Open Up

So.

On

Wednesday last

(Odin's-day, oddly enough), while I was guest teaching in a high school, the school went into what was referred to as a "lock down." It was the start of second period, and the gym had just about acquired all of its students for the period when an announcement came over the loudspeaker. At least, that's what I'm told happened. I heard about it from the gym teachers, as the school-wide announcements do not penetrate the gymnasium itself, and I heard it whilst basing

Friend Heather

in a thigh stand for a photograph. We held until the photograph was taken, as a "lock down" doesn't particularly mean anything to us. After we got down, we asked what it meant, and were instructed that I had to go into the boys' locker room, Heather into the girls'.

Okay,

thought I,

I'm not about to hang in the locker room; I'll go into the teacher's office.

And I did. And I wondered if I should lock the door (I understand language! [So long as it's English!]). It's a tiny office, and no one else was in there, though I could hear the raised voices of the boys in the adjacent locker room. Just as I was contemplating joining them, the male gym teacher for that period entered from there. He said a few noncommittal things to me about it being an eventful day, then turned back around and yelled at the boys to shut up, admonishing them for thinking everything's a joke, until all was silence. Then he turned back to me as if he'd barely interrupted himself and explained the situation a little better in a subdued tone. I felt bad, hearing him talk to me after he'd been so aggressive about the boys' silence, but I was also gradually coming to appreciate the motivations behind his severity.

In 1999, just a couple of months before I would graduate from college, two young men executed a plan to take their high school hostage with a murder spree that included the use of planned explosives. The whole thing was elaborately planned out, actually, and -- notwithstanding all the death and destruction wrought that day -- it could have been much worse had the plan gone accordingly. "

Columbine

" is now a word with tragic and unfortunate associations, probably for the foreseeable future, here in America. It's an Anglicization of the Italian

colombino

, which means dove, and "Colombina/Columbine" was a character popular in both the Italian and English commedia dell'arte traditions. I don't know what came first, but pictured above is a Columbine flower. Perhaps they're named for their resemblance to a dove; they characteristically hang in a shape like a dove with its wings tucked until they blossom, but they also aren't all white. Some are a rather vivid shade of red.

The main preoccupation for the gym teacher was the fact that the door out the back of the locker room seemed to be locked and he wasn't sure if he could unlock it. His feeling was that everyone would be safer in a certain back hallway, and he set about finding the key to those doors. Eventually he found it, and we all filed out of the locker room. I trailed the group, and found myself in a narrow, dim hallway that soon bent to the left and became a landing to two flights of concrete stairs that made a sort of u-turn, where there was a second, smaller landing. At the top, where I remained, were double doors that led outside and were locked with a heavy-duty wedge bar; presumably this was part of the appeal of this room, such as it was. The students all just fit on the two flights of stairs and landings, and most sat, preparing for a long wait. From the top landing, I could see everyone but a couple of boys at the base. It was cramped once people sat, but no one thought of spreading out a bit back toward the direction from which we came. We waited.

I went to one of these mega-schools that were popular to build in the 70s --

James W. Robinson Secondary School

. Robinson, as we and everyone in the area called it, was named in honor of a certain Sergeant James W. Robinson, Jr., the first Virginia resident to receive the Congressional Medal of Honor in the Vietnam conflict. The school is massive, and it needs to be to hold the some 4,000 students day in and day out. I found its size intimidating when I first arrived (in spite of attending the almost equally massive Lake Braddock Secondary for two years), aggravating throughout my middle years there and ultimately it became a weird point of pride in my final months there and thereafter. I would never have admitted this at the time, though. I felt largely oppressed by my circumstances, due to too many factors to get into just now, not the least of which was simply a seeming inability to understand that I was going through profound changes. I turned it around just before my senior year, but up until that time I was increasingly falling into stereotype (or archetype, if you will). You know the type. I kept to myself as much as I could. I even took to wearing the ubiquitous black trenchcoat.

The students had already changed into shorts and t-shirts for their gym classes, and the stairwell was pretty chilly. By and large, they were very well-behaved. It was only natural that their whispering would occasionally escalate, and we'd remind them, or they'd remind each other, with a "shh!" The teacher explained to me, as I tried to look responsive without actually making any sound (I wanted to avoid any hypocrisy, and figured that lacking any rapport I ought to lead by example), that they ran drills in lock-down procedure frequently -- too frequently, he felt. It made the students take it less seriously than they ought. Then again, this particular time could be a case of an aggravated parent on campus, or perhaps a building search for contraband. He didn't name the other possibility. He didn't have to. He went on to explain that they didn't hear all the announcements in the gym, certainly not in the stairwell. So, periodically he would call his fellow gym teachers on his cell phone to see what they knew. He even called someone at the elementary school (a separate building). No one had any information for him. We shushed the students again, and he told them all to just relax.

I've been

pretty quiet in my 300+ entries to date

on the subject of September 11, 2001, but that's not because I'm at all removed from the experience. On bad days, I'm avoiding it; on good days, I'm rising above and moving on. Both explanations are to say that it was the kind of event that one never quite epitomises in description. You had to be there, as the old comic excuse goes. What I can say about that day, for myself, is that it has a lasting and highly personal effect on me. It's a little darkly humorous for me, these people who advertise "Never forget." The memory of it lives at the back of my head like a patient worker, occasionally pressing his button or pulling his lever. I was rather alone that day: new guy at a temp job in Rockefeller Center, the phones mostly didn't work, giving me only the briefest opportunities to touch base with my girlfriend in Brooklyn, I was trapped for hours in Manhattan, picking up news from car radios and strangers' conversation. Eventually I found my way to the apartment of the only person I knew at the time who lived on the island. He wasn't really a friend of mine, but of my girlfriend's, and his place was packed with strangers watching the news. Sitting silent on a stool there, I worried about my dad in D.C., and relived the surreal morning, with its evacuation from the 50s down the twisting, disused fire stairwell of 30 Rockefeller Center. It seemed like we'd never get to the bottom.

When the bell for change of classes rang, no one needed to be shushed. It seemed to remind everyone that time was passing, and the longer we had to wait, the more likely it seemed that whatever motivated our lock-down was a dire circumstance. Minutes after the bell rang, the whispering started up again amongst the boys. As our time in the stairwell passed the hour mark, I stretched against the railing and the cold, and some of the students began to be more aggressive in their efforts to make sense of the situation, or at least lighten the mood. Some were playing a silent game (save for occasional involuntary victory cheers) that involved flicking out digits on both hands against one another. Some asked me who exactly I was; they'd never gotten an explanation on what they were doing in class that day. Others tried to nap or discuss quietly. One young man seemed to continually take it on himself to take charge of the mood and, by and large, he was pretty good at disrupting expectation and continuity with his joking. He seemed popular with the class, in a jester kind of way. Soon, talking to no one in particular, his kidding turned to half-serious plans for what to do when someone burst in with an automatic weapon. It was on everyone's mind. You'd occasionally hear one of them add a onomatopoetic gun noise to his whispered conversation. The jester was still trying to be light, but he was scared too, and losing his audience, boys getting variously agitated into signs of despair, or aggression. So I took a gamble. "Hey, seagull," I said in a normal tone of voice (he was wearing a t-shirt with a seagull silhouette on the front), then whispered, "If you're going to plan for us, whisper it." Then I offered a wry smile, hoping he'd get me. He did, simultaneously embarrassed at being caught out and pleased with the attention and the hushed chuckles of his peers. The tension did not stay away for long before mounting again.

After about a hour and a half of nothing, we got the call that the lock-down was over, and we could return to our third-period classes. It didn't quite engender the relief you might imagine, though everyone was pleased to march out from the chilly stairwell. We all returned to the locker room and changed, then walked out into the brightly lit gym to learn what we could. The students quickly took to the halls to access their community of gossip. Heather and I soon learned that the official announcement had actually stated that classes could take place -- just in the same locked room, until further notice. None of the gym teachers heard that. I felt a little ashamed at my relief over not having had to teach an hour-and-a-half gym class, but not at my hiding with all the men. It was the only sensible course of action, given the information we had. As we watched students flow out from the doors that faced onto a windowed hallway, one of the gym teachers said, "Look at the cop car pulling away. See that dog in the seat? It must have been a drug search." We went on to teach an abbreviated third period before leaving campus for lunch, a necessary diversion. The beginning of our last class for the day, seventh period, was interrupted a few minutes in by an announcement from the principal. He congratulated everyone on a clean report for drugs, including some students themselves who had been pulled from their classrooms. In something of a tangent, he went on to admonish those older students who were violating traffic laws when driving off school property, and let them know that they could expect an increased police surveillance along the road at that hour. "But overall: good job today."

When I was in high school, I was often very angry. I was also, often, terrifically depressed. I'd have a lot of answers for you if you asked me why, and I believed in them very much. I was creating so much -- my world view, my appetites, my self -- at such a frenzied pace that it was important to me to know the things I knew. We complain a lot about teenagers' personalities, but in terms of life stages it's really where the rubber meets the road, more often than not. All that ambitious, energetic emotion for learning that children have meets all that complex, interactive consequence that adults enjoy. It's confusing even without the sea change that released hormones bring to . . . well, everything. It's exciting. It's terrifying. Particularly for those of us who've been through it already, and understand the potential for disaster, and feel responsible for them.

It's hard to write about this without offering some sweeping verdict on it all (harder still, in some respects, not to relate it back to government or religious issues). That's not what I'm writing for, though. I'd like to avoid that. Instead, I mean to do what I do with other, less traumatic events here at the Aviary. That is, write out my experience in an effort to come to some kind of better understanding about it. Opinions must enter into it: I don't agree with using a "lock down" as any sort of practical device for something other than an immediate emergency. To wit, I disagree with using it to facilitate investigation, or set an example for teenagers to let them know they stand a chance of being caught at something. Yet I appreciate its necessity for preparedness. It seems extreme, but if you read

the details of the Columbine incident

, it's evident that the scenario was disastrously mismanaged by the authorities. Of course it was -- it was virtually unprecedented. And if the authorities have to shape up procedurally, so ought the schools. We drill for the potential of fire, of earthquake. This is another kind of natural disaster.

But. "Natural" does not mean it is without cause. Quite the opposite, in fact. I've read the details, and I saw

Elephant

in the theatre, and I wore a black trenchcoat through high school, and played

Doom

and fantasized about all sorts of socially morbid scenarios, and I still don't presume to explain the reasons behind Klebold and Harris' actions. What I do mean is to suggest that regularly cowering in a darkened room and being forbidden to speak might, just might, be more a part of the problem than of any sort of solution. Giving a society (and what else is high school than a constantly evolving society?) a little information and then turning their ignorance back on them as a kind of preemptive punishment, that's frustrating. In fact, revolutions have been begun for less. Unfortunately, most teenagers aren't yet capable of revolution, of the organization and long-view perspective required to make a social change. What they are capable of is making louder, more extreme choices until someone hears them. Hell: Most of my so-called choices in high school, in retrospect, were little more than reactions. Teenagers are exceptional at reacting, and we discount that ability at our, and their, risk.

Let people talk. Listen. Please.

Murderous Clowns

In honor of MY NOT BEING ABLE TO SEE

THE DARK KNIGHT

FOR DAYS AND DAYS

, I thought I'd finally get around to writing the sequel (heh heh) to

this little gem

of an entry. I wasn't sure if I'd ever write about this. It's a difficult entry to justify in the ethos of the Aviary (because I've been

so

dedicated to my mission statement to date) except perhaps to say that: 1 - my doing clown work makes for a very real interest in the sociological implications of any clown identity; B - my early cultural influences have untold ramifications on what I choose to create today; and * - it's

BATMAN

weekend, people! And I've got to be a part of it!

Really though, it's Joker week. That's the big excitement over the movie and, I'd wager, would be even if it were not for Heath's untimely exit from the stage. The Joker is almost as iconic a character as Batman himself, and certainly as graphic and emblematic a villain as has ever risen from popular media. He may even indicate that a pervasive fear of clowns has been around a lot longer than some of the current media we have to propagate it. Before

The Dark Knight

, or

Batman

, or

Killer Klowns from Outer Space

, or

It

, or

John Wayne Gacy, Jr.

, or the original appearance of the Joker in Batman #1. Maybe it's always been around, pre-

Punch

. Maybe the fear was first, and the laughter second. That's certainly in keeping with my general theory of humor. [Laughter = self awareness * inevitability, squared.] And for those of you who consider the Joker a relatively trivial source of terror, consider this, too: In his first dozen appearances in the comics, he averaged about three murders per issue.

In my deep, unending and intricate research into

coulrophobia

(sp?) I have discovered some amazing things. Unfortunately, I can not share these things with you, because they are far too intricate, deep and, uh, unending, to . . .. Okay. I haven't exactly been to the library yet. But I've spoken with people about it, and I'm amazed by how few people know who John Wayne Gacy, Jr., was. (He was executed in 1994; one less clown to deal with, coulrophobes.) I thought he was sort of a household name, right up there with Dahmer and Manson, but I only spoke to one or two people who even had an inkling of who he was. Well, he was a seemingly pedophilic mass-murderer with a penchant for imprisonment and grisly dismemberment, who apparently can't even properly be classified as a psychopath. He also enjoyed moonlighting as a birthday clown. Pogo the clown.

So it's difficult to discount coulrophobia as absurd or irrelevant. It could even be a pretty basic survival instinct, as some have suggested. Some of the most ancient human rites involve masks and grinning figures that don't necessarily mean us well. The Joker's white face may as well be the clay pasted to an aboriginal witch-doctor, or the bleached skull an African shaman paints on his face. And death is absurd, too. Well, it seems absurd to the living, anyway. Living is to some extent based on ignoring the fact that we're going to die. This is such a prevalent philosophy that those who embrace death, or even simply associate themselves with it, are seen as somehow mystic or insane. The skull of a deceased comedian grins back at Hamlet's philosophizing, and when anyone grins, they expose the teeth -- the only "bones" directly visible on a living human body.

The Joker makes a great villain for Batman, and the two sum up a very basic human struggle pretty succinctly, so I have to forgive this perpetuation of the coulrophobic phenomenon. Batman is serious, and the events of his life have meaning -- he's a believer. Hell: His whole "superpower" is a character trait, that of determination. And Joker, well, he stands in absolute contrast to that. My favorite characterizations of him never allow him a moment to regret even his own failure. For him, it is all absurd, all pointless. He's not appetite-driven or suppressed, like Gacy, nor a traumatized child who is endlessly acting out his worst fantasies and fears. The story has no significance to the conclusion because, at the end, all our stories end the exact, same, way. If only he could convince Batman of that, maybe then he'd be able to rest. If only the Yorick had survived into Hamlet's story, maybe he could have made everyone see the folly of their ways.

So how do you tell the difference between the jester, who just wants to make fools of us all, and the joker, who wants to make us all corpses? Well, sadly, you can't. That's part of the dread of comedy, and the thrill of death. You just have to take your chances.

Stories about Story Games and their Story-Gamers

Weekend the last, I did it again. I ventured south and stopped in at

Camp Nerdly 2.0

, a role-playing and story-gaming conference that is held annually in NoVa, and which was co-founded by

Expatriate Younce

. You may recall that I attended teh Nerdly for the first time last year (and if'n you don't, see

5/8/07

), which was a somewhat grandiose personal return to gaming in general. I was a D&D geek back in my early teen years, but lost touch with that community as I got older and committed more time to theatre, and other distractions. My best and oldest friends, however, still game regularly. They're good at it. Camp Nerdly is my opportunity to take a little time off from acting to visit them in their world and, uh . . . act.

The breakdown of my time is very nearly a progression from discomfort to comfort. The games I feel most at-home with are, naturally, those more focused on characterization, improvisation and storytelling. The ones I feel like a nerd who's out of polygonal dice in are those in which the emphasis is on . . . well, polygonal dice. And other devices and systems of applied conflict resolution. (Most of the other Nerdlians thrive on these, because they're wicked smart; if a game involves math, I tend to feel as though I'm trying to figure out my taxes.) The first game I played was called

AGON

, and involved a bit of such conflict resolution. Fortunately,

Friend Davey

was there to see me through the 1d12s (if I was lucky) and the interconnectedness of the players' rolls. Thereafter I played

Valkyrie

, a game in "playtest" (in development) that was mainly a team strategy game involving cards and quantity relationships. After that was a brief sojourn into a board warfare-strategy game called

Memoir '44

(the success of which I very much owe to Davey again), and then another playtest, this one for an RPG based on

Hamlet

called, aptly enough,

Something Is Rotten

.

The Upgrade

was my first "jeepform" experience, which is essentially a role-playing game that takes after improvisational theatre, and the last game of the weekend was

Zendo

, a competitive deductive-reasoning game. So by-and-large, I progressed from incapability to comfort, insecurity to confidence. Rather like a rehearsal process.

I'm not sure I had the same profundity of insight this year as I had last, but I attribute that to there being less novelty this time around, less of a surprise in having had a good experience. I did spend some time meditating on the similarities between theatre and gaming, naturally, and found a few ideas that are helpful to both. One unexpected benefit, however, was to spend so much time playing with two old friends in such a way that we were often mentally working hard together. Think about it: When you see your friends, do you more often aim to relax and let go of strategy, or engage in complicated efforts at problem-solving. Both types of activity hold merit. I don't do nearly as much of the latter as I'd like, particularly with my buddies in NoVa.

AGON

is a game set in mythic Greece, in which the players work as a team to complete some kind of mythical mission (think Odysseus), but also to come out on top, as the hero who accumulated the most glory (think Jason ["and the Argonauts," not "Morningstar" {although, you know what--

think him, too

}]). This game was run by

Remi Treuer

, who did a great job creating an engaging story and rolling with unpredictable players, though the mythos got a little bent in the process. (In this world, Kore [Persephone] and her mother apparently had some kind of resentful relationship causing spring weather when she descended to the underworld, and Orpheus was double-timing Eurydice with her.) I was

way

out of my depth with the system (which is relatively simple, but...you know...) but suffered more from having a pretty weak sense of the character I had designed for myself. I had meant for him to be a spy sort, a cunning lurker, and he ended up serving the game best by singing (of all things) most of the time.

In Jason Morningstar's

Valkyrie

, one plays a German dissident during the latter eccentricities of World War II. One does so for as long as one can, I should say, since there is the distinct likelihood that one will be investigated by the SS and summarily executed during the game. In fact, only Friend Davey survived the experience in the same avatar throughout. Again, I was a slow monkey on this system, but I certainly picked it up better than I did

AGON

, and the teamwork appealed to me far more than the blend of teamwork/glory-hounding. Plus the game makes for Nazis killing Nazis. That's, like, the universal equation. In spite of the thrill of succeeding to assassinate Hitler and create an uprising against the Nazi party, the game did ultimately lack much of an involved character-play or storytelling element, at least the way we played it. Not that I necessarily consider that a fault, mind. It was hella fun, and you could do it with a campier crowd than we determined conspiracists.

Thereafter,

Clinton R. Nixon

(whose name I must admit I envy) invited me to play

Memoir '44

, and I had immediate post-traumatic stress over every lost game of

Risk

I ever played. But when Clinton R. Nixon invites you to play something, only fools dare refuse. Let me tell you something:

Risk

is for little jerks who can't figure out the concepts behind checkers. (That'd be me; fortunately, Friend Davey was there with his able strategisms once again.) The best part about

Memoir '44

is the way it weaves chance into strategy through its use of randomly drawn cards for available actions. I'm buying it. End o' story. (Though I may go for one of the less based-on-actual-human-tragedy varieties. So now: True end o' story.)

Kevin Allen Jr. is featured in ma' 'blogroll. If you've never yet been to

The Mountaintop Lair of Alex Trebek

, go immediately, and once there, shave your head in devotion. It. Is. A. DELIGHT. (If you're an utterly cynical geek [which I is].) I met him at Nerdly the First, and when I saw he was running a game that was a "hack" of

Hamlet

, I knew I had at least one time-slot permanently filled.

Something Is Rotten

was very much in playtest, so half of our time was spent in (fascinating) discussion of how to make it operate better as a game. There was actually some confusion on my part as to whether Kevin was aiming to actually make a game, or rather use gaming to gather ideas for a story he wanted to write. It hardly mattered. The playing was great fun for me, weaving in references to the play some times, and at others completely disregarding conventional concepts of the characters. For example, when I played the Hamlet-type, he was outwardly angry with the Claudius-type, something he could never do in the play. And at one point I jumped in as a yokel waiter in a diner, spreading the rumor that the circus (or, the players) were coming to town. I walked away renewed in my enthusiasm for the idea of blending improvisational theatre -- audience and all -- with gaming, which has been a topic of much musing 'twixt Youncey and me.

The Upgrade

continued the trend of the improvisational, though this with less of a story-telling aspect, and more of an emotional and status-combat interplay. Clinton and Jason (Jason had also been in on playing

Something Is Rotten

, which naturally ruled) ran this game, which is modeled after reality TV, specifically shows that involve couple-swapping. The game is considered a "

jeepform

" one, which is a Finnish style of game that has the most in common out of any game I've ever played with the sort of long-form improvisation that

Second City

is famous for. J and C were assisted in the running by a couple of more experienced "jeepformers" by the names of

Emily Boss

and

Epidiah Ravachol

, who played ancillary characters and offered great perspective on how the game went when all was said and done. I could go on and on about this game, but the most significant experience of it for me was how uninvolved I made myself. This was owing to being AMAZED at what I was witnessing. Over the course of a couple of hours, I watched a large group of non-actors progress at amazing speed through stages of development as improvisational actors. By the end, something amazing had happened. People were no longer chasing punchlines, but feeling involved in their characters' struggles. We had a group scene with six people in it and boisterous action throughout, and as if by magic, everyone managed to pass the focus without interrupting, overlapping or lagging the action of the scene. DO YOU HAVE ANY CONCEPT OF HOW DIFFICULT THIS IS? I'm still reviewing the events in my head. I'm sifting through cause-and-effect, and believe I'm heading toward the conclusion that a relatively non-competitive game environment, if nurtured and given its own time, promotes communication. Profoundly. More on this . . . well, for the rest of my life.

My Nerdly excursion ended with

Zendo

, and that was fine. A little anticlimactic, but challenging and fun. It was interesting: Davey and Mark and I were planning to sort of huddle to ourselves over this (or another) game. But people became interested. By the end, there were some eight-to-ten people playing or watching (mostly playing), who had been drawn in by the camaraderie. My initial impulse was to resist this, to stick with the monkeys the scent of whose poop I recognized. But we're not monkeys, and Nerdly is all about making those new connections through games and teamwork. It seemed to me this year, for whatever reason, that Nerdly was less well-attended than last. That's problematic for me, because it's an event that is fun, cheap, accepting, beneficial and, ultimately, important. You can develop and expose your game there, you can meet new friends, etc. But what's really unique and important about Camp Nerdly is the way it improves seemingly everyone who attends. Everyone grows, opens up a bit, and learns. Never mind that it happens through gaming. Or, rather, take note. Games are good for you. I want to make Camp Nerdly live, and next year, if I don't have a career obligation that irrevocably conflicts, I'm going to run a game there.

More about it down the line. My thoughts about gaming as it applies to theatre require their own entry.

The COMPLEAT VICTROLA SESSIONS - Part 2

Yesterday was my second and final day of filming on

The Compleat Victrola Sessions

(see

4/28/08

for my first and introductory). This time we were in

The Miller Theatre

, just off the glorious Columbia University main campus at 116th Street, which was something of an improvement in location over the last shoot I attended, at least in hygiene if not general character.

Some of the excitement of doing background work had worn off for me by yesterday, but it was still a little thrill to consider showing up in a silent film. Our focus was on filming audience reactions most of the day, so fifteen-odd of we few (we lucky few, we band of extras) sat in a convincing spread of seats in different arrangements, representing two different nights of a live musical performance, as well as one audience watching a movie. Thereafter, we had a good hour break, and on our return we filmed a sequence that took place just outside the dressing rooms of two of the featured characters.

The audience work was rather dull, for the most part. You can imagine. We sat and, on cue, looked intently at a particular position on stage. It would have been an interesting exercise, were it not for its complete lack of interest. Still, I tried to make the best of it, thinking to myself all the while that this must be what it's like to act with a green screen. What was most interesting about this, in fact, was the fact that our crowd included some Italians. I don't know why they in particular were there exactly; I think they were someone's friends, visiting the country. They all spoke very good English, but naturally opted for their native tongue most of the time. It was difficult for me not to try to join in, but I kept getting images of them either becoming impatient with my relative ignorance, or slowing things down to a crawl in order to accommodate me; I couldn't decide which would be worst.

I brought two outfits for the day, plus my Lloyd-esque glasses in the hopes that there'd be a chance to use them. The first outfit was my evening wear which, in spite of costing me a pretty penny, was almost as motley an assortment as The Tramp's genesis-wardrobe. That morning I realized I had forgotten to get studs for the tuxedo shirt I bought, and began frantically sewing the smallest black buttons I could find together. They were still too big, so I had to nip the ends of the surging on my outer button holes. The "waiter's jacket" I had (imagine a tailored look on top, as with tails, sans tails)

just barely

covered the buttons holding my suspenders to my pants. This was important, because those buttons are still miniature grinning skulls, a remnant of a costume for a show from years ago. The suspenders themselves were some clever costumer's trick, made as they were of restitched, patterned neckties. My tie was a bow tie, the real kind, and I felt confident with my Internet instructions for tying it. This effort predominated my preparations once at the location, and I never really got it right. Still and all, I was proud. Once hat, gloves and cane were added, the effect was distinct and good. Held together with scotch tape, but solid-looking.

For the movie scene, I traded the jacket for a standard black sport one, removed the tie and donned my Lloyd glasses. This prompted the director to exclaim that I was a "man of 1,000 looks" as she referenced how different I was from my bartender on day one. I'll admit I was proud of this, too, bringing to mind as it did memories of Lon Chaney (

Sr.

). After a little while, however, I remembered me that this was film, a medium within which most actors consider it career suicide to change their look too drastically.

Gary Oldman

, as always, my hat flies effortlessly from my brow to you, good sir.

Funny story: In the movie-theatre scene, my glasses will not be noticeable. Largely this is because I look to be sucking face with someone sitting next to me. I play one-half of the couple that makes the feature couple feel alternately randy and awkward. I am not, however, actually sucking face. The director favored making the process "PG-13," and so asked me to feign smooching by placing my distant hand between our mouths. Yes. She did. Ah, movie magic! I could have taken the time to explain that this was, in fact, much more awkward than making out with a stranger, but it would have taken time (the most precious commodity in film, it seems) and possibly made me out to be a perv. So the fingertips of my right hand got some serious play that day.

The day also served to demonstrate for me that a film set is far more fertile ground for personal drama and diva tactics than even a theatre (I wish I could account for opera in this scale, but I lack experience [come to think, we were in a theatre this day...maybe that added? {whatever.}]). In film, if you're on the main crew or a featured player, you are nigh-literally living with the same people day in and day out, slavishly devoting your schedule to the sake of the film itself. If you're on location, you don't even "go home" at the end of the sometimes-18-hour day. It's far more intense in this regard than theatre, even a gig that may be out of town. Never mind that much of the time is spent "doing nothing"; it's an environment of hurry-up-and-wait. It is one intense, prolonged tech day, is what it is. Amazing anything gets done, and amazing no one gets killed in the process.

My last duty within this environment was to play an adoring fan of Ms. Rebecca Cherry's character, awaiting her exit from her dressing room. It was back into the evening wear for this. I was to hand her a bunch of flowers, then remain to be crowd as other things happened. The final thing to happen was for one character to assault another and take her away. This was my moment to shine, where my expertise with all things physical would hold sway and help to pave my way into film infamy. I eagerly leapt into the discussion of choreography.

It ended up being a shove. My job was to catch the shoved one and transplant him safely to the floor, making it look like he had simply fallen into me, taking us both down. I did it about half a dozen times. But hey: I did it without yawning. And hey again: People were very impressed with the job I did. Catching a guy who was a foot away from me six times in a row without dropping him? Wow. I must work out.

I

must

make my own silent film.

Learing Glances

I was walking down the street the other day, on my way to il dayjobo, when I noticed a woman wearing boots with the kind of impossibly narrow and tall heel I see in anime, and believe to be a physical impossibility. She was having no trouble with them, and I considered asking her if she'd stilt with me some time, but then I noticed that the boots were black leather and patterned somewhere between a musketeer's and some kind of glam paratrooper. Aggressive boots. Which got me thinking.

Generally speaking, I'm not a big fan of concept-heavy theatre. There's a great temptation to do it with Shakespeare, and many arguments for and against such approaches. I like my concepts light, and with little-to-no discernible influence on the dramatic action of the play, especially when it comes to The Bard. After all, the play's the thing. Don't change the ending of

Hamlet

. Face my wrath. That having been said, and in honor of beginning work on a clown version of the

Romeo & Juliet

story, I decided to share what this woman's boots got me thinking on.

A lot's been done with

King Lear

. I was in a Suzuki-styled production set in a sanitarium (molto originale), there was a recent movie called

A Thousand Acres

that set the story in rural America of the 90s, and of course there's

Ran

, Akiro Kurosawa's feudal-Japan take on the thing. It's been done to death. Still, these things get done to death because they resonate. It's a play about the anguish of youthful ambition and oncoming mortality, and that don't ever go away for we humans. So it may be done to death, and my ideas may fall far short of being original, but a strong idea benefits from expression.

I wonder how the play would change if it were the love of sons rather than daughters that incited the action?

Lear

has so many family relationships through it that in many ways it's all about family, so I got to wondering about that. Suppose Cordelia, Regan and Goneril were -- I don't know -- Corey, Ronald and Gary. They act completely the same, but have wives (or an imagined future bride, in Corey's case) they involve, and their possession of the inheritance is more assured. Not sure if Lear should be a father or mother in this case, and not sure if that altogether matters.

Once I'm imagining the story this way, I immediately want to set it in an urban, contemporary environment. Perhaps amongst some entitled New York family. There is a film version of

Hamlet

that does this (with Ethan Hawke) and, in my opinion, fails spectacularly to play past the adaptation, but I feel the idea can be done well. In this environment, the sons can be fairly underspoken, manipulative and cruel and it seems quite normal to us; masterminds of business, or media. Their wives take more direct action, but this is fitting in a contemporary environment as well. I can also see Lear (be he or she) as descended to a homeless state very clearly in this setting, and wonder how all the nature imagery might translate to an urban environment.

From here I wonder what else I can alter without getting in the way of the story. Suppose Corey is gay, and that contributes to his estrangement from Lear. It would have to be done without issue; the idea would be to avoid making a statement not found in the original story, to just have it proceed as you expect, but this son is gay. Suppose, too, that Edgar and Edmund are the same person.

WHAT?! I know. I start to doubt myself here, too, but I want to play it out; to play

with

it. So deal.

Without having read the text in years, I wonder if it could be played in such a way that the E.s are one guy with a personality disorder. I imagine him vaguely as a guy taking prescription medication, young and volatile, freshly returned from treatment. Gloucester, his father, is thereby a bit more justified in his ineffectiveness. He's been through a lot with this kid, who has his good days and his bad, and Gloucester finds him, on his bad days, to be a different sort of bastard. Gloucester also must humor E. in his dual personas, in the hopes of bringing him through to sanity, but everyone around him doesn't know how to respond to this, because it isn't clear how much is his humoring and how much he's come to believe his son is divided in two.

If you're still with me now: Let's go produce, because you are a rare creature.

Gloucester, of course, has his eyes dashed out for him by Cornwall, Regan's husband. Or Caroline, Ronald's wife, in this case. It was the glimpse of those boots that got me thinking about it all. In the production I participated in, I played Cornwall, and we stamped out Gloucester's eyes with my heel. Those boots would make that choice far more ... shall we say, effective. The rest of the ideas rolled out from there.

Violence. Such a potent aphrodisiac for romancing the id.

By this point, of course, I have to imagine the show out of the context of the language. You can subvert some lines here and there to justify cross-casting genders, but combining two characters into one? Introducing contemporary psychological understanding to Mr. Bill Shake-Off-Subtext? No, no. I imagine it now as a contemporary retelling, rest assured. Still and all, William had some unshakable lines. There's no escaping, in the end:

"Howl howl howl howl howl! Oh, you are men of stones! Had I your tongues and eyes I should use them so the heaven's vaults should crack! She is gone, forever..."