for Arts Inspired Learning)
2020: The Big Cancel.
Last week WaPo theater critic Peter Marks made the argument for a cabinet level position for the arts, a Secretary of Arts and Culture, if you will. And were not living in a nation which has always been and remains a reactionary, Puritanical society I might hold out hope for such a move, a champion for the millions of arts workers and the hundreds billions of dollars a year that are tied up in the arts.
As things stand, the performing arts are either on hold or online. Even with a vaccine on the horizon, current estimates suggest it will be another year before we are safely congregating in large numbers.
Like so many writers, I had projects in development which were canceled, or postponed. But I was also one of the fortunate creators whose work either went online, turned into something else, or whole new works were developed as a result of the pandemic.
In chronological order:
"The Witches" Jailyn Sherell Harris, Adrionna Powell Lawrence
Sherlock Holmes Meets the Bully of Baker Street (Great Lakes Theater)
We began rehearsals for this year’s outreach touring play a few days after my mother died. Three weeks of rehearsal and fifty performances later, the show closed on March 8. At the end of that week, the office downtown was closed, and it remains so to this day.
The Witches (Cleveland Public Theatre)
We had our first read-through of this new play script in late February. It was to be workshopped at Cleveland Public Theatre over one weekend in April. We had to replace one of our actors, and had a single rehearsal with the new team on Tuesday, March 10.
A couple months later I returned to that space, mask on, disinfectant at the ready, to use for an entirely different project, and the rehearsal table was still there, with additional copies of the rehearsal calendar lying around, one of the actors had left their script. It was all just waiting there for an acting company that never returned, a project abruptly abandoned.
What began as a feverish writing project took on a life of its own after the shutdown began, as I put out a call for folks to use my two-to-three page scripts and make short videos out of them, staying within CDC distance guidelines. And they did, over seventy individual, short films, created by artists from all over the county (and even overseas) with imagination and heart. Watch them all here.
50 Hamlets (Great Lakes Theater)
As we were striving to continue offering educational programming to the schools which have come to depend upon it, we were also learning ways we could take advantage of the opportunities presented through modern technology to bridge time and space. Arts educators who have proudly called themselves “actor-teachers” reaching back forty years collaborated to create this unique artifact from the beginning of the shutdown.
The Famous Victories of Henry the Fifth (Brave Spirits Theatre)
As we were all learning how best to navigate Zoom recordings, I accepted a role in this live performance produced by Brave Spirits Theatre in Staunton, VA. They had plans to stage a slate of history plays, pre-Shakespearean works, many of which the Bard used as template for his own, more famous plays. They moved production online, and I learned an awful lot about the limitations of the medium, and also its tricks. Brave Spirits announced their dissolution on November 21, another financial casualty of the pandemic.
"Savory Taṇhā" Hillary Wheelock, Zyrece Montgomery (Cleveland Public Theatre)
The Way I Danced With You (Culver City Public Theatre)
As we were all learning how best to navigate Zoom recordings, my friends at Culver City Public Theatre were presenting bi-weekly new play readings through the summer, and this romantic two-hander was part of that line-up.
Savory Taṇhā (Cleveland Public Theatre)
What began as a feverish writing project took on a life of its own when I was asked to curate a selection of short plays to be produced live via Zoom. We were all trying to figure out how best to share the experience of live theater utilizing available technology
Sherlock Holmes Meets the Bully of Baker Street (Culver City Public Theatre)
Plans were made for the folks in Culver City to present another one of my works as their annual, free summer offering for families. Instead, they created a lovely, recorded adaptation of the play which started my year.
"Sherlock Holmes Meets the Bully of Baker Street" Richard R. Rosales (Culver City Public Theatre)
Residency On Demand (Great Lakes Theater)
Like many arts organizations we have been trying to figure out how to reach our students. They are either still working from home, or those schools that are open are not permitting visitors. We rethought our lesson plans and created a makeshift TV studio in our rehearsal space, and have started piloting live classes. I can’t tell you how good it feels to get back into schools, even at a distance.
Untitled Pandemic Play Script (NEOMFA)
All of my doubts and anxieties have been distilled into a play script for two women actors and one set. The comment I am perhaps most grateful for from the workshop reading was, “I am surprised I get into this play so much.” Now it just needs a proper title. I mean, it has one. But I think I have to change it.
Thinking about calling it “Goatfucker.” What do you think?
Brian Knoebel as Alma Tadema-Lawrence (CCPT, 2020)
Last night was a treat. Chennelle and Chelsea joined us for some late summer, socially-distanced deck time so we could watch the premiere of the Culver City Public Theatre (CCPT) production of Sherlock Holmes Meets the Bully of Baker Street.
This is the second production of that script. The folks at CCPT, who produced Rosalynde & the Falcon last year, were intending to offer performances of About a Ghoul to their audiences as their annual, free, outdoor summer show for families. Things being how they are, they thought a mystery might be better suited to the medium.
At first they considered a live “Zoom” performance, opting instead for something pre-recorded, with surprising results!
California is three hours behind us, so I made the mistake of thinking last night’s 6:00 PM showing would be during one of my classes. When I finally put it together that it would be, in fact, at nine (eastern) … well, then I thought I might see it. I might not. I haven’t been sleeping well. I might wait and see it this weekend.
Richard Rosales (left) in "Rosalynde & the Falcon" (CCPT, 2019)
I told all of this to Chennelle late in the afternoon and she invited herself over -- which was just all right with me! We rarely see each other (we all rarely see anyone anymore, of course) and besides, she originated the main character of Vicky for the inaugural production for Great Lakes Theater.
I don’t just mean she was the first to perform the role, either. I wrote it for her. I was so happy to get to watch this with her.
We all sat out on the deck, beneath the fairy lights, six feet apart, drinking seltzer in the open air, on an appropriately cool September evening, and were treated to an engagingly loopy COVID-era production.
Richard Rosales is the titular detective. He played the King in CCPT’s Rosalynde in the park, and brought his high haughty humor to the character of Sherlock Holmes as well, while Ashley J. Woods as Vicky is like a Covent Garden flower seller channeled by Catherine Tate’s schoolgirl Lauren Cooper, and they make a charming pair of sleuths.
King Edward busts a move.
Scene-stealers include Brian Knoebel who was killing it with his drag renditions of Miss Barnaby and boho artiste Alma Tadema-Lawrence (he left us cackling with glee) and the precious young Maggie McKissick as Annie, the orphan, in an actual curly red wig and moppet’s dress.
Director Marina Curtis Tidwell did not merely direct a play, she produced a TV show, complete with music and Pythonesque animations. Marina truly did a remarkable job keeping the edits tight and timely.
Each actor created their own scenes in their own homes, provided costumes, backdrops and set pieces by the company to give a coherent look. The production would not look out of place on your local PBS station, a playful mystery for kids with some historic educational value and a strong anti-bullying message.
First Reading (August 25, 2019)
They were even able to incorporate the “choices” that are intended to be offered to a live, child audience -- “should I do A or B?” In this case, the actor looks at the camera to consult the viewer (a Blue’s Clues moment) though in this case the outcome is predetermined.
It is shocking to me, shocking, that it was one a year ago that a number of us clustered together on our deck to hold the first reading of this script. Chelsea and Chennelle were there, too -- Chelsea reading Vicky and Chennelle the Barney track. If we knew then what we know now, right? It is a mystery.
When I was in college, I used to make a mixtape every summer. I referred to it (to myself) as a “junk tape.” It was intended to be a document of the season, because I love summer so much, even when I hate it.
If there was a song I was listening to a lot, I’d add it to the tape. A movie I discovered at the video store, I put a snatch of great dialogue or music on the tape. Or moaning. You get what I’m saying.
Bumpers from Sunday Progressions, maybe I would record myself reading one sentence from a novel or a comic book. I still have them somewhere, from 1987, 1988, 1989, 1990 …
The 1991 mixtape was the absolute best. It was a complicated summer, the tape begins from when I left Los Angeles, and chronicles my being single in my new apartment, trying to rekindle a relationship, meeting people on Coventry, getting kittens, waiting tables, having troublesome one-night stands.
The following summer I was partway through creating my Summer 1992 mixtape when it, the 1991 tape, and my car, were stolen in New York City. I made summer tapes for a couple years to follow, but it was always with a sense of sadness for their lost brethren.
Rosencrantz & Guildenstern (1991)
The summer of 1991 still exists, of course, in my memory. Not many photographs, not much documentation, but I was there. Out there, on the street. Performing at open mics in the yard, handing change to addicts, listening to my roommate have sex, meeting characters. Laying the groundwork for my adulthood. But there is still an emotional gap, and it is recorded onto that lost cassette.
Now, unlike then, I have documentation. Gigabytes of documentation. But will this summer be absent in other ways? Because of everything that did not happen, or happened at a technological remove.
Will we hold memories of good times when our senses are not entirely engaged? All the cocktail parties, trivia nights, play readings and performances, did they actually happen if the people we interacted with were not in three dimensions? Have no odor? No observable feet?
CAMP THEATER
Trying the think back even two months is taxing. Each Friday I think, again? And yet, I will retain fond memories of this year's virtual Camp Theater!
However, though we all have made fascinating and in some cases groundbreaking discoveries in online and distanced performance, nothing compares to the energy of young people brought together to play and work, to act, dance, sing and combat, to dress up and stage work together, and I hope we never have to do it this way again.
Chase Kneuven & Alexis Long (Culver City Public Theatre)
THE WAY I DANCED WITH YOU
Our friends at the Culver City Public Theatre were forced to suspend their spring production of Romeo & Juliet -- and also their free, summer production of About a Ghoul, my children’s play adapted from Moroccan folk tales.
In lieu of these events they have hosted a series of virtual play readings, and I was very happy to witness their reading of my play The Way I Danced With You, directed by Lauren Bruniges and performed by Alex Long and Chase Kneuven.
Even better, they are currently in the process of creating a full, virtual production of Sherlock Holmes Meets the Bully of Baker Street, which will be presented on select dates next month.
Topsail Island, North Carolina
NORTH CAROLINA
Okay, I don’t want to get defensive about this but, okay? We went on vacation, and not just anywhere, but we went to the beach. I know what you’re thinking, you’re thinking, “what the fuck were you thinking?”
Look, it’s not like we went to Florida. I wasn’t soaking in a hot tub with two hundred strangers, I wasn’t soaking in coronavirus soup. My mother-in-law had rented a beach house before it all came down and we weighed our options and thought, well. We know this place. The beach is not crowded, we will social distance, be together as a family. No hugs, no handshakes. We’ll dine-in and enjoy the sun and try to create some sense of sanity.
I am reminded of freshman year at school. First years were not permitted to do acting work. As an extracurricular I volunteered to be a DJ for the green radio station, and one of my classmates mused that I had found a way to still be vocal and creative, even if I couldn’t do so onstage. It felt like that, almost like getting away with something.
Brian Pedaci & Zyrece Montgomery (Cleveland Public Theatre)
The fact that I conducted the final rehearsals and all of the performances from a beach house felt even more transgressive. This is how I get my kicks, I guess.
We had barely been home before driving off again, this time to Flood’s Cove. Heading out, I thought it was an unwise decision, and not for the obvious reasons. I have never arrived at the Barnstable without my mother there waiting for me. Stepping into that empty, unprepared cabin, was a challenge but I held it together. We closed the door to the first floor room she used to share with father, and just last year with Jacques.
My wife, my son, and I (the girl has a job and stayed at home) only this trio dined each night at the table which was traditionally full of Hansens and Bakers, Thayers, Kosboths and Tanskis. I wondered why I was there, was I there for me, or was I merely holding a place?
But as the week progressed, I felt my own place. The boy and I would fish, or he would fish and I would read and we went out on the water and I began to feel my own sense of ownership. And I knew I would return.
Many grateful thanks.
ESTATE SALE
Settling my mother’s estate has been a multi-level process, one which should have been resolved months ago but for the virus. Every time I go there I feel as though it will be my last, first to assess the estate sale team, bringing everything she has ever owned (she has owned, but also what he parents owned, eight decades of belongings) to be sorted, priced, and sold.
It was overwhelming. This is why you pay people to do things you don’t have the heart to do.
The sale was successful, ask me for a reference. I was out of town for the weekend itself, I was glad to be literally removed from town. But I still needed to return to haul out the garbage, the useless leftovers, the junk. The unwanted artifacts.
Waiting for the guys to come, the junk men. Lying on the floor of the dining room, the same space mom occupied in her hospice bed as she died. I hoped it would be poignant, that there might be some epiphany but mostly I just looked at my phone and dozed. CENTER FOR ARTS-INSPIRED LEARNING
As the summer was drawing to a close, I was contacted by Giorgiana Lascu at the Center for Arts-Inspired Learning (formerly Young Audiences of Northeast Ohio) to provide some short play scripts for her teenage interns as part of their end-of-season program of events. We spent a crazy morning pitching out scripts and her charges were very excited about getting to work on them.
In the past five months, folks have created nearly seventy-five short films from these scripts. I have actually backed away from writing as many, recently I have been playing with dialogue between a mother and daughter and I am not sure where that is going to go yet, but it is an exciting new journey.
Meantime, it does my heart glad to look back over the summer, to see it book-ended by Camp Theater, and by this project, enjoying the work of hopeful young people.
THE DECK
Five years ago we had our deck rebuilt and since that time I have taken loving care of it. We have expanded the furniture to include shelves and a small table, found on someone’s curb.
Houseplants and candles and twinkle lights and now it is as though we have added an entire new room to our modest abode. And we write and we read and we drink (we’ve recently cut the drinking) and relax and create and do our best to enjoy what we have and to make our way through.
I am anxious about the time we all have to go back indoors.
Thank you for listening to my Summer 2020 junk tape.
For the past several years I have taken a moment before the school year begins to reflect upon the fleeting days of summer. What does "summer vacation" mean to adults? Well, we do have school age children, and are each professionally tethered to the academic clock. We work, but we also play, and enable play.
The opportunities during warm weather months are great, and we endeavor to take advantage of them. This year my wife and I celebrated twenty years married, my daughter and I watched all of Stranger Things 3 over the course of two days, the boy and I went fishing. And there was so much more.
Beck Center for the Arts
KING LEAR
Feels like a million years ago now, but the summer began with a five weekend run of King Lear at the Beck Center, directed by Eric Schmiedl. Performances were only three a week (Fri, Sat eve & Sun mat) and there was something about that schedule which made performance much less of a struggle than a traditional, non-professional four show a weekend schedule. Just that much more manageable.
And yet, the focus I needed to exhibit, the hyper self-awareness, to conduct myself as this stoic, wound-up character. At times it was maddening, walking out in the lead, having the first line for this three-hour ordeal. One night, I cannot even comprehend how this happened, my tongue lost control and I stuttered my first line, in its entirety. It was through a supreme effort of will not to lose all confidence right then and there. I do not know how I was able to remember the rest of my lines.
Contemporary Youth Orchestra
JASON MRAZ
Working as an actor in a play (as opposed to writing or directing one) is that you are compelled to attend every performance. This is one of the reasons I don’t like acting, but only one of them.
As a result of this selfish commitment, I missed out on the opportunity to see my daughter perform with Jason Mraz. As a violin player with the Contemporary Youth Orchestra, she had been working on his catalog all spring, taking three days of rehearsal with this incredibly charming pop star culminating in two sold out performances at Severance Hall.
I was welcomed to one of the rehearsals, which was a delightful consolation prize.
Great Lakes Theater
CAMP THEATER!
Teaching middle school students to improv can be very challenging, and for a very good reason. Young people can be emotionally abused for making themselves look silly.
A: Help me to milk this water buffalo! B: Uh, no.
The basic tenet of improv is YES, AND which is to say, agree to what is being offered and then add something to it. This year during Camp Theater! we had a camper who was not only very good at this, he raised acceptance to a new level. Shaun and I noticed that whenever someone made him a suggestion, he would not only agree, he would say, “Excellent!”
A: I have created for you a new dress made entirely out of termites! B: Excellent, they will go so well with my new maggot boots.
It was the introduction to an inspiring summer of discovery.
Culver City Public Theatre
ROSALYNDE & THE FALCON
While I have had a number of my published plays produced in other cities, this was a first -- one of the works I wrote for Talespinner Children’s Theatre was being revived, and on the west coast, too! Culver City Public Theatre produced Rosalynde & the Falcon. Not only that, but it was an outdoor performance, offered for free to area families! And you know I love free.
ROAD TRIPS
July was an odd month, in that I shared a bed with my wife for perhaps one out of every three days. This is no sign of marital tension or anything like that, we were simply not in each other’s presence. She spent a week on silent retreat in Kentucky, we traveled separately to and from Maine, and I took my daughter on an extended weekend to New York City.
We visited potential schools on that journey, something we also accomplished driving home together from our Maine vacation by way of Providence, RI. My son and I drove there the week before, enjoying authentic Buffalo, NY buffalo wings and spying fancy cars.
Come From Away
COME FROM AWAY
For three years we have been subscribers to the KeyBank Broadway Series at Playhouse Square, and in all that time I was never so unprepared to be completely delighted and moved by a musical like Come From Away.
Come From Away is a magical illusion, with songs that still echo in my head, a small company, their everyday wear belying the speed and specificity with which they assume dozens of characters, to tell a story of tragedy without leaning into the tragedy (we all know the tragedy) instead focusing on what the best people do for each other no matter who the other people are.
One of our dates for the evening pointed out how refreshing it was to see a cast of characters who were entirely adults, and I have to admit I hadn’t noticed. Was that it? I polled my friends on Facebook, wondering if younger audiences preferred, for example, the teen-directed Dear Evan Hansen, but I received almost universal praise from all ages for this special Canadian musical … which did not win the 2017 Tony Award for Best Musical, whereas that other play did.
Story Board
WRITING "HOLMES"
Just the other day, Missy asked me about my writing process, and I have had a number of different processes, which is only correct. I am a creature of habit, but breaking them is as significant as adhering to them.
To complete the new touring script, I spent just one working week away from the office. I gathered all the notes I had made, then went into the attic to find an old cork board so I had a place to post them. I used drawing paper to create a “story cloud,” connecting one plot point to the next and filling in all of the details in between, with lists of actors and characters and who would be available to do what when.
It was all mapped out before I had created a single word of dialogue. The entire thing was drafted in three days, completed just before heading out of town for two weeks.
Barnstable
FRIENDSHIP, MAINE
Actually, I spent only seven days in Flood’s Cove this year. Sometimes that happens, but it felt even shorter as my wife and daughter (and mother-in-law) were flying in on a Monday, only to have their flight cancelled at LaGuardia. They did not arrive until Tuesday evening, and their travel drama troubled me for the better part of those two days.
There was an interesting collection of folks, so much coming and going, and the weather was hot. I missed cool weather, mornings by the fire, a slow pace, and perhaps most of all my father. His absence has been felt the past several years, this time he was just absent.
Hofbräuhaus Half Marathon
SEVERE ALLERGIC REACTION
Last week I ate something which tried to kill me, or rather my body tried to kill me for something I ate. I’ve never had an allergic reaction, to anything. And yet, something in that sushi made my heart race, and my skin turn beet red.
I’m fine, but it was scary in a manner in which I am not used to being scared. The week that followed was one of dragging my ass from place to place as I coped with the side effects of medication meant to ensure that whatever was in my system had run its course.
That also meant not exercising for the better part of a week, so ironic following my time running the Hofbräuhaus Half Marathon just the day before my attack.
TRAINING FOR THE CHICAGO MARATHON
Which is where I am left today. Hotter days of summer are behind us, the days already noticeably shorter. I am currently training for the Chicago Marathon, October 13. Have been all summer, and raising money for the Crohn's & Colitis Foundation.
Preparing for New York in 2006, and for the Twin Cities four years ago, August is when the training is supposed to be ramping up, pushing further across the city in preparation for the big day. Instead, I have had to take the better part of a week off, and it is discouraging.
But then, has it ever been easy? And isn't that the point.
For the few months I spent squatting with some friends in Venice Beach, all those long years ago, I never imagined I would one day have a play I had written performed in a park, a mere twenty minute drive away.
Culver City is a bucolic oasis of calm in the midst of the Los Angeles megalopolis, the former home to MGM headquarters the city is tied to the history of American film. Hughes Aircraft was based here, today you will find Sony Pictures, NPR West, and Amazon.
This small city, incorporated independent from the city of L.A. (which surrounds it) is also the site of the Dr. Paul Carlson Memorial Park. It’s one of those one block, city parks, serving a modest residential neighborhood, the park surrounded by one-story homes, many dating back to the 1940s.
For over twenty years, Culver City Public Theatre has presented shows for child and family audiences in Carlson Park, free of charge. This summer that production is my play, Rosalynde & The Falcon.
Rosalynde & The Falcon is a mash-up of several folk tales, notably those that focus on a damsel or princess driven out of the kingdom in fear for her life and finding her way through unfamiliar surroundings. This is the basis for Snow White, but also Shakespeare’s As You Like It. There are also elements of Goldilocks and the Three Bears, and Little Red Riding Hood ... and a wide variety of other sources.
Originally commissioned and produced by Talespinner Children’s Theatre, this is only the second production Rosalynde has received, and my first children’s play to be remounted anywhere. And because it is such a fanciful tale, I was intensely curious about how it’s all coming together.
Rose Leisner (Rosalynde) & Ryan Hardge (Roland) rehearse.
I had a delightful conversation with director Marina Tidwell yesterday, who was not only able to share with me some of the design concepts, but also to give me a nice sense of what it’s like to attend one of CCPT’s outdoor productions.
With an uncomplicated set, meant for use in the out-of-doors for an audience of children seated on the ground and close, costumes are a significant part of communicating the story. Rosalynde is a goofy satire (in verse) and the folks at CCPT are leaning into the classic animated Disney character of Snow White; the princess Rosalynde (Rose Leisner) dressed in blue and yellow -- with a red hair bow -- when she first identifies as female, and then maintaining those signature colors when she becomes the male-presenting “Falcon.”
The script was written to accommodate a company of no fewer than six players, though so few performers requires double-casting several roles. Tidwell brought on two powerful singers to perform the several songs and to assume supernumerary roles.
When I wrote the play I included song lyrics, leaving the music up to the individual companies to create. In addition to playing the role of Rusty, Susan Stangl is the music director and has composed original tunes inspired by classic Disney songsmith Leigh Harline (“When You Wish Upon a Star”) and even an homage to Claude-Michael Schönberg (“Les Misérables”).
You know I love creating theater for the community, offered free of charge, presented out of doors on a beautiful summer’s day, and I’m just tickled to think of all the kids -- and parents -- who are going to hear my words on a warm summer afternoon in Culver City. It’s my West Coast premiere!
