Cat and the Canary (film)

I have adapted Agatha Christie mysteries for the stage, The Mysterious Affair at Styles and The Secret Adversary. However, it was my older brother Henrik who was mystery-obsessive. It was he who introduced me to Hercule Poirot, Nero Wolfe, Ellery Queen, and he was quite an expert on Sherlock Holmes.

I say he “introduced” me because though throughout my childhood these tales were in the atmosphere, I didn’t take an interest. I wasn’t into puzzles and plotting, and to be honest, mysteries scared me. Someone’s dead -- and we don’t know why or how it happened? The unknown is horrifying to me.

I understand that it is the solution to mysteries than many find so reassuring, they bring order to chaos, and suggest that every problem has an answer, that all loose ends will eventually be tied. These people are also probably have religion for the same reason.

I always flash back to that moment when the victim is dying, perhaps violently, shocked, and afraid and alone. The tragedy itself is not made softer by there existing an explanation. Perhaps I am an atheist for the same reason.

My brother took me to this film once -- twice, actually. He would have been fourteen, I was only ten. We went twice on two different days, probably over a weekend. Maybe we took the bus, maybe my parents dropped us at the mall, can’t remember, I was ten. The film was Cat and the Canary, a stylish, period remake of a film made famous as a Bob Hope picture in the 30s. This 1978 version was considerably more bloody. Grisly. It was the seventies.

Cat and the Canary is one of those "bumped-off-one-at-a-time" mysteries in which the house itself is the murder weapon. I was fascinated by the twists and turns, the disappearances, the horrible, clever ways people were separated from each other, and then craftily dispatched. I was also horrified. I was unable to sleep. I was terrified someone would come through my window or stab me through the bed.

My brother was scolded for taking me to see it, to see it twice. I protested that I had asked him to take me to see it again, and so attention was turned to me. I was made to feel foolish. “If it scared you so, why would you want to see it again?”

I carried this with me as I became an adolescent and we moved into the era of the slasher film -- and cable TV. From Michael Myers to Jason Voorhees to Freddy Kruger, I abstained. I just didn’t watch them.

Now, slasher movies aren’t necessarily mysteries, but mysteries can be slasher films (see: Psycho) and I have watched each, but it is the moments of isolation and despair which frighten me the most. The Vanishing comes to mind. Never seen it, know how it ends, that’s enough to keep me awake at night.

So when it came time to adapt a Sherlock Holmes mystery into a play for children, there was more than one reason to avoid plots featuring violent crimes -- or any violence at all. When we produced Jabberwocky three years ago, there is a scene where a child confronts a bully the wrong way, by hitting back. With a stick.

It was meant to be an example of making a bad choice. And yet, talkback after talkback, this was the kids’ favorite part. It was what they best remembered, it elicited the most joyful reaction. They loved seeing that one kids hit the other kids with a stick -- and they hadn’t even seen it! The beating took place off stage, with one child character chasing the other behind a curtain and then hearing the bully cry out in pain.

Now, many of Doyle’s mysteries are murder mysteries, so it couldn’t be any of those. There are a few thefts in his tales, but none presented situations that interested me -- or more importantly, supporting characters that would interest children.

The education department brainstorm non-violent crimes, which included theft, extortion, vandalism, fraud, embezzlement, forgery, pickpocketing, arson, the receipt of stolen goods, and counterfeiting.

For the past several months, these ideas have been simmering, and I have been making notes, and reading story after story, and stringing together original ideas for a brand new mystery of my own.

Because there was one very important element lacking in all of Sherlock Holmes’ adventures, and it was that which would not only set this story apart, but satisfying a great many details of the upcoming outreach tour.

Strong female characters.

To be continued.

Play a Day: Dividual (BONUS)

Dividual (2019)

dividual adj.
di·​vid·​u·​al | \ də̇ˈvijəwəl\
1 archaic : SEPARATE, DISTINCT
2 archaic : DIVISIBLE, DIVIDED
3 archaic : divided among or shared by a number
"the moon … her reign with thousand lesser lights dividual holds" — John Milton
Source: Merriam-Webster Dictionary

Paul Manganello is a Detroit-born theater artist who first journeyed to Cleveland to join the company of the Great Lakes Theater "Classics On Tour" production of Jabberwocky. He auditioned with a piece from his own solo performance Zealous Whig, about Italian philosopher (and friend of Thomas Jefferson) Filippo Mazzei. I was immediately impressed by his witty writing and comic timing. His turn put me in mind of a young Robert Benigni.

Before rehearsals for Jabberwocky had really begun, he joined me for a visit to Cleveland Public Theatre's Dark Room where he presented part of a new piece he had been working on in front of an audience of supportive strangers, and even sang at the (permanently?) on-hiatus Reception. In short time he developed a fondness for the CLE, and saw in us the potential for hi native Detroit. He even posted on Faceboook about our revival, telling friend back home, "Cleveland can do it, why can't we?"

Zealous Whig (2011)

Last year Paul and his brother Jim as the team "Fratellanza" brought their performance The Judge to CPT's Test Flight series of new works. This was the first time I had an opportunity to see the breadth of physical comedy and elegant movement he brings to his original writing.

This weekend Paul, along with long-time collaborator, friend, and musician Michael Malis, have brought another new work to Test Flight, titled Dividual, and I was asked to provide a third eye to the proceedings (Paul called me a "Total Theatre Person," which I liked) witnessing what is truly a work-in-progress over the brief time they have in the Levin Theatre.

These are a few notes on the week so far.

Monday, April 8

Paul and Mike walked me through the piece, describing the set, the possible projections. Mike played samples of the score and other recordings and Paul read the text. The piece will be about thirty-five minutes long -- it is on a double-bill with Rich Stimac's Zoodiac.

The story concerns data mining, and in particular one fellow whose job that is. I was struck by the modern sense of alienation our phones serve us, in contradistinction to our desire to use these scrying mirrors to connect.

The Judge (2018)

There were moments where I hoped for clarity, and the three of us discussed how these might best be provided.

Tuesday, April 9

This evening I got to watch the first act, performed on stage with music. Stools, microphones, a rug, an array of electronic music producing devices. Also a bicycle helmet, which really pulled the picture together (you think I am being sarcastic, I am not.)

I had to imagine the lights, but the images were clearer, we began making up names for the protagonist's workplace. "The Hole" or "The Machine." Michael's soundscape lifted Paul's performance, and subtly provided voice to an unseen character.

Before I departed, leaving them to their work, we threw ideas around for a certain non-choreography and I was excited to know how that was going to look tomorrow.

Wednesday, April 10

The Jabberwocky (2017)

And like that, it's a show. The screen, lights, hat rack -- and an audience! Members of Zoodiac company were there to watch as Paul and Mike stumble through a technical ("stumbling" is a theater term, no one literally stumbled) and their response was very positive.

Both shows are putting final touches on the evening, we three had time to discuss voices, how best to distinguish between characters, but the lighting brought many elements of the narrative into sharp relief.

The isolation. The longing for connection. The grand bargain we have all struck trading our privacy for magic.

It is time for an audience. Will I see you there? Will we connect?


Cleveland Public Theatre presents "Dividual" as part of Test Flight, April 11, 12 & 13, 2019.

On Bullying

"The Jabberwocky" Company

You know where I stand politically. You are aware of my thoughts, my feelings. I write about them in this blog. I am outspoken on social media, and on the street. Like the vast majority of Americans, I am not happy with the direction our nation has taken.

But I am also a father, and I have a responsibility not to project disappointment or despair onto my children. They are not unaware. They were active during the campaign, and they were as shocked as we by the result. I never lied to them. I never promised them she would win. But like most of us, I never truly imagined that he could.

I mean, he didn't. And yet, he is the President. But that's another story.

The night of the election the only thing keeping me from falling apart was my daughter, who was very upset and could not sleep. I projected stoicism for her. This was not the end, but merely another setback in the slow but inexorable march towards progress. She finally did sleep, between us, like she did when she was a child. I did not sleep.

We keep an eye on the children. Because I believe the children are ... well, they are the future, right? And children will listen, and so on. My generation began their childhood during an era of great cynicism and uncertainty, which left us guarded and jaded, as were our parents. I would prefer my children to be as optimistic and confident as their immediate elders. I can't change the world, but I can shape the way they receive it.

Prior to the election, I had ideas for Red Onion, White Garlic. Talespinner Children's Theatre announced the production in October, but there was no script yet, just ideas, a list of things I would like to see or to have happen, and that's important, too, but you can do that and never accomplish the actual writing. November 8 broke that open for me, and ideas that had previously seemed novel took on actual significance.

Opening doors.

For example, every character in the play is female. That is not to say there are no men in it, although that is entirely true. But I did not omit male characters, the play is not defined by what it does not have. It is about these characters, and you may notice they are all women. I am aware that, in the past, I have written some weak female characters. Here, I took the opportunity to create women who are strong and foolish, wary and conflicted, scheming and malicious, generous and odd. It is all about them, and their story is delightful.

Like the man said, what stories will you choose to tell? Rehearsals for that production begin in two weeks.

At the same time, we have started an exciting new program at Great Lakes Theater. I have blogged for years about the outreach tour, about productions like The Secret Adversary and Double Heart. These were created with teen and adult audiences in mind. The new Classics on Tour program, which will visit twenty-one public sites in northeast Ohio and dozens of area schools, is our first production geared specifically for an elementary school-aged audience.

Rehearsals for The Jabberwocky began this week. This script was originally created by and produced for the Idaho Theatre for Youth, this is its second production. Inspired by Lewis Carroll's poem, here three kids use the power of imagination to not only escape the real world bullying they find in a local library, but also learn how best to deal with their tormentors.

It's an anti-bullying play, which are very popular these days. There are countless professional companies who have at least one in their educational outreach repertoire. And schools respond, they want programming with strong messages about conflict resolution and successful interpersonal communication.

It is disheartening when we live in an era when the most powerful man in the country (elected by millions, if far less than the majority of voters) sets an example of dominance and intimidation, mocking those with physical disabilities, degrading women, and dehumanizing refugees and immigrants. That is the way our children now understand you become President of the United States.

Lisa is directing this one, and we have put together an amazing ensemble of young performers for what promises to be a physically adventurous work. We have always had a short rehearsal period for these one-hour performances, but for this expanded performance schedule we have also contracted them for day long rehearsals. In just the first few days we have facilitated workshops in commedia, combat choreography, and puppetry.

Great Lakes Theater presents The Jabberwocky, tour begins February 21, 2017.

There will be puppets.