"When there is nothing left to burn, you have to set yourself on fire."

I have spent far too much time here at work trying to find the source for this quote. What I have mostly found, are 'blogs. Endless fields of 'blogs. The quote, as I know it, is a vocal sample at the start of a song called

Your Ex-Lover Is Dead,

by

The Stars

. It sounds rather like Orson Welles to me, but it could very easily be someone trying to sound like Orson. No clue. It's frustrating. I really need to know who said this, and as a part of what.

Because I want to tattoo it on my chest.

Just found it. It's the lead singer's father,

a noted actor

. (Dag! No wonder I was having trouble finding it.) Yet I am still context-less, apart from the album itself, which is mostly about breaking up and breaking down. (Such a novelty in a pop album.) It sounds so much like a classic quote, and Mr. Campbell is noted for his association with

The Stratford Festival

, so the possibility persists. In the meantime, I'll just have to go on ascribing my own meaning, on which more in a moment.

This is one of those strange things from strange places. The album was released some three years ago, and I'd never heard of it. The song came to me in the form of a mix CD made for me by a relative stranger (though we did pretend to tromp together through deepest Africa once) from

Camp Nerdly

. He handed it off to sort of drop cargo on his way out, originally intending--I believe--to barter with it at the Nerdly goods swap. It's all scratched up from transport and informal packaging, and I frankly couldn't be sure it would load into ye olde iTunes successfully. Yet it did, and weeks later it is rapidly scaling my "Tha' Jams You Can't Leave Alone" chart.

What does it mean? Not the fortuitous and coincidental nature of my acquisition, mind you, but the words: When there is nothing left to burn, you have to set yourself on fire.

Well, kids, for me this is a pretty direct statement. I mean, I do spend some time involuntarily picturing men in the arctic north who've set fire to everything and are now drawing lengths of rawhide to see who gets shoved in the flaming pile of sleds, dogs and clothing. But I quickly

transcend

such an image to my usual metaphor: acting. Also: life. Generally: inseparable, when you're doing something right.

As

Friend Patrick

might put it, fire has been a recurrent symbol in my life lately. Literally and figuratively, come to think of it. I loved my parents' fireplace back in

Burke, Virginia

, and lots of rituals surrounded it in the winter months. Whenever I get the chance (the last such chance being a rooftop barbecue last Sunday, and prior to that, Camp Nerdly), I put myself in charge of the fire. It's methodical and physical to build, dangerous and unpredictable in practice, but also warming, soothing and inspiring. So perhaps it's natural for me, especially now, to link the notion of fire with acting. There's a great quote from

Slings and Arrows

about why actors act that I can neither remember, nor find online, but it says something about why anyone would want to return to normal life once they had experienced the kind of truth one can achieve through a successful performance on the stage. That's setting yourself on fire.

As for having nothing left to burn, well, here's a couple of different thoughts on that:

  • Maybe that's the job of the actor, to find that level of stakes and desperation for the appropriate moments on stage. Not every character is despondent, but every good character should want something so badly that he or she comes to a point--at least once--of not knowing what to do about it.
  • That happens all the time to most actors in America, and dare I say the world. Even when our personal or financial lives aren't a shambles, we tend to work ourselves past all endurance on parts we play until either epiphany or disaster occur. Either we pull off the trick of a phoenix . . . or we don't.

Of course, none of this probably has much of anything to do with what the songwriter(s) intended. But that's the beauty of pop music, isn't it? It means what you most need it to mean at the moment you need it.

When there is nothing left to burn, you have to set yourself on fire.

Read Me?

Before you ask: My butt feels okay today, inasmuch as a butt can that is apparently seriously damaged.

Some have expressed confusion at my schedule, of late and upcoming. I can't begin to imagine why. I suppose it could have something to do with the way in which I myself never actually know what I'll be doing much in advance of a week beforehand. Such is the life of the unrepresented, slightly-whorish-about-work actor. (Come on. Everyone's a little whorish about the stuff they love.) So I thought I would give an update on what I think is happening for me this summer. What I

think

is happening, mind you. You don't get to hold me to this, because I don't get to hold anybody to anything they promise me regarding work and travel. Them's the breaks.

Some of the more niggling questions of late:

By-Stander of Innocence:

Hey Jeff, how come you aren't in Italy right now?

VERY good question, helpful By-Stander. I myself am often amazed by life's little surprises. It turned out that we did not achieve our enrollment quota for

In Bocca al Lupo

, and thus it seemed we weren't able to go. Then David Zarko, artistic director of

The Northeast Theatre

, asked us if we could apply for grants and pay part of our airfare as actors. To the first we said yes, the second, no. We did not get the grants, and most of we lot are pretty shallow-of-pocket. Suddenly David pipes in again, saying, "Well, what the hell! I want to go with youse guys, and--being that I am gradually becoming the real estate baron of Upper Left-Hand Scranton--if we make it a two-week trip I can afford to take you." So we were on again, for the last two weeks in May. But then one of us had show conflicts with that time, and David thought we could get better prices later, so now we are positively, definitively going to be there the last two weeks of June. Maybe.

B-SoI:

Soooooo . . . how comes you hain't been writing about teaching with Wingspan Arts all month, then?

Well, when I left off teaching with

Wingspan

at the start of May, it was with the idea that I had two weeks to find a new apartment before going to Italy, and very little money to accomplish this. Now I have a little more money and Italy is put off, but I am still, technically, apartmentless. So it's best for both me and the youth of America that I NOT be compelled to invoke any disciplinary action upon them.

BSoI:

Enough said. Do you miss it?

Badly. I miss the kids, and Alex. Hopefully the timing will work out that I can see their final presentation before really, truly (maybe) leaving for Italy.

BSI:

And what of

The Torture Project

and

Joint Stock Theatre Alliance

? Are they still going strong? Are you still strongly going along with them, or have you been left at the side of Collaboration Road with nothing but a few creative notions wrapped in a handkerchief tied to the end of a stick?

Er . . . . That's very poetic, By-Stander. Are YOU by any chance involved with a collaborative theatre project?

BSI:

Who isn't?

Indeed. Well, refer to a previous entry of mine (

5/3/07

) and you will see that the above project has miraculously transformed itself unto a show entitled

As Far As We Know

, created by a theatre company now monikered as

UnCommon Cause

. Same bat-people, same bat-project, different bat-names. And yes, as far as I know, I'll still appear on stage. (Speaking of which: Todd. I need those work-out tips NOW.) In fact,

As Far As We Know

shall grace one of the stages of the

NYC Fringe

in August. So we're gearing up to hustle and bustle to create the most fully realized version of the show to date. With a script, and everything. Hopefully we'll maintain some of the homey effects, like string lights. String lights make everything pretty. Currently, along with several writer meetings prior, we're planning to escape to

New Hampshire

once again at the end of July to get some focused development done.

BI:

Wait, wait. At the end of July? Won't that conflict with projects you've mentioned previously?

The Exiled

, and something with Friend Melissa's company,

Kinesis Project Dance Theatre

?

Yes and no, happily and sadly.

The Exiled

(which I keep thinking of as

Teh Exiled

; consider it, Nat...?) was not accepted into the Fringe, obviously because the Fringe only accepts fluffy, unresearched and underdeveloped material. Wait. No. Um . . . I guess . . . LOOK! A SEAGULL! {sound of hurried footsteps, fading into the distance} But never fear: Friend Nat fully intends to mount the show all the same (fan as he is of mounting things), possibly at the end of August, when all of this Fringe-related madness has blown over.

Kinesis

, however, I had to bow out of, owing to conflicts at both ends of the project's development. This makes me very sad, as it is hardly the first time I've had to abandon both Friends

Melissa

and

Patrick

--creatively speaking--and their faith in me probably can't take much more. That's not to their discredit AT ALL. Quite the contrary. I just basically owe them a percentage of all the cash I make from other shows I end up doing during the time we had planned to work together. Guys, your checks for 72 cents are in the mail.

B:

Okay. I'm starting to get the picture here. So you'll be around more than usual this summer?

Yes (if by "more than usual" you mean, "at all"), and I have aspirations of many open acrobalance sessions in Central Park as a result. I will, of course, keep my hungry public updated on the progress of that as it develops.

B:

Great! So the rest of the summer, you'll be busy, but around--

Ah, not quite. There is also a week at the start of July--from the 2nd to the 6th, to be precise--when I will be in Pennsylvania teaching children ages six to sixteen about the glories of physical theatre and acrobalance.

b:

I see. BUT, apart from that, your summer will be spent in and around the Big Apple, and of course in the fall there's so much going on here you'll need to stay local--

Er. Um.

b:

. . . What?

I, uh. Starting August 27th I'll be out of town for over two months collaborating on the newest

Zuppa del Giorno

show,

Prohibitive Standards

.

: . . .

Sorry. Sorry. It's like this: See, I work really hard at my craft. The only thing that limits me in this is the opportunity to do so in any context that supports the rest of my life, which opportunity is unpredictable in occasion and duration. So when I get to do it,

and

in a context in which I really, personally care about the work itself . . . well, it's not to be missed, no matter how much it may rattle the equilibrium of my life at large. Hence the mad schedule, and feeling all warm and fuzzy inside the more theatrical obligations I have to run around to. It doesn't make sense. It does, however, make me happy.

By-Stander of Now Somewhat Less Innocence:

But how's your butt feeling?

Quiet, you.

I Just had a Man's Hand in My Sphincter

Just in case you missed it:

I just had a man's hand in my sphincter.

And hey:

I paid money for it.

What's more:

I bought

drugs

from him afterward.

I'm starting to stray from the truth here; technically, I didn't

buy drugs

from him. I paid a service fee, and one of the services he provided was to punctuate my already surprising experience with free drugs. I don't know how else I expected

my urologist

to investigate my recent pelvic muscular pains. MRI perhaps, or that nifty pressure-tapping that they do on your tummy to check for cysts? Well, there was pressure all right. My prostate got the most unromantic massage I have ever experienced.

I apologize for the graphic content of this entry, y'all. I thought about it for a good, like, ten minutes, weighing the pros and cons as the smell of anal lubricant and latex lingered in my nostrils, and my buttockal region wept silently to itself. In some ways, it is unavoidable, as it is the thing foremost in my mind.

Wait. Wait: Straying from the truth again am I. (Fortunate am I spirit of

Yoda

inhabits self.) The foremost thing in my mind is still finding a new place to live.

Apartment hunting trumps anal violation!

That's right. You heard it here first. At least, I certainly hope this is the first time you've heard it.

Ultimately, it was rather disappointing. I'm led to understand that the prostate is quite the erogenous zone, and that under the right circumstances a little donut pokin' can even feel pleasant. These, however, were not the right circumstances. Even if it hadn't been a fifty-something guy with a brusk demeanor, these circumstances were terribly, terribly wrong. For it seems that, why yes, I

was

right back in January when I told said doctor that I thought there must be muscle damage in addition to the chemical epididymitis. (He chalked it up to indigestion. Yes: indigestion. Leaving only the question, "If I sue, would I get the money in time to put a down payment on a

Manhattan loft

?") We (See how collective I am in my grammar?) ascertained that there was muscle damage by the EXCRUCIATING PAIN produced when Mr. Brusk pushed against the right side of my prostate, as opposed to the complete absence of such on the left side. Interestingly enough, he went right-left-right, and at first touch I thought that was how the prostate was supposed to feel when poked, and remained mute. Then I felt the left side and thought, "Huh," then I felt the right side again and said "Ouch." Of course, what I was really thinking was, "Dear loving merciful cats make it stop." (So,

Patrick

? Points to me for my own denial of pain.)

I have been prescribed more of the anti-inflammatory, and given a prescription to attend physical therapy. He knows of at least three therapists who deal with "pelvic floor dysfunction." (Allow me to specifically state that, apart from pain, there is nothing "dysfunctional" about my pelvis. Just in case anyone wondered.) I've given them calls to discover that

none

(repeat:

none

) of the physical therapists who specialize in this . . . specialty . . . are in-network for

Cigna

. To which I respond: "W.T.F. (Where's The Fairness), Cigna? Just what is my astonishingly high, $25 co-pay for, anyway?" So Monday I'm seeing someone anyway, and paying out the nose for it until I ascend the steep hill that is my $350 deductible, which will probably occur just as my Actor's Equity Insurance runs out, June 30.

Other funny moments from my experience today:

  • "Don't worry. This isn't pleasant for either of us." - Well, I mean, personal vanity aside, I'd prefer that at least SOMEbody in the room be enjoying themselves.
  • Sitting down back in the man's office after it was said and done and I had re-troused. I was not prepared for that sensation.
  • "Don't you need to go to the bathroom?" "Uh...no." Should I?! Is that the natural response to this sort of thing?! Throw me a frickin' bone here!

There's a universal axiom in acting that can be summed up in two words: Use it. It comes in two connotations, both with essentially the same meaning. The first is used to refer to incidents from one's past. If you ever suffered from racial discrimination, you use those feelings to help you discover Othello or Shylock. If ever you sustained a serious paper cut, you use the memory of it to key into what it might be like to be The Black Knight and have your

arm/arm/leg/leg

off. The other context for "use it" refers to your emotional state the night of a performance, when it's simply too overwhelming to shut out completely. Hopefully, most of us aspire to live in the moment on stage, but every so often some powerful performances have been generated using the "use it" method. I remember performing a show not long ago during which a cast member had a dear relative die the day of a show. It was a comedy with tragic elements, and when we got to the cathartic denouement, it played with such truth and depth that no one in the room escaped with their resolve in tact.

This may be one of those acting lessons that does not necessarily translate well into life in general. If your boyfriend just dumped you for a younger woman, you probably shouldn't "use it" at the office. ("No, you didn't email me the status report. JUST BECAUSE MY BIOLOGICAL CLOCK IS ACCELERATING DOESN'T MEAN WE CAN LET THE COMMUNICATION BREAK DOWN!") If reading

Thus Spoke Zarathustra

blew your mind with revelation this morning, you may not want to carry it with you into your volunteer hours on the suicide crisis hotline. ("Dude, you couldn't be more right, actually. I mean, what proof of existence is there beyond our earth-bound, temporary senses? It's all eternal recurrence. And I . . . dude? You still there?") Similarly, my experience did NOT help me at the day job today. At all. Nor with apartment hunting.

But someday I'm going to have a hell of a scene in some play, somewhere.

Serious Injury: Serious Option

There is a loverly BritCom benamed

Black Books

that covers the antics of a triptych of wacky friends and their exploits. The introductory episode presents us with the main character, Bernard Black, owner and operator of a small bookstore in London, faced for the first time with having to do his own taxes (as his accountant, it seems, is rather suddenly on the lam from

MI5

). About midway through the episode, Bernard discovers a helpful clause in the instructions for completing his "accounts," which states, in sum and substance, that if the filler-outer gets seriously ill or injured, he is exempt from filing his taxes. Upon reading this, of course, Bernard sets about on a series of failed attempts to irreparably maim himself. A ridiculous notion, and obviously a formula for comedy.

But I daresay this falls into the "it's funny because it's true" category.

Somebody make me unresponsible for finding my new apartment, for the underpinnings of an entire law practice, for putting my personal life in order (Is a personal life ever really "in order"?), for healing my body and for scheduling my theatrical commitments. Somebody hit me with a brick (

Patrick

?), kick me in the face (

Nat

?) or rerupture the frail hydrostatic pressure preventing my urine from invading my ballular region (

Myself

?). Actually, skip that last one; there's simply

got

to be a better way. But the first two I'll take! I actually thought to myself last night, looking for the subway in BedSty, "This neighborhood = not so great. Maybe I'll get mugged and I can retreat into a passive-aggressive hole for two weeks until this whole apartment hunting thing blows over." Alas, 'twas not meant to be. I still have the same finsky in my wallet, and my psyche remains arrogantly intact.

That last might fall into the "it's funny because it's blatantly false" category, actually.

I can feel the edges of my psyche curling up in retreat from all the B.S. of the hunt. (Trivia tidbit: My psyche is actually a

potato bug

.) Yesterday I saw two places, both of a goodly size for my modest needs. The first was in crap condition, however, and they wanted $650 there and then, non-refundable and unrelated to rent or an additional broker's fee, to secure it. Lots of promises for new windows (I lived for two years with windows with holes in them in Richmond) and a working intercom, the which I could always comfort myself with as I wrote out my $1,000 check every month for at least a year. The second was a really nice place, and could have been mine for a check there and then for a month's rent, which was lower than advertised: merely $875. But I felt pressured, and so didn't take it there and then. Which was good, because come to find out the reason all the new security had been installed was because the building's only (ginormous) neighbor across the street was a mandatory acceptance homeless men's shelter. Social conscience aside, not the sort of foot traffic I wish to submit me and mine to.

Tonight bodes more of the same. Leaping from inaccessible place to inaccessible place, calling to apologize for lateness and trying to suck up without falling into a myriad of traps and pressure situations. Tonight I am aiming for three places, which I tried but failed to do last night. Hopefully they will not all be wastes of time. Hopefully, all my problems will be solved by 9:00 PM tonight. But I'm not counting on it. There's nothing I'm counting on, at this point.

Except perhaps a friend with a hobbling post.

Roller Derby? I Haven't Even MET Her Derby!

Friday last I had myself a bit of an adventure, in the lovely Garden State of New Jersey. (Oh, how I can't say enough good things about New Jersey, and all its loveliness! My God! The state's beauty is only out won by its inherent and seemingly effortless virtue! Hail unto thee, New Jersey!

Hail unto thee!

)

Friend Kira

has taken up a new pastime, and Friday night was her first official bout. That's right. Friend Kira is gone and joined the army of awesomeness that is the

Garden State Rollergirls

.

Seriously: Awesome. Roller derby combines many of my greatest loves--dual identities, loud music, theatre, humor, violence and women. Tough chicks, to be more specific. Ever since joining the circus, I have had a pointed appreciation for tough chicks, and these were some of the toughest I have ever seen. And their skate names rule:

Skarzipan

(Kira),

Jenna von Fury

,

Slam-n-Legs

,

Layla Smackdown

and, my personal favorite,

Belle N. Somebashin'

. Roller derby comes with my highest recommendation.

Kira's team is dubbed The Northern Nightmares, and last Friday they went skate-to-skate with Jersey City Bridge & Pummel, and therein did they prove themselves worthy of the gods' acclaim. (Sorry--I've been reading a lot of

Mary Renault

, and it has me thanking Zeus and fearing Poseidon.) Which is to say, the NNs wiped the floor with Bridge & Pummel. You may read Kira's somewhat inebriated account of the bout

here

. I agree with her perspective on the thing: B&P were playing at a distinct disadvantage, but playing hard nonetheless. I hope Kira feels further motivated by her contributions to the victory.

It's been very interesting hearing about Kira's progress through this experience. It's been quite physically arduous for her, and she makes no effort to avoid admitting that she's the slowest of the team, yet she has stuck with it and has a kind of passion for it that surprised me at first. I don't credit myself with an appreciation for activities that I'm not naturally talented in. (Hell of a sentence, that. Shall we try again?) THAT IS TO SAY, when I don't show any kind of aptitude for a thing, I generally cease to work at it. It's hard for me to keep up an initial enthusiasm in such cases, and this has come to haunt me in the past year. I was not allowed to quit at learning Italian, because I simply needed to speak and understand it better. I suppose I could have quit trying in my performance of

A Lie of the Mind

and saved myself a lot of heartache, but the alternative of phoning it in was simply not an alternative for me. I would have had a much better time of it if I could have quickly gotten past the kind of automatic self-loathing that such occasions give rise to. It's something to work on.

Kira's experience also reminds me of a kung fu class I enrolled in with Friend Mark back in 2000. I eventually quit the class, out of frustration with the structure of the school and the time demands of trying to attend it and support my acting career, and those energies quickly found some outlet in my circus studies. But the reminiscence I particularly remember from

Alan Lee's Kung Fu/Wu Shu Academy

was the trial class Mark and I took together. Mark is a multi-degree blackbelt in Tae Kwon Do, and I think while he was staying in the city he just wanted to keep in shape and encourage me toward martial arts. So I found the school and he joined me in testing it out. In the trial class, we were sequestered into our own group of two and a teacher took us through our paces. One of the training methods employed by that school is to incorporate conditioning at the beginning and end of the class, which helps both to make the simply workout more efficient and keep the muscles trim--the ideal of this lithe and quick style of fighting. So one of the first things our private teacher that day asked of us was thirty push-ups.

When I look back on it, I wonder if he wasn't being a bit soft with us. At the time, however, I remember thinking, "Did he say thirty 'push-ups'? That can't be right." I don't believe I had ever done over ten push-ups in a row before in my life up to that point. When I was young and chubby, I simply couldn't. When I got older and slim, I didn't see the point. The only physical activity I had really been interested in at that point was the common pratfall, the which really only requires a willingness to take your lumps. In college I was cast in a production of

The Three Musketeers

that taught me a thing or two about stamina and flexibility, but nothing of the benefits of strength. The instructor did say "push-ups," and I did end up doing them, and more.

The next day, I couldn't raise my arms from the elbow to anything sharper than 90 degrees. I looked mighty funny, I assure you, trying to eat and brush the hair from my eyes. I was borderline injured from the exertion, yet I wanted nothing more than to do it again. I knew, somewhere in the back of my mind, that my incapacitation was a sign that I had done something seemingly impossible. I had transcended. I had broken past a barrier, and it hurt like hell, and it felt amazing and wonderful.

It's not every day we are presented with an opportunity to become more. Or is it? Maybe the opportunity is always there, but we only recognize it when circumstances align a certain way. Whichever the case may be, it is a cause for celebration, that effort to transcend. So I celebrate you, Skarzipan. Thanks for the inspiration. As soon as I find a new apartment, I'm going to install my pull-up bar and sign up for the

Ultimate Fighting Championship

.