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My good friend Peter Roth did something quite exceptional yesterday, well, he had probably been working on it and thinking about it for a bit longer, nevertheless, yesterday evening he convened the first meeting of the Manhattan Project.

By his own description:

Between 1942 and 1945, J. Robert Oppenheimer gathered the most brilliant minds of the age at Los Alamos, New Mexico to create something magnificent and terrifying. The Manhattan Project – Cleveland Lab seeks to do the same for the Cleveland stage.

Based on the Theatre Lab model taught at the Carnegie Mellon School of Drama and inspired by The Brooklyn Generator in New York, The Manhattan Project wants to introduce Cleveland actors and playwrights to each other by organizing a monthly production of brand new 10-minute plays.

Participating artists will meet early in the month and will be broken into teams, each with one playwright. The playwright will then be given a writing prompt to write a new 10-minute play based on the prompt and including all the team’s actors. The rest of the evening the team members will get to know each other and get a feel for each other’s skills and voices.

The teams will reconvene later in the month to perform these plays for each other.

These 10-minute plays are not an end in themselves. Through these small collaborations we hope to build relationships between the two most vulnerable artists in theatre; the actors who put themselves on stage and the playwrights who pour themselves onto the page. Perhaps these 10-minute plays will grow into longer works or maybe these collaborations will become partnerships on larger projects.

I am pleased that Peter invited me and that I am one of six inaugural writers. Upwards of twenty people showed up last night and all were enthusiastic. This is an exciting project and will only grow with time.

If you want to participate, please RSVP at TrinityCrater@gmail.com.

The first performance will be Monday, May 6, at 8:00pm at Mahall’s on Madison Avenue, which is a kick-ass venue with a good beer selection.

Rock-on, Peter!

Went to the NEOMFA festival on February 4 and February 9 at convergence and had a blast.  First of all, there were so many faces there that I recognized that it literally was like walking into a holiday celebration at a family house.

Mike Williams’ piece Plant Life was up first.  While it felt a bit unfinished, it was a yearning piece that sought and looked forward with hope to the possibility that the future might bring.  Alan’s (Tom Kondilas) wife Leslie (Liz Conway) has liver disease and needs a new liver.  The waiting list game isn’t working for the pair and they opt in to the possibilities for a new liver presented by a research scientist (Michael Regnier) whose work with plants has yielded intriguing possibilities.  Combined with this, the deterioration of Alan and Leslie’s relationship begins against the disease and the financial stress on the pair (he is a poor artist, she is the bread-winner).  There were two real highlights, I felt. The first was the rapid succession of wake-up-we-have-to-go moments when the phone rang announcing a possible liver donor had been found.  The succession demonstrated the frustration, terror, and effort that is involved in dealing with transplantation and accomplished the task of moving the play forward both in time and in plot.  The second was the work of convergence in using their trap to allow the birth of the plant Leslie from the pod. Having planted and tended the seed given him by the mad scientist, Alan receives the fruits of his labors in the form of a “new” Leslie who holds within her the liver that the real Leslie needs.  While at first an innocuous plant, at the end it is a massive pod that breaks open revealing: Leslie.  The effect was incredible and the audience rejoiced in seeing it—showing again that to a certain extent spectacle is what drives entertainment in a theater.

Jarod Witkowski’s play Nothing Funny was quite different from Williams’ piece, which was primarily plot-driven. Witkowski’s play’s concern is innocuous enough, a son (Benjamin Gregg) and his relationship (or lack thereof) with his parents played by both Amy Bistok Bunce and Wes Shofner—whom it was great to see at convergence again.  The play begins with the mother shoving dinner to her son saying, “I never liked you much as a kid.”  From there the play explodes in an onslaught of strange and rambling monologues, songs, dislocated scene sequences, jumps in time and space, odd interludes, and startling uses of the space that create a highly expressionistic and subjective emotional dissection of a family’s dysfunctional life together.  A television and colorful old pump assembly (put together by Wes) allowed for movement through time at the push of a…handle.  So the play jumps between the present, the future, the past, funny interlude, monologue, etc.  By focusing on these three people and their relationship with one another, Witkowski does a highly effective job of excavating the emotional life of the family: the resentments, disappointments, yearning for connection, and inability to connect or even express themselves—comically highlighted by the constant refrain of both parents: “grammatical error” as their son speaks.  That is, it’s not enough to strive sincerely to express yourself clearly to another person, but to have to do it in precisely correct grammar—as that seems to be what the person your talking to is focused on—well, that just makes it all the more difficult.

Both of the plays were challenging and fun to see and convergence really came together to put on a wonderful set of shows for the NEOMFA playwrights.