weebelly.com

So, Molly Smith was the Keynote speaker at the Dramatists Guild tonight, and never, I think, have I heard/seen a more appropriate choice for a keynote speaker in terms of setting the tone.

I feel compelled, immediately, to discuss Mike Daisey and his explosive article on how Resident Theaters failed America. A year or so ago I brought up Mike Daisey at a Dramatist Guild meeting at the Cleveland Play House–which was boasting about its “innovative” adaptation approach to “theater”. I think Michael Bloom’s head nearly exploded when I suggested that adaptations weren’t real theater.

Molly Smith’s talk goes directly to the heart of this. Smith, at Arena Stage, has turned the “theater” into a “center” that addresses her “four pillars”: production, presentation, development, and study of American Theater. This is more than talk. When Gary Garrison introduced Smith, he noted that Arena Stage has started a new program (New Play Institute) that provides 3 playwrights with 3 years at Arena at Full Salary, Full Medical Benefits, an Office, Travel Expenses, and 1 Full Production. Smith immediately corrected Garrison to note that now it is 5 playwrights. Thunderous applause followed.

Let me be clear. Daisey’s argument in How Theater Failed America is that the whole point of Resident Theaters was to SUPPORT theater artists. To provide a living to playwrights, actors, directors, and other technical stage personnel instead of what has happened: a steady stream of support to Artistic Directors, Marketing personnel, Development Officers and staff, etc; while theater artists have been designated as expendable and thrown aside. Case in point, the Cleveland Play House now makes the majority of its season’s productions Adaptations of works by “popular” or “long dead” writers. Then it adds some “classic” plays. In the past few years it has expanded to “Fusion Fest” which may be considered new theater, but, it pales in comparison to Cleveland Public Theatre, for instance, which is dedicating itself to a complete process of staging new works by local playwrights–such as Eric Coble‘s My Barking Dog. The question might legitimately be asked, why hasn’t the Playhouse given Eric Coble and Eric Schmiedl and others the 3 year salary and 3 year health benefits and 1 guaranteed main stage production? Where is the Play House in the innovation game that Arena Stage clearly is marking out? Arena worked with the Mellon Foundation to get it done and support the artists in its community, and it aims to go national with it.

I’m no fool. I have a certificate in Nonprofit Management from the Mandel Center at Case. I know you need Artistic Directors to provide charismatic leadership; Marketing people to develop your targets and “offerings”; and Development officers to keep in touch with $$ in the community. But somewhere along the line too many theaters got far too caught up in this aspect of the “corporation” and lost sight of the actual reason for their existence.

Thank God Molly Smith has come along to provide clear and refreshingly committed energy to theaters and their commitment to their artists.

Smith is no fool. She understands the necessity of a variety of offerings: Classic theater for audiences that expect O’Neill and Williams and so on; Musical theater for those who want relief from thoughtful anything when it comes to theater entertainment; and new voices for those who are more daring in their palettes. She has worked at the Shaw Festival in Ontario, for instance, and knows assuredly the value of the “marketing mix.” But she hasn’t let that kill her vision of the place of the modern artists in the equation–and God bless her for it.

Smith received constant applause and a standing ovation for her keynote, as she well-deserved, for saying what to my mind should be a basic truth: playwrights provide value to our culture: not through simple “civilizing” of theater-goers, nor through new, modern approaches of “engines for economic development”, but as forces for empathy and understanding in a world that is becoming more and more detached, impersonal, and removed in its day-to-day human interactions.

Smith, equally, pointed out that Theaters as organizations deserve loyalty from those whom they helped. Smith posited the question of what would have happened to Florida Stage had every writer and actor who had his/her start at that theater come to the aid of that theater in its time of need? As artists we are obligated to our theaters and theater communities just as much as we insist that our theaters are obligated to us.

In another fascinating moment, Smith pointed to a resource or experiment called the New Play Map (http://newplaymap.org) that seeks input from all playwrights. This map will “map” new productions and second productions and so forth so that trends and patterns of the staging of plays can be seen; as well as the theaters in which they are appearing.

Along these lines, like so many others, Smith bemoaned the fact that playwrights are not getting full productions, but readings and workshops, etc. A topic that was equally taken up by Christopher Durang, whom I’ll touch on soon.

Coming from the Perseverance Theater in Alaska, Smith frankly stated that theaters owe more to their artists, especially playwrights, but it is equally important that playwrights (as assembled at this conference) take responsibility as well and work for serious systemic change.

Clearly Molly Smith is someone to be admired and respected and I look forward to talking with her at greater length.

Went and saw Eric’s play a week or so ago and it was simply fantastic. For the second time this year, Coble teams up with Nick Koesters (Side Effects May Include) and, again, with highly positive results. Coble is a very good writer, and appreciation I’ve gained since taking a course in adaptation a year or so ago and studying his adaptations of Washington Irving stories in Gold in the Bones. I myself was doing an adaptation of Washington Iriving’s The Alhambra, and studying the choices Coble made in his own adaptions was both enlightening and refreshing. Additionally, many years ago I saw his play Bright Ideas at the Playhouse, which is a send up of the Scottish play, based around of all things child rearing. I also have a copy of his play Natural Selection which was in the Humana Festival and is quite brilliant in it’s own right.

Coble has the ability to weave complex stories that address complicated problems or longings or impulses in modern society and make them both tight and hilarious. My Barking Dog is very carefully constructed and builds meticulously toward its great truth, which in my opinion is an exploration of how modern society has gone grossly astray: the machine has long been running us.

My Barking Dog begins with two stories of isolation and posits a modern world that is barren of essential meaning and meaningful connection, and therefore psychologically chilling. The two main characters are exemplars of the brokenness of society. Melinda (Heather Anderson Boll) is a socially stunted factory worker who works the night shift at a printing company; there she does a mindless job which she loves because it lets her avoid people and cultivate her yearning to be one with the machine that she “feeds” paper into. Similarly, Toby (Koesters) plays an out-of-work middle manager who finds that he is completely replaceable as a cog in the machine and whose sole pursuit, when we discover him, is identifying wireless networks in his apartment and placating his insomnia. The world changes for both of these characters when a Coyote (barking dog) comes out of the “wild” and onto the fire escape of their apartment building. Melinda turns from feeding a machine to feeding the dog; and Toby forsakes his wireless network hunting to come outside.

There is a natural inclination on both the part of a playwright and audience member to expect the two dysfunctional characters to “find one another” and be saved by this new relationship and human encounter. This is a choice that, thank God, Coble avoids. Instead, Melinda finds a love of revolution and creating destruction from her encounter with the Coyote; and Toby, preposterously, gets impregnated by the Coyote and has its pups–thus entirely re- and comically mis-directing the romantic impulse of this plot line. Along the way, Coble skewers so much of modern life and angst that the play just breezes along gradually unfolding to reveal the dystopian lives we live today enwombed as we are by our technical electronic blah blah blahs and avoidance of meaningful interaction with the world around us.

In the end, Toby forsakes the modern world for life with his mate in the wild, and Melinda vows to bring the wild back into the cities and reclaim them for Nature.

Jeremy Paul directs My Barking Dog (I wonder if the man ever sleeps), and does a fantastic job with interpreting the meaningless tasks that the characters “live” in their “modern” life into engaging stage images that mirror the textual vapidness of their lives. He also keeps the movement and time tight so that the play moves ever onward to the inevitable conclusion.

As much as Coble probably hates it, there is some comparison to be made to Fight Club with its radical re-creation of a character whose sole “job” becomes the destruction of modern society to create a chaos that frees people from their “things”; but the Coyote and the absurdity of Toby’s character allows the play to avoid too painful and damning a seriousness that the message really does carry. We have lost and are continuing to lose very real and important parts of ourselves and we give ever away more of our humanity to the machines that we have created–both literal machines and systemic machines–the Dark Vaders and Empires which inevitably follow on such concessions as we are making now.

Boll has a tremendous ass and looks great smeared in whatever she was smeared in (lotion?); and I wish I could say the same for Koesters, but alas, I’ll remember the admonition that he who lives in a glass house should not throw stones… and just say admiringly that Koesters is braver than I am–especially as regards playing the “bitch” who delivers Coyote pups by Caesarean section.

I wouldn’t be surprised at all to learn that My Barking Dog is in Kentucky some time soon. Now I’ll go back to reading extant texts from a much more civilized time: The Iliad. After all, nothing speaks of intimacy and humanity like running a spear through so-and-so’s teeth.