Category Archives: new plays

Playwrights West Presents a World Premiere: Claire Willett’s “Dear Galileo”

Dear Galileo thumbnail

On a beautiful August night, come explore the stars with….

Playwrights West—Portland’s professional theatre company composed of nine distinguished local playwrights—in association with CoHo Productions, proudly presents the World Premiere of Dear Galileo, written by Playwrights West’s Claire Willett and directed by Stephanie Mulligan. Dear Galileo opens Saturday, August 8, with a special VIP preview performance on Friday, August 7.

As Claire says, Dear Galileo is “a play about science, religion, fathers and daughters, sex, creationism, and the Vatican Advanced Technology Telescope.”

What’s It All About?

Dear Galileo opens with a young girl asking big questions about the universe as she writes letters in her diary to one of history’s greatest scientists, Galileo Galilei. So begins a dialogue that bridges faith and science, wonder and doubt, and present and past, as three very different women in three different eras grapple with the legacies of their famous fathers:

  • In a small town in Texas, creationist author and TV pundit Robert Snow is at a loss when ten-year-old Haley’s newfound passion for science begins to pull her from the Biblical teachings of her upbringing.
  • In Swift Trail Junction, Arizona, home of the Vatican Observatory’s U.S. outpost, pregnant New York sculptor Cassie Willows arrives to find her estranged father, world-renowned astrophysicist Jasper Willows, is missing.
  • And in Renaissance Italy, Celeste Galilei lives under house arrest with her elderly father Galileo—the disgraced astronomer imprisoned for defying the Pope…and facing down the Inquisition by publishing one last book.

As the three stories weave towards convergence, each family’s destiny becomes inextricably bound with the others, linked across time by love, loss, faith, the search for identity, and the mysteries of the stars.

How Do We Get There?

Dear Galileo opens Saturday, August 8, at CoHo Theatre (2257 NW Raleigh St), and plays Thursday, Friday, and Saturday evenings at 7:30, and Sunday afternoons at 2:00, through August 29. Friday through Sunday tickets are $25 for adults and $20 for students/educators/seniors. All tickets on “Thrifty Thursdays” are $15, and Thursday performances include post-show talkbacks, featuring some of Portland’s most innovative theatre artists.

When Do We Really Begin?

Playwrights West invites you to join us on Friday, August 7, for Dear Galileo’s VIP Preview Performance/Gala, where a $40 ticket offers a you-are-there seat to Portland theatre history and includes a post-show talkback, a gracious reception, and some terrific company.

Where Do We Find the Answers?

For more information and tickets, go to Playwrights West or contact CoHo Productions Box Office: 503-220-2646).

You Have More Questions? Keep Reading

Who Are We?

Dear Galileo features actors Nathan Dunkin, Kate Mura, Agatha Olson, Walter Petryk, Chris Porter, Gary Powell, and Nena Salazar. The production team includes Sarah Kindler (Scenic & Properties Designer), JD Sandifer (Lighting Designer), Ashton Grace Hull (Costume Designer), Annalise Albright Woods (Sound Designer), and Nicole Gladwin (Stage Manager).

Who Are The Creators?

Claire Willett is a proud member of Playwrights West and a founding artist of the Fertile Ground Festival. She was a finalist for the 2015 Jerome Fellowship at The Playwrights’ Center in Minneapolis and was the 2011 Oregon Literary Fellow for Drama. Her other works include: Carter Hall (in development with Nashville songwriter Sarah Hart, thanks to a grant from the Regional Arts & Culture Council); Upon Waking; How the Light Gets In; That Was the River, This Is the Sea (co-written with Gilberto Martin del Campo); The Witch of the Iron Wood (co-written with local composer Evan Lewis); an original adaptation of W.H. Auden’s 1942 poetic oratorio For the Time Being; and The Demons Down Under the Sea, an adaptation of Edgar Allan Poe’s poem “Annabel Lee,” produced in October 2014 as part of Shaking the Tree’s production of The Masque of the Red Death (a collection of Poe shorts by the writers of Playwrights West).

Ms. Willett her first novel, The Rewind Files—a time-travel, science fiction adventure about Watergate, has just been released by Retrofit Publishing in Los Angeles. Ms. Willett is also a popular, widely read blogger at: It’s Kind of a Long Story. Like Dear Galileo, her blog is the voice of a fiercely intelligent, compassionate, and spiritually attuned writer, unafraid to take on big ideas.

Stephanie Mulligan is a stage director in both the professional and educational arenas. Her favorite recent shows include The Seven Wonders of Ballyknock, Almost Home, The Outgoing Tide, Jesus Saves, The Guys, Little Women: the Broadway Musical, The Music Man, Nickel and Dimed, The Wizard of Oz, Murder Is My Business, Love’s Labor’s Lost, The Laramie Project, and The Comedy of Errors. Stephanie has worked with (and learned from) such notable American directors as James Edmondson, Penny Metropulos, John Dillon, Aaron Posner, and Nancy Keystone. She has participated in international programming, collaborating with India’s Mahesh Dattani and Lillette Dubey, Vietnam’s Do Doan Chau and Dang Tu Mai, and Australia’s Cate Blanchette, Robyn Nevin, and Andrew Upton. Ms. Mulligan’s work with many fine local companies includes Portland Center Stage, Lakewood Theatre, triangle productions!, Coho Productions, Artists Rep, Broadway Rose, and Portland Civic Theatre Guild.

Playwrights West, a professional theatre company founded in 2009 and composed of nine Portland playwrights known for the high quality of their work, focuses on presenting top-level productions of its members’ plays and supports the development of original work in Portland. The nine member playwrights are: Karin Magaldi, Ellen Margolis, Aleks Merilo, Steve Patterson, Andrea Stolowitz, Andrew Wardenaar, Claire Willett, Patrick Wohlmut, and Matthew B. Zrebski. Drawing upon a growing national movement of playwrights taking the reins for productions of their work, Playwrights West introduces Portland audiences to compelling, innovative theatrical experiences, presenting vital new plays by gifted local authors.

Why Are We Here?

  • In 2011, Dear Galileo was a finalist for the Fox Valley Collider Project, a Chicago-area initiative to support original works of theatre about math and science, and was developed with the support of a 2011 Career Opportunity Grant from the Oregon Arts Commission, a 2011 Oregon Literary Fellowship from Literary Arts, and a month-long artists residency at I-Park Artists’ Colony in East Haddam, CT.
  • In 2012, the play was produced as a staged reading in the Fertile Ground Festival by Artists Repertory Theatre, directed by Stephanie Mulligan, where the cast included Chris Porter (who returns in the role of Galileo).
  • In March 2013, Dear Galileo received a staged reading at Pasadena Playhouse in California as part of the Hothouse New Play Development Workshop Series, directed by Literary Manager Courtney Harper, with a cast that featured noted actors Robert Picardo (Star Trek: Voyager) as Jasper Willows and Lawrence Pressman (Doogie Howser M.D., American Pie, Transparent) as Galileo.
  • In Summer 2014, Willamette University in Salem—launching its new on-campus company, Theatre 33, with a summer of readings by Portland playwrights—selected Dear Galileo as their inaugural project.

Has Anything Like This Ever Happened Before?

Dear Galileo marks Playwrights West fourth full production in association with CoHo Productions, a premier supporter of new plays and original work.

Can Any One Person Explain It All?

No. But if you have questions, contact Steve Patterson.

 

 

 

 


The Sweatermakers Weaves a Sly, Subversive Spell

Andrew Wardenaar: Playwright

Andrew Wardenaar: Playwright

The Sweatermakers by playwright Andrew Wardenaar is a strange play. I think Andrew would freely admit that. But it’s strange because of its innovation: it refuses to be a comedy or drama—in a big way—by essentially being both. When it’s funny, it’s wildly funny, really going for it, and when it’s dramatic, it’s as serious as…. Well, that would be giving things away.

The play takes the audience on a ride, and, if one thinks of that as strange, it’s because it honestly does something that we see too little on stage: it takes chances. Big chances. And the script, director, cast, and designers rock it. You can see it in the audience when the lights come up. Their faces wear that bemused, slightly stunned smile that says: that was…a trip. And you know they’re going to be carrying those words and images with them for quite some time. Those words not only entertain: they pose questions about the society we’ve been woven into.

Since 2011, Andrew has been a member of Playwrights West (a Portland theatre company created and operated by playwrights, serving as a collective to the produce its members’ work). Andrew’s play Live, From Douglas was featured in Portland Theatre Works’ 2009 LabWorks workshop. Another of his plays, Spokes, premiered in 2008 as part of a compilation of short works entitled Me, Me, Me and Ewe. His other works include The Next Smith, Anachronous, The Attendant and Good One, God. Mr. Wardenaar is also a director and recently graduated with an MFA at the University of Portland.

Director Matthew B. Zrebski helms the show. He’s a multi-award winning playwright, composer, script consultant, teaching artist, and producer-director whose career has been defined by new play development. He has served as the Artistic Director for Youth Could Know Theatre, Theatre Atlantis, and Stark Raving Theatre—all companies specializing in new work—and, since 1995, has mounted over 40 world premieres. He holds a BFA in Theatre from the Meadows School of the Arts at Southern Methodist University and is a proud member of the Dramatists Guild of America.

The Sweatermakers’ cast includes: Jen Rowe, JR Wickman, Ben Buckley, and Sharon Mann. Designers include: scenic design by Tal Sanders, lighting design by J.D. Sandifer, sound design by Em Gustason, and costume design by Ashton Grace Hull.

Though Andrew’s a thoroughly seasoned theatre professional, with The Sweatermakers, he’s experiencing something playwrights never forget: his first fully staged production. We talked, and here’s what he says about his own journey.

 

SW ADD 1How did the play change from the beginning of the production process to opening night?

I have been working on this play for several years now, and it has seen numerous changes over the course of its development, but when it was just me and my laptop, most of the revisions altered the plot, or planted character seeds. Going into the production process brought several practical issues to the forefront, however. The Sweatermakers had always been a very presentational piece of theatre and aspects of it were thoroughly cinematic. That becomes a problem in a space as intimate as CoHo Theatre. Originally, the play hinged on the ability to hide things, but with audience on three sides, mere feet from the actors, such a thing would have proven impossible.

In lieu of hiding, we featured. The blackouts, a convention introduced to disguise the movement of the actors and the placement of the props, became an essential part of the play’s rhythmic language, and the sudden darkness became an essential part of the audience’s experience. Split scenes, which in earlier drafts were supposed to show what was going in different locations, necessarily bled into one another and began to interact. Everything became more organic, as was the case when the playing of the clarinet was replaced by the human sound of whistling. The play became about the actor in a simple space, which I believe is what makes the medium of theatre so deeply compelling. The embracing of simplicity doesn’t just address pragmatic concerns, it betters the storytelling.

Through the production process/rehearsals, did your ideas or feelings about the play changeSW ADD 5?

Absolutely! One of the most rewarding things about being a writer is getting to hear what others take away from your material. I’ve had tastes of this throughout my career, but usually in the form of questions at readings, or comments from colleagues that have looked at my work. To be exposed to the interpretation of a roomful of thoughtful artists night after night, though, drove home the fact that the ideas we playwrights touch on are just the beginning of the discussion with our collaborators and our audiences. In earlier drafts, I was hyper-focused on what I was trying to say with the piece. In the rehearsal room, and in performance, I am solely interested in what others are hearing.

Was there a point where you felt like: “wow…this is really happening”?

Yup. I’m still there. Mind = perpetually blown.

How did opening night feel?

Opening night is always terrifying for me as a director or designer, but to experience as a playwright, to be the artist that has created the foundation that the show is built upon, raises the anxiety even higher. It was exhilarating and mortifying, a trip that I’m still coming down from. But there sure is a grin on my face.

Did the other artists show you things about the play that you hadn’t seen before?SW ADD 7

I learned more about the play in the past four months, collaborating, than I did over the course of the past four years of writing in solitude. Every design meeting, rehearsal, and performance has been a rich learning experience.

Did the experience change you? If so, how?

Yes. Irrevocably. But I’m honestly not sure how to articulate it. To simply say that it improved my writing skills and producing knowledge is insufficient. There’s been a spiritual shift. One that I have not yet grasped.

 

Portland, Oregon, theatregoers have but three more chances to see the world premiere of The Sweatermakers: it closes Saturday, August 30th. The Sweatermakers plays at CoHo Theatre (2257 NW Raleigh St, Portland, Oregon) at 7:30 PM on Thursdays, Fridays, and Saturdays. Friday and Saturday tickets are $25, or $20 for students and seniors. This Thursday’s show (August 28th) are at a special $10 for both online sales and walk-ups, in an effort to make new work accessible to all audiences. Tickets can be purchased through CoHo Productions, at www.cohoproductions.org (503-220-2646). For more information see Playwrights West: http://www.playwrightswest.org/sweatermakers/

 


An Open Letter on Playwrights West’s “The Sweatermakers”

Sweathermakers - BenA number of years ago, I banded together with other professional playwrights in Portland to launch a theatre company: Playwrights West. We operate using a unique model—over a ten-year period, we fully produce a play by each playwright member, one play per year. And we feature some of Portland’s best talent, striving to create plays that rise to the playwright’s expectations—basically, giving that writer a chance to fully realize their vision. (We also do some cool group projects that incorporate all the writers’ work…watch for some stuff coming up Fall 2014.) Staging all world premieres, we present original work that Portlanders will see first and can’t see elsewhere (that is, until other theatre company snap up the plays…because they will).

We’ve produced fine plays by Patrick Wohlmut (“Continuum”) and Ellen Margolis (“Licking Batteries”), and this year we embark on our third production: “The Sweatermakers” by Andrew Wardenaar (opening Friday, August 8, 2014).

And here’s where that “original” part comes in. You can’t call “The Sweatermakers” a comedy—though parts of it are very funny—and you can’t call it a straight, typical drama, given its slightly skewed, absurdist feel that’s both grounded and somewhat…magical. It plays its own individual tune.

In brief, the story goes: a brother and sister make beautiful sweaters that mysteriously arrive to comfort the recently bereaved. The two live in their own, sheltered world, and though it’s comforting, it can also be confining. When especially beautiful material arrives for an obviously special sweater, Brin—the sister—can’t help herself and ventures out to find its recipient. And things…get…weird.

It’s a thoughtful, beautifully calibrated story, with a fine cast, designers, and director (Matthew B. Zrebski), and it feels like one of those shows that haunt you for years. The ones that you suddenly find yourself thinking of, out of nowhere. Plays that won’t leave you alone.

Obviously, I urge you to check it out (formal show information follows below). All of Playwrights West’s shows have been excellent (and all entirely different from one another). But this one feels like it’s got a little bit of special…mojo. It’s quirky, but it has gravitas. In Portland, we know quirky. And memorable.

With Playwrights West, Portland Center Stage’s JAW Festival, the Fertile Ground Festival, and the many gifted (and adventuresome) writers in town, along with a highly literate audience and a great talent pool that loves working on new shows, Portland feels more and more like a home for developing new plays. Sure, we’ve become famous for gourmet roasted coffee, microbrews, farm-to-table food, and great independent stores, like Powell’s Books, Music Millennium, and Portland Nursery. But what could be more unique and artisanal that cooking new original plays? In our own little laboratory. One of these days, we’re going to open up the Sunday New York Times to see an article on Portland’s original theatre scene. It’s happened with our indie music. It’s coming with new theatre work.

I invite you to be there first and check out “The Sweatermakers.” Plus it’ll be Andrew’s first full production, and, man, there’s nothing as wild as that. If you’re not from Portland, keep an eye on this guy. He’s got chops.

(And, yes, I have a show coming up. On Saturday, September 6, Willamette University will present a reading of my play “Immaterial Matters,” which won a new play contest at CoHo Theatre a couple of years ago and was a finalist for the Oregon Book Award. It’s damned quirky. http://www.statesmanjournal.com/story/life/2014/06/14/new-theater-enters-summer-three-free-staged-readings/10455975/)

Best,

Steve

—————————–

The Sweatermakers

A World Premiere Production Written by Playwrights West’s Andrew Wardenaar

Playwrights West in association with CoHo Productions presents The Sweatermakers, a world premiere drama by Andrew Wardenaar. The Sweatermakers marks the third year in Playwrights West’s ten-year mission to present quality, professional productions of its members’ works.

The Play

It’s one of the worst days of your life. A package arrives. It contains a beautiful, handmade sweater, perfect for you. And maybe, for a moment, you find solace. But where did it come from? Who made it? Confined to their own secluded world, Brin and Henry—a remarkably close sister and brother—craft beautiful sweaters, designed to comfort those in need. One day, exquisite material arrives. It’s so striking that Brin can’t help but wonder whom it’s destined for. The question haunts her until she breaks the rules and ventures out to find its recipient. And the siblings’ perfect, self-contained but restrictive world, begins to unravel….

Part mystery, part coming-of-age story, The Sweatermakers—woven with humor, psychological insight, and magic realism—affectionately explores our need for human connections, the change those connections bring, and their sometimes painful consequences.

The world premiere of The Sweatermakers marks Mr. Wardenaar’s first full-length production. In 2012, the play won the Portland Civic Theatre Guild’s playwriting contest, and they subsequently presented it as a staged reading during the 2013 Fertile Ground Festival.

The Details

The Sweatermakers opens August 8, 2014, and runs through August 30 at CoHo Theatre (2257 NW Raleigh St, Portland, Oregon). It plays 7:30 PM on Thursdays, Fridays, and Saturdays, with Sunday matinees at 2:00 PM. Friday, Saturday, and Sunday tickets are $25, or $20 for students and seniors. All seats on Thrifty Thursdays are $15. Tickets can be purchased through CoHo Productions, at www.cohoproductions.org (503-220-2646). For more information see Playwrights West: http://www.playwrightswest.org/sweatermakers/

The Artists

Playwright Andrew Wardenaar has been a member of Playwrights West since 2011. His play Live, From Douglas was featured in Portland Theatre Works’ 2009 LabWorks workshop. Another of his plays, Spokes, premiered in 2008 as part of a compilation of short works entitled Me, Me, Me and Ewe. His other works include The Next Smith, Anachronous, The Attendant and Good One, God. Mr. Wardenaar is also a director and recently graduated with an MFA at the University of Portland.

Director Matthew B. Zrebski is a multi-award winning playwright, composer, script consultant, teaching artist, and producer-director whose career has been defined by new play development. He has served as the Artistic Director for Youth Could Know Theatre, Theatre Atlantis, and Stark Raving Theatre—all companies specializing in new work—and, since 1995, has mounted over 40 world premieres. He holds a BFA in Theatre from the Meadows School of the Arts at Southern Methodist University and is a proud member of the Dramatists Guild of America.

The Sweatermakers’ cast includes: Jen Rowe, JR Wickman, Ben Buckley, and Sharon Mann. Designers include: scenic design by Tal Sanders, lighting design by J.D. Sandifer, sound design by Em Gustason, and costume design by Ashton Grace Hull.


Samples from the Other Side

The Splatterverse now includes excerpts from some of my plays, in case anyone wants to do some casual reading.

Rather than pick the most dramatic points in the works, I thought it more interesting to find moments that caught the flavor or spirit of the play, the characters, or the situation. If nothing else, I hope they’re vaguely entertaining:

 


Why Write for the Stage?

photoFor a change, money is not the answer.

Oh, one can make a buck or two writing plays, and there’s a refreshing point in one’s career where the contracts rise to the four- or five-digit level. And, if you write a hot play that does well at the Humana Festival and becomes a favorite among the regional theatres and you get a write-up in American Theatre magazine and make a dozen other perfect bank shots…you could see a pretty good year or two. Until the next flavor comes along. Winning a Pulitzer helps. Maybe.

But even the folks ostensibly making it usually have to supplant their incomes, often through teaching or, lately, writing for television…which is one reason why the writing quality for non-broadcast programs has increased so…well, dramatically.

What do you have left if you take money out of the picture? Control. And love.

Continue reading


Setting Off Sparks

This really is a post for Portlanders, but, as it’s about a cool, artistically oriented event, other folks with like minds might find it interesting (and you might try it in your burg).
Monday night (May 20th), Playwrights West, a group of professional playwrights (of which I’m a member) based in Portland, is throwing a party. Yes, it’s a fundraiser for a full production of one of our playwright’s works (Licking Batteries by the wonderful Ellen Margolis), but it’s kind of turned into a celebration–a celebration of the joy of creating new work.
Dubbed Sparks, the evening features short pieces–either standalone short works or excerpts from longer works–from eight remarkable writers (and one bozo…me). It’s what we have to offer…our words, and some terrific actors have signed on to breathe those words to into being. And since we’re all getting together, there’ll be food and drink and a silent auction and good vibes: what could best be described as a party.
Here’s the fascinating thing to me, though. All of us in Playwrights West share a common purpose: to stage the new works of our members and to raise awaeness of the power and delight inherent in presenting premieres (and we’re just lucky to have access to some killer scripts). All of us are professionals who have had our works staged in many forms and venues, and, frankly, we all can write. (Present company excepted…or at least tolerated.)
But, man, what a lot of different voices. All really original, and all coming at the work from different angles, bringing unique voices and sensibilities into play.
So what the folks who attend Sparks will be able to experience is a terrific mosaic of ideas, images, power, and, well, light from these eight writers (and the bozo). In one place, at one time (and only at this one time under the same tent). The works range from new projects, still in progress, to new works about to be born as fully realized productions, such as an excerpt from Andrea Stolowitz’s Ithaka, which is about to open at Artists Repretory Theatre (where it won a commission), and, of course, Ellen’s Licking Batteries–the play we’re fully staging in August. And, if you drop by, you get to embrace these works–to celebrate their originality and diversity–with like-minded people…those who love new theatre. (You know who you are.)
Really, Sparks is a way to say: yes, new work counts. It keeps theatre alive, vibrant, surprising, ever changing. It’s vital. It matters. And we can do it really, really well, right here in Portland. Oh yes, we can.
So drive, walk, take the streetcar, and come on down to CoHo Theatre on Monday night. Have some food and drink and laughs. Maybe try out a cool new outfit. And take what promises to be an unforgettable ride with eight splendid, absolutely kick-ass writers (and one bozo).
Details follow. See you there….
Steve
—————
Sparks: A Benefit Performance

By the writers of Playwrights West
Directed by Playwrights West Company Member Andrew Wardenaar
Date: Monday, May 20th
Time: Cocktail Hour & Silent Auction at 6 pm. Performance at 7 pm. Postshow reception at 8:30 pm.
Venue: CoHo Theatre (2257 NW Raleigh St)
Cost: $40; tickets online or at door (cash/check only) subject to availability. Seating is limited.
Purchase Tickets from: sparks.brownpapertickets.com
Playwrights West, a professional theatre company composed of nine acclaimed local playwrights, announces Sparks, its first-ever gala benefit performance. This performance will feature short excerpts of works by all nine member playwrights, culminating in a world premiere excerpt of Playwrights West’s upcoming 2013 season performance, Licking Batteries by Ellen Margolis. In addition to the performance, the evening will feature delicious food and wine and a silent auction.
Featuring excerpts from: Eating in the Dark by Debbie Lamedman; Consider the Ant by Karin Magaldi; Licking Batteries by Ellen Margolis; Bus Stop by Steve Patterson; Ithaka by Andrea Stolowitz (opening May 28th at Artists Repertory Theatre); Jeepers by Andrew Wardenaar; Where There Is Darkness, Light by Claire Willett; The Chain and the Gear by Patrick Wohlmut; and Forky by Matthew B. Zrebski.

Bombardment, Episode 17: A Bomb Finds Its X

Splattworks continues its presentation of Bombardment, a two-act drama by Steve Patterson. The author will attempt to post an installment each day, but, if events intercede, installments could arrive a day or so apart. So please be patient.

[EPISODE 17]

CARMELITA: So?
PLACID: Now it’s us. We got the stuff, and all them hustlers and upstarts want what we got. They’re the ones gunning for us. Plotting. Closing in. Checking out the scene.
CARMELITA: There’s something here, Placid. But I don’t think–
PLACID: You can’t see them. Not ‘till they’re ready to make their move. Remember back? Remember us?
CARMELITA: I never planned any moves.
PLACID: Don’t be funny.
CARMELITA: I’m not being funny. I never planned.
PLACID: You never?
CARMELITA: What would I plan for?
PLACID: You can’t mean that. Of course you planned.
CARMELITA: I haven’t planned a thing since the day I was born, and someone planned that for me.
PLACID: I save and plot and eat shit. You just go along, and it happens?
CARMELITA: Don’t feel bad. Please don’t feel bad. It could of gone the other way. Easy. Oh, Placid.
PLACID: Makes me feel like a moron.
CARMELITA: It’s luck, that’s all. It has nothing to do with being dumb or smart. You’re smart. You’re just not lucky yet.
PLACID: Yet?
CARMELITA: Luck comes. Because you haven’t had it before doesn’t mean it can’t find you. Look how smart you must be, getting here without luck. You must be the smartest person I know.
PLACID: Smarter than Mr. Corno?
CARMELITA: I don’t know a Mr. Corno. Not anymore. I knew him once, but that was then. We sent him away! We did. With your smarts and my luck! You think I could have done that by myself? You think I could have planned it?
PLACID: Would you have?
CARMELITA: How do you mean?
PLACID: I don’t know that you would have without me.
CARMELITA: Well, Placid, what I would or wouldn’t do doesn’t matter much, because we did, didn’t we?
PLACID: That’s what you don’t understand.
CARMELITA: See? You gotta’ be smart, the way you can talk at something without saying it.
PLACID: There are a lot more like me out there than there are like you.
CARMELITA: How do you mean?

In the background, ARETHA and CORNO mirror each other with slow rhythmic movements.

PLACID: They’re out there. Millions of them. They’ve been raised to want it. It’s all they know and all they want to know. Like a missile, they’re preprogrammed. Until they reach that target, you’re either in their way or out of it. A clock tells time, it don’t ask what time is. A bomb finds its X, it don’t care who’s standing there.

ARETHA’s and CORNO’s movements gradually propel them forward. As they advance, thin cords unspool from them like webs from a spider. They begin to circle PLACID and CARMELITA, drawing them into the lines.

[To be continued]


Bombardment, Episode 13: Peace, How We’ve Longed for You

Splattworks continues its presentation of Bombardment, a two-act drama by Steve Patterson. The author will attempt to post an installment each day, but, if events intercede, installments may occur a day or so apart. So please be patient.

[EPISODE 13]

ACT II

SCENE I

PLACID and CARMELITA sit in the armchairs. CARMELITA’s shopping cart is overturned, her stuff spread all over the stage–balloons, trinkets, gobs of colorful, wadded paper: a toy chest emptied for Mardi Gras. PLACID and CARMELITA have exchanged clothes with ARETHA and CORNO. PLACID reads the newspaper. CARMELITA curls up in her armchair. She has PLACID’s bag of surprises beside her. No matter what she does, PLACID does not react. CARMELITA takes out a pair of pruning shears, plays that they are shark jaws.

CARMELITA: (Singing “Mack the Knife”) Oh the shark has pretty teeth, dear/And he keeps them pearly white. . .. (Rummages, rummages. Comes up with a banana. Swims it past her. Singing “Sub-Mission” by the Sex Pistols) I’m on a submarine mission for you, bay-bee. . .. (CARMELITA makes bubble sounds as the banana “submerges.” Puts it back. Takes out a hacksaw. Puts it to her throat.) No. . .please. I’ll tell you where the treasure is! I will! Just don’t. . .don’t. . . arrrghghghghghh. (Her head falls forward. Lets it hang.) Arrrghghgh? (CARMELITA puts the saw away. Takes out an awl, and pretends to tie her arm off and shoot up, but can’t stomach it.) Awful. (CARMELITA returns the awl to the bag. Very slowly pulls out the long carving knife.) Oh, it is a long way to Tipperary. Just an extremely long way. No matter how you try to get there. Whether walking or flying or swimming like a fish. It’s an extremely long, difficult way to go. Wherever the hell Tipperary is. Know where Tipperary is, Placid? Well, I’ll tell you. Tipperary is nowhere. Maybe it was somewhere once, but it’s nowhere now. It’s a song. It’s in songland, and not even a song people know anymore. It’s in the Lower Slobbovia of songland. Peace. How we’ve longed for you. Listening, Placid? (She pricks her finger with the knife.) Ow! Shit. (She gets up, slips into a pair of pumps with stiletto heels. Picks up the knife.) I’m stalking. I’m stalking the beast. Oh, it’s a fierce beast. Got long, jagged teeth. Scaly skin. And, and…it’s invisible! It can eat you, and you’ll never see it. Even when the teeth tear into your flesh. Oh, you see the holes ripping, the blood. You’ll feel it. Definitely. But you’ll never see it, even after you’ve been eaten. Even when you’re deep in its guts. You’ll just dissolve. Become part of it. Then you’ll be invisible too.

[To be continued]


Bombardment, Episode 12: Worst Hangover of Your Life

Splattworks continues its presentation of Bombardment, a two-act drama by Steve Patterson. The author will attempt to post an installment each day, but, if events intercede, installments may occur a day or so apart. So please be patient.

[EPISODE 12]

ARETHA: You struck me!
CARMELITA grabs her hair and twists.

CARMELITA: Kneel! You want to stop the planes?
ARETHA: Yes!

CARMELITA: You really want to stop the planes? Or just want to save your ass?
ARETHA: You’re hurting me!

CARMELITA drops to her knees in front of ARETHA. She grabs both sides of her head.

CARMELITA: Shut up.
ARETHA: I can’t with–
CARMELITA: Shut or die.

ARETHA gasps.

CARMELITA: Empty your head.
ARETHA: How?
CARMELITA: It’s been empty all your life. The only thing in there has been shoved inside, and you don’t need it.

CARMELITA clamps her hand over ARETHA’s mouth. She moves her face close. During her monologue, the noise of the planes slowly fades as bits of paper, glitter, and rose petals descend, or lights simulate a similar effect.

CARMELITA: Empty it. Close it down. Let the power ebb, the wheels slow. Gears grind. Stop. Ringing fades. Heat goes from metal. Ice blooms on factory windows. Snow falls. White flakes. Huge flakes. Circle in the wind. Flakes upon your face, eyes. Watch flakes descend. Are they falling? Maybe you’re rising. Blown here, blown there. Blown across the sky. You’re falling and falling, one of millions, and you can’t touch down.

ARETHA grows calm. CARMELITA takes her hand from ARETHA’s mouth. The lights have become more naturalistic. All is silent.

ARETHA: Where are we?
CARMELITA: The real world.

CORNO moans, doubles over, and coughs. ARETHA goes to him. He’s alive, but cannot speak. ARETHA helps him up, begins walking him around. PLACID stirs, groans, pulls himself up on all fours. CARMELITA helps him into an armchair.

CARMELITA: How you feel?
PLACID: Worst hangover of my life.

ARETHA and CORNO face one another. They caress one another, movements mirrored. They embrace. PLACID puts his hand on CARMELITA’s. She picks up her apron and slips it around ARETHA. Puts PLACID’s hat on CORNO. No response from ARETHA or CORNO. CARMELITA draws a pistol from her coat pocket. She shoots ARETHA and CORNO, killing them. PLACID crosses to CORNO. He takes a roll of bills from CORNO’s pocket and begins counting them as CARMELITA watches. The sound of planes returns, rising and cresting. Lights/sound abruptly.

End of Act I.

[To be continued]


Bombardment, Episode 11: Mirrors with Beveled Edges

Splattworks continues its presentation of Bombardment, a two-act drama by Steve Patterson. The author will attempt to post an installment each day, but, if events intercede, installments may occur a day or so apart. So please be patient.

[EPISODE 11]

CARMELITA: No, ma’am.
ARETHA: Yes, you did! Don’t argue with me! You killed him!

ARETHA begins striking CARMELITA.

ARETHA: Unfaithful bitch! I let you in, but you’re treacherous! All of you! Let you into my home, my life! Rescued you from dirt, disease, rivers rotting with corpses! Gave you a room! Gave you pink wallpaper with curlicues, white enamel vanity, mirrors with beveled edges! Perfumes, powders, oils! What do you give me? How do you pay me back?

ARETHA grabs CARMELITA’s coat.

ARETHA: Give me this! My coat! From my animals! My skins! Without me, you wouldn’t know which arm goes where!

In trying to escape the blows, CARMELITA lets ARETHA have the coat. ARETHA catches her by the throat. Forces her to her knees.

ARETHA: This is ours! We give you a little! Pacify you! Your peace, our profit! But don’t think we can’t take it away! If we don’t get back what we put in! We’ll just give it to another! Fresh meat! A body that hasn’t learned to think!

ARETHA throws her on stage. Grabs the tire iron.

ARETHA: Spoiled trifle. Put your eye to the keyhole. Seen what you couldn’t imagine, but now you want. Once that germ takes hold, you can’t be trusted, you or your whole fucking people, and you ought to be wiped from the planet!

ARETHA raises tire iron to strike. Deafening sound of planes, screaming in.

The sound paralyzes ARETHA. CARMELITA crawls away, grabbing her coat and wrapping herself.

ARETHA: They’re coming! God, they’re coming back! What are we going to do? Don’t you hear them? Once they let the bombs loose, they fall everywhere. They don’t just fall on me. They fall on everyone. They fall on everything.
CARMELITA: There’s nothing you can do.
ARETHA: No! Before I took you in, you survived!
CARMELITA: Lie down. The shrapnel might go over your head. Everything else has.
ARETHA: I rescued you. From dirt, disease. Rotting bodies floating in the river. Pink wallpaper with curlicue patterns. Table. Desk. Perfumes. Powders. I rescued you? Or did someone rescue me? Someone took my hand. But what happened–

CARMELITA backhands ARETHA.

CARMELITA: Kneel.

[To be continued]