Merry Filthy Christmas

Produced by Darren T. Mangler and Theatre Unleashed at Sidewalk Studio Theater in Burbank

[DISCLAIMER: I co-founded Theatre Unleashed in 2008 and served as president of the company until October of this year. I have also had the great fortune of working with Darren Mangler a number of times, and consider him a friend. I kind of know Josh Green, as well. :-) ]

Darren Mangler is an animal; a great comic beast who roams unbridled across the vast, untamed wild of Los Angeles comedy. He is incapable of not being funny. Actually, I take that back -- in The Unserious Chekhov earlier this year, I directed Darren in Chekhov's short play "On the Main Road," and he manages dramatic material with the same balls-out committment with which he approaches comedy.  But I digress.

Merry Filthy Christmas is billed as "L.A.'s Longest Running Holidy Sketch Show" -- it certainly predates Theatre Unleashed.  Our company was just a twinkle in our naive little eyes when I first heard of the show, at that time produced at Write/Act Repertory in Hollywood.

Is it offensive?  I suppose so.  To be honest, even the raunchiest jokes are presented with such good humor and purity (yes, purity) of spirit it's easy to laugh in spite of one's self.  There were a few groaners (what comedy show would be complete without them?) But overall the night was -- dare I say? -- good, clean fun.  Good clean fun with ample incest, anal-sex and scatalogical jokes. It is a strange line that Mangler and Co., walk, and they walk it well.

This past Friday night was your last chance to catch the 2010 edition of this show, but you should make plans to catch this naughty and nice show next year. I know I'll be back!

Pin-Up Girls Progress

Pin-Up Girls in process.

[NOTE: I'm cleaning out old drafts again. Here's a brief snippet from 7/16/08, shortly after I held auditions for Pin-Up Girls (and before the final draft was done, 'cause that's how I roll.)  I'm experiencing a similar problem with the new play, Lang.  It's good to remind myself in moments like this that I have been there before.  Pin-Up Girls became a box office and critical hit for Theatre Unleashed.  I had know idea what I was in store for when I wrote these words.]

HELEN
Trumpet players make good kissers. I know from experience.

ETHEL
How many experiences?

HELEN
You know, I don't like you any more.

I've been "working on" Pin-Up Girls for a few years now. It has taken on epic stature in my mind, and there was a point a couple of weeks back where I was seriously considering throwing in the towel on it. Because, you see, I was afraid that nothing I could write would be as good as what I had in mind.

There is a term for that kind of thinking. The term is "crazy." Nothing ever measures up to what you imagine, if only because imagination is not tethered to such real-life concerns as "story structure" and "good dialogue."

The trick is to capture the feeling I get when the imaginary Pin-Up Girls unspools before my "mind's eye," to hit the essential story beats, and to create something that measures up to the impossibly high standard I have set for this thing.

If You're Not a Part of the Solution ...

One of my boyhood idols, a Christian song evangelist named Jeff Steinberg posted the following quote on Facebook today:

"A pessimist is one who makes difficulties of his opportunities, and an optimist is one who makes opportunities of his difficulties."

- Harry Truman

Jeff was one of the first entertainers--who made a living as an entertainer--that I met.  I was maybe three or four years-old at the time.  He has an incredible story, and a powerful voice.  If he isn't the picture of optimism as defined above, I don't know who is.

"Don't tell me why it can't be done; help me figure out how it can."  That was a mantra I held onto over the past few years.  Nothing frustrates me more than people saying "No, but ...."  If you're not in the solution business, you should maybe not be in the theatre business.

Which is it to be?  Making difficulties of your opportunities, or making opportunities of your difficulties?

Romeo and Juliet

Produced by Merry War Theatre Group at the American Legion Hollywood

[DISCLOSURE:  Co-founder of MWTG and Assitant Director of this production, Phillip Kelly is a dear friend and collaborator (he's one half of "Mssrs. Snapper & Buddy," a neo-vaudvilian act.  I'm the other half.)  He's also the rare person with whom I can be brutally honest about things of an artistic nature, and vice-versa.  There are no eggshells between us, and we've often disagreed passionately about theatre.]

I enjoyed Merry War Theatre Group's production of Romeo and Juliet.  An earnest, appealing cast brings a scrappy production of a Shakespearean staple, relishing in the humor of it all.  We've all seen this show.  We've read it.  We know it like few other Shakespeare plays.  Merry War ditches the emo-melodrama and mines the humanity of Romeo and Juliet's relationship.  When Romeo kills Tybalt in an act of revenge, things begin spiralling out of control.  The stakes become real for the star-crossed lovers in a way I haven't seen happen before.  The storytelling is from the heart and from the head.

The play begins in the downstairs bar, where improvised business between characters leads to the prologue.  This production of Romeo and Juliet takes place in the Verona Hotel and Casino.  The Montagues are service industry workers, the Capulets are patrons of the hotel and casino.  As seems to be the case all too often with attempts to stage Shakespeare somewhere else, the framing conceit doesn't add much to the storytelling, and doesn't play much further than the prologue in the bar.  It doesn't distract, either -- oftentimes what seems like a clever idea imposes itself too heartily on the text, warping it.  That does not happen here. 

The principle playing space is a cavernous, dark atrium in the center of the American Legion building. The actors are before us and to our right and left on the ground floor. They are also above us, on a second floor balcony that surrounds us. We are in the center of all the action, and director Chase McKenna uses this space to great effect.

McKenna is a lovable Juliet, and her Romeo, Adam Burch, is equally appealing.  Other stand-outs in the ensemble include McKinley Belcher III who imbues Mercutio with a delightful flippancy, and Bobbie Keegan who brings a brogue-ish charm to the Nurse.  I'm happy to say there's not a dull note in the entire cast.

BRING CASH FOR THE BAR!  And keep in mind that you may not bring your drinks with you into the principle performing space.

Fridays, Saturdays and Sundays at 8:00 pm through December 12th at The Hollywood American Legion, 2035 N. Highland Ave., Los Angeles.  Bar opens at 6:00pm.  There is ample parking at the American Legion, but bring $5 CASH.

Tickets via Brown Paper Tickets or Goldstar.

Burlesque is Theatre

"No matter how huge the goal, project or problem, if you diligently continue to chip away at it or take even the tiniest steps forward to correct the situation, you can achieve the results that you desire…”

-- Catherine D'Lish

There is a fantastic interview with burlesque dancer/ravishing beauty Catherine D'Lish at 21st Century Burlesque that brings to mind the concept of a "showperson."  (Note: There are a couple of NSFW pictures embedded in the article.)

I absolutely feel that it is each performer’s responsibility to entertain the audience. That somebody being on stage makes them feel good about themselves, or empowered, or that they are sending an important message to educate someone should take a back seat (in my opinion) to holding the interest of the spectators. I’m not saying that every act should be frivolous fluff, just that the individuals sitting (or standing) out there in the dark must be presented with something that doesn’t leave them feeling left out.

For some time I've meant to publish an essay on burlesque as a perfect theatrical form.  That's a work in progress and will probably turn into one of my ponderously pedantic multi-parters.  In the meantime, I encourage you, the reader to seek out a burlesque show and see what it's all about.  With the new Cher/Christina Aguilara movie dropping soon, you may be inclined to believe the glossy Hollywood take on what is in fact a vibrant, growing artform.

In Los Angeles, I recommend Peepshow Menagerie, Monday Night Tease and Victory Variety Hour.  That's where you'll find me onstage these days.

IF I HAD IT TO DO ALL OVER AGAIN ...

No job is too small for CAPTAIN HINDSIGHT!  (via South Park Studios)

... things would be very different.  As Pamela is fond of quoting, "You live and learn and then there's Luvs."

How different, you ask?  Try this on for size:

THE AUTONYM*

We, the undersigned, agree to work together in creating works of art inspired by passion, under the banner of “The Autonym.”

Our participation in this association is entirely voluntary and at will. We owe no allegiance to The Autonym. We are not members of The Autonym. Rather, we align ourselves with each other, as individual artists and with mutual respect.

The Autonym has no bylaws, no logo, and no fixed location in space. There are no dues and no membership requirements.

To become an Autonymic artist, an artist must be invited to enter into this agreement by an existing Autonymic artist.

Individual artists who wish to produce a work of art inspired by passion under the banner of “The Autonym” must work out individual agreements with other Autonymic artists, as necessary. These agreements exist outside The Autonym, and shall not alter, amend or alloy this agreement.

Individual artists may take it upon themselves to establish activities to facilitate the voluntary association of artists under the banner of “The Autonym,” but such facilitations shall be the sole responsibility of the individuals who chose to pursue them, and shall be pursued respectfully in regard to other Autonymic artists.

It is requested but not required that Autonymic artists acknowledge their participation in this agreement with the words, “Produced in Association with The Autonym.”

As “The Autonym” indicates an agreement to work with other Autonymic artists, it is suggested that a work of art produced under the banner ought to have more than one Autonymic artist involved.

Autonymic artists may withdraw their participation in this association at any time, for any reason by respectfully announcing that decision to the other Autonymic artists.

This agreement will terminate one year after the second signature date below. It may not be renewed. Rather, if the undersigned agree to continue working together in creating works of art inspired by passion, they may choose to revive the banner with a new agreement.

Name Signature Date

(* Literally, "A name by which a people or social group refers to itself.")

"The Autonym" is a purposefully artificial construct. It is little more than a statement of intention to work together, and a banner to signal to the public that a particular group of artists has produced a specific work of art.  (It is also one letter off from "antonym."  Make of that what you will.)

It's either about passion and eagerness to work together, or it's pointless. Why settle for a Sisyphean chore when there are many other mountains to climb?

Attention to Detail

I've spent more of my time in the past two years focused on doing burlesque than on making theatre, but I still write and direct, occasionally act, and I go to plays with Andrew all the time.  In burlesque, the best performers pay great attention to detail in the few minutes they have to tell their stories.  In theatre, attention to detail can make or break the hour or two of action on stage.

Let me clearly define this concept.  A production fully commits to the given circumstances of the play.  Everything contributes to the concept and vision the director wants to communicate with the work.  I call it "going all the way" in burlesque.  It doesn't require a huge budget; it requires a team that understands the piece and cares about making it amazing.

I'll give a few examples of where the production paid attention to detail and where it didn't. 

Production #1 we saw a few weeks ago.  The set was simple and utilitarian.  The play was about the end times where the economy was so bad that the players were engaged in a lottery to become applicants for an undefined job that would provide the winner with food, clothing and shelter.   The players' street clothes were clean and new, not showing any indication that times were tough.  The starved applicants were presented with a continental breakfast upon their arrival at the competition complex and NONE of them raided the food table.  One of the three people who visited the food table over the course of the play actually behaved like a starved person living in uncertain times.  The other two players shredded the croissants and tossed their bits around like confetti, and the remaining three applicants didn't touch the food at all.  For a play about the absolutely destroyed economy and crumbling social structure, the given circumstances that landed these players in this situation were largely absent in the work.

Production #2 we saw last weekend.  The show was about a teenage girl dealing with the death of her mother and the downward spiral of her desperate attempts to be loved.  The playing space was very utilitarian and lighting was used to show what was real and what was imaginary.  The costumes were simple and perfect for the individual characters.  The actors played the reality of the situation for blood.  What delighted me as an audience member was the set dressing that wasn't necessarily used beyond creating an environment.  The show was simple and elegant and had impact because everyone in the production was committed.

Production #3 we also saw this past weekend.  This dark comedy was set in Wisconsin and dealt with the unusual circumstances surrounding a missing person.  The set looked like an actual home from the proscenium arch covered in siding to the window on stage that had snow falling outside.  The actors were fully committed to the reality of the situation.  The cabinets and refrigerator were full, they brewed coffee on stage and used the working sink several times.  The costumes were spot-on, reminding me of my youth living in Wisconsin.  The attention to detail was exquisite.

Whether you have a huge budget or not, you are responsible for the attention to detail in your own part in the production.  Show that you care about what you're doing, because that breeds good reviews and future work.