Post-Mortem

So you may have noticed that after midnight, the White Eagle posts stopped. Yes: we were all eaten by ghosts. The end.

Actually, around 1:30, it was kind of a like a taut stretch of twine snapped, and everyone became exhausted and called it a night. That’s no surprise: we’ve been in rehearsal until 11:00 PM almost every night for the last two weeks, and people were beat. When they left, they also took their laptops with them, hence no more blog posts.

And what about yours truly, dear reader? What happened when just the author and his lovely spouse were left in the White Eagle alone?

Sad to say…or maybe glad to say…nothing. That was because, even as blown-out tired as I was at that point, I suddenly realized something I hadn’t anticipated: I was never going to be able to sleep in this place. I’d lie there awake, listening for every stray sound. At one point, alone in the room, I could hear a bag of chips uncrinkling, so hypersensitive I had become. And it was like, hey, fun’s fun, but I have two more 80-hour weeks ahead of me. I have to crash.

So around 2:00 or 2:30, we said goodnight to the Eagle and its residents, transitory or permanent. In summation, we heard nothing except a rock’n’roll band coming up through the floorboards, saw nothing untoward, and experienced one (briefly) very cold restroom. We watched half of the “The Haunting” and told some good ghost stories. And we had some laughs and shared time with friends.

Is the Eagle haunted? Well…I’ll say this: there is a melancholy to that second floor, where so much history, some of it painful, went down. The McMenamins have lovingly restored it, with wit and a goofy charm, but there’s no hiding that sadness, that people spent their lives (and sometimes ended them) in those narrow, claustrophic rooms with tall ceilings that have weirdly ominous cracks. And I don’t know whether it’s the power of suggestion or a reality, but I couldn’t help but feel something’s going on there. What it is, I have no idea. But, honestly, I wasn’t sorry to leave. I was a little relieved, if for no other reason than I could soon sleep.

In short, if the White Eagle isn’t haunted, it ought to be.

Steve

P.S.: When we finally got home, I bundled up and went out back to have my customary pre-bedtime pipe of tobacco, a time I use to sort of mull over the day and sometimes write in my head. And I was sitting out there, sorting through the evening’s memories, when I thought: hell, it’s not that cold out here. I thought it’d be much worse. That’s when it hit me–bang: the cold I’d felt in the White Eagle’s restroom was far colder than the outside night air. And somewhere, I could feel someone…or something…snicker.See you at the show.

After Midnight

Quiet again. The band taking a break. We’ve been sharing ghost stories…personal ghost stories. Things that have happened to us or we’ve heard about. Some of them are quite good, such as…well, we don’t want to incriminate anybody. But it is notable that nearly everybody has a story, and the stories all sense of the veracity to it. An emotional truth.

Or maybe we’re all just good storytellers.

Reports are that restrooms are warm again. No clue what that’s about.

But it’s nice that it’s quiet. I think.

S

Okay….

The band’s on a break, so it’s actually quiet at the Eagle. Still not much happening. But…we found the restroom on the left is much, much colder than the one one the right (if you’re facing north). There’s a Sam Shepard quote on the wall of the one on the right, so it’s clearly the theatre restroom. Of course, we have a bunch of people in this room, so it’s no surprise it’s cold out there. But, seriously. Colder.

Also, it’s nice to know that Sam’s room is around the corner. Not Sam Shepard. Sam the Handyman, who supposedly has never left the White Eagle…even though he left the rest of us some time ago.

Also the doors creak like hell.

More to come….

S

Welcome to the White Eagle

So…as some may have been following, Pavement Productions and The Bluestockings are staging Dead of Winter, a trio of ghost stories at Performance Works Northwest (opens Feb 1st). But we’re professionals, doing our research, so we’re here at the in(famous) White Eagle Tavern/Hotel. The White Eagle, of course, is supposed to be haunted. We’re staying in Room 3. The Birdsong room. It’s small. There are little birds painted on the walls. Bird…song. So far, no ghosts. No birds either. But then, the band downstairs may be chasing both of them away. We’ll see. But the place does have a weird feel to it. It may all be projection, but…we’ll see. Anyway, so far, no ghosts. Just theatre people. Which, of course, is scary enough.

Stay tuned.

Steve

Blogging with Ghosts

So it’s no news to regular splattworks readers that I’m co-producing Dead of Winter, three ghost stories written for the stage, with Portland’s The Bluestockings (we open February 1st, run through February 23rd, blah blah blah). But as kind of a fun rehearsal night off/group activity/weird adventure, I’m booked to stay Friday night at Portland’s notoriously haunted White Eagle Tavern, which has been lovingly restored as a hotel, and the cast and crew are going to drop by as my guests. We’ll tell some ghost stories, maybe watch the classic 1964, black and white version of The Haunting. And, of course, drink. Good times…we hope.

But, since the Eagle is set up with wireless Internet, we’re also hoping to blog live from the site, so, if you’re curious, check in with this blog starting around 9:00 PM tomorrow, and see what, if anything, happens. (That is, of course, assuming the equipment doesn’t suddenly cease to function for unexplainable reasons.) My suspicion is that we’ll have some fun and ghosts will be scarce, but I suppose you never know. This isn’t a public event–it’s a private party–but the blog is a way for those outside the cast and crew to vicariously join the festivities. So log on, turn the lights down, put on Bach’s Toccata and Fugue in D Minor, and come along for the ride.

For the record, the story has it that the upstairs, where I’ll be, ahem, sleeping, is haunted by Rose, a prostitute who was murdered on the premises, and Sam, an alcoholic handyman sort of “adopted” by the original tavern owners and who spent most of his life, between and sometimes during binges, on-site. Sam also occasionally pulls a prank or two on the ground floor, but most of the spirits there are in bottles. There’s also a malevolent presence in the Eagle’s basement, but that’s off-limits to guests, and, having once visited it in the company of McMenamin’s resident historian, I can say I have absolutely no interest whatsoever in ever going down there again…if you get my drift. I don’t really know whether or not I believe in ghosts, but, having gone down there, I do believe I don’t want to go there again. Seriously.

My ancestors may be Irish, where ghosts come with the property deed, but some basements you just don’t want to mess with….

Finally, it’s worth noting that something strange seems to be in air this winter: Dead of Winter will be the third Portland production in a month’s time that has to do with ghosts, the other two being Third Rail Repertory’s Shining City and Theatre Vertigo’s Where’s My Money? (Both worth seeing.) And we’re all working independently of each other and didn’t really know about each other’s show’s paranormal aspects until the shows went up. How…odd.

*ding!*

I’m only printing the following from the Talking Points Memo blog because it makes my comments seem semi-smart. Despite this, it’s interesting.

S

————————

Obama: Reagan Changed Direction Of Country In Way Bill Clinton Didn’t
By Greg Sargent – January 16, 2008, 3:19PM
This is interesting — Obama is turning up the volume of his argument with what he terms Clinton style “incremental” change, arguing that Ronald Reagan fundamentally changed the direction of America in a way Bill Clinton didn’t. Obama made his case in a sit-down interview with officials from the Reno Gazette-Journal…

Some will find Obama’s words about Reagan overly kind. And this is the first time I’ve heard him mention Bill Clinton in the context of saying such generous stuff about Reagan.

But Obama is also making an argument about the readiness of the electorate for change, comparing today’s desire for a new direction with the electorate’s mood in 1980. In this context, Obama is presenting himself as a potentially transformational figure in opposition to Hillary, who, Obama has been arguing, is unequipped to tap into the public’s mood due to her coming of age in the sixties and her involvement in the political battles of the 1990s.

Juxtaposing Reagan and Bill Clinton in this way, however, decidedly takes his argument to a whole new level.

Straight from the Huckatollah

A bit ago, when I was handicapping the candidates (not that they don’t seem capable of handicapping themselves), I sorta kinda maybe suggested that Mike Huckabee was, how shall we say, a little out of touch with reality (i.e., completely Looney Tunes).

Today this story comes out, and if you weren’t scared of Huckleberry Hound before, now’s the time to dust off the passport….Huck: We Need To Amend The Constitution, Bring It In Line With God
By Eric Kleefeld – January 15, 2008, 1:00PM

At a Michigan campaign event last night, Mike Huckabee gave an interesting reason for why he wants to amend the Constitution to ban both abortion and gay marriage: Otherwise, the Constitution would be in conflict with God.

Huckabee first observed that some of his opponents don’t want to amend the Constitution on both of these topics. “But I believe it’s a lot easier to change the Constitution than it would be to change the word of the living God,” Huckabee said. “And that’s what we need to do, is to amend the Constitution so it’s in God’s standards rather than try to change God’s standards.”

Speaking of which…


…here’s a production shot from Wet Paint, the piece in Dead of Winter that I wrote specifically for The Bluestockings and which will be a world premiere. Soon, we’ll have a short promotional film on The Bluestocking’s website; I’ll let people know when it’s up and running.

The still’s from a seance that begins to get a little…odd.

Steve

Just Plain Dead


There is no fatigue like theatre fatigue.

It’s like getting caught in a riptide. At night. In cold water. You just have to ride it and hope you’ll stay afloat until it lets go of you, and you can drift back to shore, which, depending on the show, will be opening or closing night.

Which is to say, I’m deep in the wild of rehearsals, press, phone calls, e-mails, and errands for Dead of Winter and, actually, having an absolutely wonderful time. (Only people who have been there understand the pleasure of hearing themselves say, “Do we have enough gels?”) If you don’t fight the riptide, you can enjoy the ride…like you can enjoy riding a motorcycle on wet pavement. It’s still tough, tiring work, but it has its pleasures, and one of those is watching the play (or plays, in this case) take shape, rolling into focus, the actors taking your words and building people out of them. I’ve been doing this for…for some time, let’s say, and I still marvel at images and sounds swirling around my head ending up as words on a page, then becoming characters who you care about, hate, laugh at, or, in the case of these ghost stories, creep the hell out of you. It’s seriously weird to be watching something I wrote and feeling the hair rise on my arms. At one point, if anyone had been looking at me instead of the actors, I probably would have seemed stricken because I was pretty much thinking: Jesus, what kind of sick bastard wrote this?

All good signs, but I’m way too close to it to judge. I do marvel, however, at the director’s craft, which makes all these various elements somehow come together. I have an idea how it works and I’ve directed a time or two, but it’s just fascinating to watch someone who knows what she’s doing (in this case, Lisa Abbott) make it synch up, connect, and work. I can roughly imagine how it’ll look, sound, and feel, but the director knows, and she’s shaping the clay in four dimensions. It’s amazing.

And I know my company, Pavement Productions, is the co-producer (with Portland’s The Bluestockings), but damn if this thing doesn’t feel like it has potential. The actors are working like hell, the designers are coming up with great stuff, and, well, I’ve said my piece about the director. When all the elements come together….

Though it sounds like a cliche, given that these are plays about ghosts, it feels like there’s something spooky going on here. Some kind of…voodoo. And that’s what theatre’s all about.

Now if I can just keep my head above water.

Nineteen days to go….