Best plays read in 2018: PIPELINE

Playwright Dominique Morisseau brings us home when mother & son take front and center:

 NYA: I will take a bullet for you. I will suffocate the sun for you. I will steal the sky for you. I will blind Moses for you. I will strip the wind and the rain and the forests for you. Before I let you die or rot or lose your freedom, I will surrender my own….Tell me how to save you….Because I have listened to everyone else. I’m ready to listen to you. Guide me…. … … … I’m going to sit here. And wait for instructions.

 Nya is raising her son Omari in the US culture that is so stacked against him that even the language his family uses overlooks that he is a teenage boy growing into a young man. The language is subtle, sometimes Omari points it out, and other times, among other characters, no one points it out. Objectifying Omari is so inherent in US culture that Nya calls the rage it elicits as his inheritance.

In a brief sentence, without giving away the story: Omari got in trouble in school and is at risk of going to jail. This is the pipeline Morisseau refers to.

For us mothers, the battlefield is here at home where we raise & protect & teach our children to love & enjoy life while they navigate this quagmire of weapons that they can’t see.

Pipeline shows this family (USA).

Sweat shows another (USA).

And The Ghosts of Lote Bravo shows another (Mexico).

In 2018, I’m so proud of Pittsburgh theaters for producing Sweat and Pipeline.

Maybe next year, one can produce The Ghosts of Lote Bravo – and continue broadening our horizon.

Foxfinder, the script by Dawn King

I got the script in time to read b4 I see the play tomorrow!

How to choose a play to see in London

With the great abundance of plays, this is not as easy as it would seem. With this long running list, we need to pare it down to ones playing during the dates I’m in London; and of the ones playing while I’m here, there is no such thing as going to a play spontaneously—front row seats for The Prisoner, for example, are sold out for the preview which runs on my last night in London.

Here is where everything hinges on a synopsis. Foxfinder:

"England is in crisis. Fields are flooded. Food is scarce. Fear grips the land.
When the Coveys’ harvest fails to meet target, the government sends William Bloor to investigate. William is a Foxfinder. Trained from childhood. Fixated on his mission to unearth the animals that must be to blame. But as the hunt progresses, he finds more questions than answers…"

As I am very invested in the holocaust, this description links me to the “Jew hunter” from the film Inglourious Basterds. See how subjective it is to choose a play? I have high hopes, too, because Christoph Waltz’s role is among the most tense I’ve ever watched.

I’ve listed Foxfinder among a bunch of plays that sound interesting. Now I’ve got to look up ones where I can read a copy of the script ahead of time. (Being hearing-impaired, I read scripts first so that I can follow the story on stage.) Foxfinder is still in this group.

Next, as I’m in London, it’d be great to see a play by a UK playwright who is new to me. Dawn King wrote Foxfinder, and she is a definite up-and-coming British playwright—I’m now eager to read her other works, too!

The final determination: Can I get front row seats at a discount for my hearing impairment? If not, I’d be seated too far away to lipread the actors.

To be accommodated for a disability in London theaters is incredibly seamless! I’m in!

Degas ballerina sculpture … and meandering storytelling

Photo by Edie; sculpture on display at The Frick Pittsburgh, July 2018

I know Degas’s paintings for his ballerinas but I never knew he also made this sculpture – bronze with cloth for the tutu and hair ribbon. Cloth for the tutu and hair ribbon. It seems it would’ve been very unusual in his time period (1880s) to step outside the usual all-bronze cast.

When I googled the sculpture, it turns out that Degas did use an unusual medium, but not what I thought. His original sculpture was made using a real bodice, tutu, ballet slippers, and real hair – and cast in beeswax. The full sculpture was covered in beeswax except for the tutu and hair ribbon.

Apparently the bronze version (a number of them) was made afterwards by his heirs.

The sculpture by Degas received mixed reviews at the time, for numerous reasons.

I’m fixed on the cloth. I imagine an artist who sidestepped the classics because he had to go his own way, bringing the texture to life.

This makes me think of Nikki Giovanni who sidesteps the classics of poetry books when her writing moves among poetry, prose, mail correspondence, a movie:

From Whence Cometh My Help*

It should be a movie. Starring S. Epatha Merkerson as Ethel Smith. She would be driving down I-81 right before the Hollins exit. There would be some smooth jazz, a Coltrane piece from Giants Steps or maybe something by…

and then more poetry (Quilting the Black-Eyed Pea: Poems and Not Quite Poems). Giovanni and Degas both had to do their own thing, which makes great art.

Playwright Diana Burbano has recently written a blog piece about why fewer women than men seem to send plays out for production—even when invited, “qualified women will say no.” Burbano notices a number of wonderful plays by women that don’t follow “a strict narrative structure” (or classic structure). “Why isn’t it OK for these plays to change the way a story is laid out?” Burbano says; “I wonder if trying to shoehorn themselves into a rigid structure isn’t half the reason so many women feel uncomfortable submitting? Perhaps they feel they will never get it ‘right.’”

I agree with Burbano that we’ve got to keep sending out our plays, written our way. I’m ever optimistic that great art prevails. “The narrative is starting to change,” Burbano says: “People like me LIKE your meandering storytelling, and we are starting to be the people who will be the first to learn of your work.”

*From whence cometh my help: the African American community at Hollins College

Best plays read in 2018

Sweat & The Ghosts of Lote Bravo

I pay no attention to NAFTA, as the world of economics is someone else’s specialty. However, these plays that share the same side of the same coin, yet exist across the border from one another, bring NAFTA down to the gritty real world. Sweat by Lynn Nottage steps into a bar in Reading, Pennsylvania right at the time the factory workers find out a good amount of the equipment was snuck out at night-time and moved across the border. Nottage’s play goes beyond “down-and-out factory workers”; her main characters, because they encompass both people of color and Caucasian, bring complexity into the story that has rarely been seen in mainstream news or on the Broadway stage. Add to the mix where middle-aged women and their teenage sons are front & center, we get a vibrant moment in life since all the front & center characters get to speak more than 100 words. My favorite line: “Sometimes I think we forget that we’re meant to pick up and go when the well runs dry: Our ancestors knew that.”

Hilary Bettis knows this in her play, The Ghosts of Lote Bravo. Her characters haven’t yet gotten comfortable; they’re still looking for the right well. They search near the border upon the arrival of the US factories called maquiladoras; but the maquiladoras offer far, far, far, far less than a livable wage in a community where control is gained by those who levy the most violence. I read that the play was written in order to shed some light on the hundreds of women who, over decades, have turned up murdered. This play shows a community of people striving to work in an environment that the production notes write, “The stench of sweat, shit, and decay is so constant that people no longer smell it.” Hundreds is numbing. So this play brings us into the private lives of one mother and her teenage daughter.

Favorite line: A virgin knows nothing about the sins a woman must endure for survival.

If I were a theater, and if I could get the rights, I would produce these plays in repertoire where the audience could see either one of these first, have dinner to sit quietly and let the feelings surface in all their mess, then see the other one.

The character I most want to see on stage: La Santa Muerte, the Saint of Monsters and Ghosts.

If I write it this way, will it be doable?

Come From Away, the musical about 9/11

Whenever a playwright wonders – If I write it this way, will it be doable? – all they need do is study this script and watch the performance. Irene Sankoff and David Hein moved the stories of close to 7000 people stranded from their flights and 9000 people who lived in Gander, Newfoundland, into numerous characters through 12 actors for a play that could be performed by the full ensemble or by even fewer actors for small stage sets. And the full ensemble is basically onstage for the duration. Here’s a wonderful interview with the writers and cast member and Tony nominee Jenn Colella. I saw the musical at the Ford’s Theater in DC.

A contemporary musical I could see again and again!

FUN HOME, the musical

 Fun Home – Yes!

Best plays read in 2016-2017

Fun Home: A musical based on Alison Bechdel’s graphic novel Fun Home – When a young woman comes out, it unravels other family secrets where family members are now able to confide in one another. Favorite song: “Changing my major”.  This musical is the first Tony Award winner where the book, lyrics, and music composers are all women - Lisa Kron (lyrics, book) and Jeanine Tesori (music).

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Credit: Pittsburgh Playwrights Theatre Company

Miss Julie, Clarissa and John, by Mark Clayton Southers (2016) - Inspired by August Strindberg's Miss Julie, Mark places the storyline in the US reconstruction-era in the South. This play that deals excellently with the various characters' complexity was also produced in the 2017 Edinburgh Fringe Festival in Scotland.