Danger is My Business (or Always Check the Prop Table)

Actor slits his own throat as knife switch turns fiction into reality

An actor slit his throat on stage when the prop knife for his suicide scene turned out to be a real one.

Daniel Hoevels, 30, slumped over with blood pouring from his neck while the audience broke into applause at the “special effect”. Police are investigating whether the knife was a mistake or a murder plot. They are questioning the rest of the cast, and backstage hands with access to props; they will also carry out DNA tests.

Things went wrong at Vienna’s Burgtheater as Hoevels’ character went to “kill himself” in the final scene of Friedrich Schiller’s Mary Stuart, about Mary Queen of Scots, on Saturday night

It was only when he did not get up to take a bow that anyone realised something had gone wrong.

Though bleeding profusely, Hoevels survived because the knife missed the carotid artery as it sliced into his neck. Wolfgang Lenz, a doctor who treated him, said: “Just a little bit deeper and he would have been drowning in his own blood.”

One officer told Austrian TV news: “The rumours are wild, with some claiming that he was the victim of jealous rival.

“We don’t know anything for sure yet; we have to work through everyone.”

The knife was reportedly bought at a local shop; one possibility is that the props staff forgot to blunt its blade. “The knife even still had the price tag on it,” an investigator said.

After emergency treatment at a hospital, Hoevels declared that the show must go on, and returned to the stage on Sunday night with a bandage tied around his neck, ready to once again meet his mock demise.

What’s In It For Me Dept.

Amid the lightning and thunder of the Wall Street and Big Three bailouts, there hasn’t been much talk about Obama’s possible impact on the arts. I have heard Caroline Kennedy’s name bandied about as a possible NEA chairmain, but, by God, she’s getting some kind of job since just about everybody wants her for something.

Anyway, I ran across this bit on a piece about Obama’s economic sitmulus package that I thought was interesting:

Among the worst vestiges of the Clinton years was the linking of education spending to the nation’s technological advancement, downplaying the life-affirming, intrinsic value of culture. Since the Reagan Administration bulldozed federal arts and humanities funding, the nation’s entire cultural apparatus has become increasingly privatized.

Why shouldn’t the stimulus package fund arts groups and schools to hire at least 100,000 cultural workers? These workers can paint murals, teach art, dance, music, and theater, and provide the level of art support that existed in the United States from the New Deal through the Carter Administration.

The Obama transition team has already endorsed an ArtistCorp, though this appears separate from the stimulus package. But a Musicians National Service Initiative already exists, and could hire people with stimulus funds through its recently created MusicianCorp.

Hiring cultural workers would not only boost consumer purchasing power, but in doing so the Obama Administration would send a powerful message about the nation’s values. The United States should not be only about high-tech, infrastructure, and finance, and our cultural infrastructure deserves more than having its leaders honored annually at a Kennedy Center gala.

Big Rains


Good lord. I wrote a song. I knew buying a guitar was a dangerous idea.

Emaj
Wind in the leaves
Amaj
A few left on the trees
Dmaj Amaj Emaj
Waiting on the Big Rains

Emaj
New stars past the clouds
Amaj
The Hunter and Hound
Dmaj Amaj Emaj
Watching for the Big Rains

Emaj
Coming home in the dark
Amaj
And it’s just five o’clock
Dmaj Amaj Emaj
No escaping the Big Rains

Emin Gmaj
Goodbye to morn
Emin Gmaj
Goodbye to noon
Emin Amin
Goodbye to eve
Bmaj
See you in June

Emaj
Still there’s part of my soul
Amaj
Gray, quiet, and cold
Dmaj Amaj Emaj
At home in the Big Rains

Sketch: Coming Down

Sun coming up, clear and cold, illuminating the breath. Not waking; haven’t been to bed. House full of snoring friends. Sipping Cuervo from an almost empty bottle. Light down through the ridges, shaped into sawteeth by the treeline, shines through the fog rising from the orchard, the trees just barely green with new leaves. Cars parked haphazardly along the dirt road. A pickup on the front lawn, tire gouges in the wet turf. No other houses in sight, but a few columns of chimney smoke. Crows in the trees, still, one now and then hopping from an upper to lower branch.

Kelso must have really been wasted; he left his acoustic propped against a table covered with empties. It’s an effort to move, but pick it up by the neck. Heavy, it’s a substantial guitar. Try to remember a chord; all you can think of are A, D, and E–not very satisfying at this hour. Then you see chord boxes in your mind’s eye for A and E minor, strumming quietly, alternating between the two. Dylan’s “Senor” coming and going.

Sunday? Sunday. They will wake slowly, stumble into the kitchen, where the coffee’s brewing. A few will probably have to be roused. Then breakfast for those who can eat. Leave taking in the afternoon: hugs, smiles, a few tears. Then the last taillights bumping down the road and out of sight past the bend.

Finally, it’s just you and her, and the dirty dishes and pets wanting fed. Break out the vinyl, familiar cracks and hisses, and put on something you’ve heard so many times that you know the bass parts. Arms up to elbows in soapy water, your reflection in the window: a little less hair, a few more lines. In the background, the door to the office: stories, plays, poems impatiently waiting to be written.

Well. That’s hours away. Now, it’s just you and the sleepers, and the guitar, and the mistletoe in the oaks, and the spider webs lit with dew, and a squirrel running, stopping, then running furiously to disappear in tall grass.

Look up, and the red tail glides past a big cedar and vanishes into fog.