About Me

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Matthew Freeman is a Brooklyn based playwright with a BFA from Emerson College. His plays include THE DEATH OF KING ARTHUR, REASONS FOR MOVING, THE GREAT ESCAPE, THE AMERICANS, THE WHITE SWALLOW, AN INTERVIEW WITH THE AUTHOR, THE MOST WONDERFUL LOVE, WHEN IS A CLOCK, GLEE CLUB, THAT OLD SOFT SHOE and BRANDYWINE DISTILLERY FIRE. He served as Assistant Producer and Senior Writer for the live webcast from Times Square on New Year's Eve 2010-2012. As a freelance writer, he has contributed to Gamespy, Premiere, Complex Magazine, Maxim Online, and MTV Magazine. His plays have been published by Playscripts, Inc., New York Theatre Experience, and Samuel French.

Tuesday, December 13, 2005

Bush Speaks in Philadelphia

I love how the press simply re-writes the Bush speech without any analysis of what he's said.

Bush claims that around 30,000 Iraqis have died, give or take. Now, if that's the figure the White House deems to quote after three years of saying "We don't do body counts" it means only one thing:

They have a decent idea and it's MUCH higher than 30,000. And even 30,000 is a huge number. He was asked directly from someone in the audience, which means he was like "Oh! Hm...30,000 is less than the real number, but higher than 100 which no one will buy."

Iraq is the nadir of American society. In Vietnam we could claim some sort of "loss of innocence." The war in Iraq is the victory of propoganda, falsehood, negligence, powerlessness and apathy. Anyone who think we are living in a Democracy needs look no further than the morning news.

Below is the transcript, from CNN.com, of the speech Bush gave yesterday in Philadelphia. My personal commentary and links are in Red. Just because, hey, I'm furious. This isn't really analysis. Mostly just me sounding off.
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"Thank you all. Thank you. Thanks for the warm welcome.

Thank you for the chance to come and speak to the Philadelphia World Affairs Council. This is an important organization that since 1949 has provided a forum for debate and discussion on important issues.

I've come to discuss an issue that's really important, and that is victory in the war on terror. And that war started on September the 11th, 2001, when our nation awoke to a sudden attack.

First of all, the war in Iraq has no connection whatsoever with 9/11. Here is a story for June of 2004. That's a year and a half ago. It was also not a war that was "started" in September 11th, 2001. In fact, we have been at war with Osama Bin Laden for years and the Republicans make that claim conveniently to disparage Bill Clinton quite often. Here's an example. What Saddam Hussein has to do with 9/11, again, is continually unclear. Bush's use of 9/11 to justify any and all military action is morally reprehensible.

Like generations before us, we have accepted new responsibilities. We're confronting dangers with new resolve. We're taking the fight to those who attacked us and to those who share their murderous vision for future attacks.

Here, he ties past conflicts with the current "war." Note that is definition is ever and terrifyingly broadening. Once he said that we must find and kill the "terrorists." First it was "Osama Bin Laden: Dead or Alive." Now his term is those who attacked us (almost all of which were Saudi Arabians trained in Afghanistan, not Iraqi) and those who "share their murderous vision." Saddam was a secular dictator and Osama Bin Laden is an Islamic, fundamentalist academic that was funded and trained by the CIA. They did not appear to "share a vision."

We will fight this war without wavering, and we'll prevail.

To find out how, see this far-reaching and Quixotic document.

The war on terror will take many turns, and the enemy must be defeated on every battlefield, from the streets of western cities, to the mountains of Afghanistan, to the tribal regions of Pakistan, to the islands of Southeast Asia and to the Horn of Africa.

Wait. Stop. What? How long are we going to be shooting at people?

Yet the terrorists have made it clear that Iraq is the central front in their war against humanity.
So we must recognize Iraq as the central front in the war on terror.


Yes. That's why Iraq contained no weapons of any note, no connection to Al Qaeda, and that the United Nations voted against an invasion of it. Because the terrorists picked it. They love Iraq. They wanted to fight us there. Why else do you think they dressed Iraq up all pretty for us?

Last month, my administration released a document called "The National Strategy for Victory in Iraq," and in recent weeks I've been discussing our strategy with the American people. At the U.S. Naval Academy, I spoke about our efforts to defeat the terrorists and train Iraqi security forces so they can provide safety for their own citizens.

Last week, before the Council on Foreign Relations, I explained how we are working with Iraqi forces and Iraqi leaders to help Iraqis improve security and restore order, to rebuild cities taken from the enemy and to help the national government revitalize Iraq's infrastructure and economy.

Side note: I interviewed for a job in HR at the CFR. Imagine that. Plus, his plans are unspecific. Things like "We will help Iraq grow its economy" is not a plan to grow its economy. That's akin to looking up the word "growth" in the dictionary and seeing the word "growth" as its definition.

Today, I'm going to speak in depth about another vital element of our strategy: our efforts to help the Iraqi people build a lasting democracy in the heart of the Middle East.

Whenever Bush says the word "depth" he is thinking about a swimming pool. Now, settle in, because the professor is going to give us all a lesson...

I can think of no better place to discuss the rise of a free Iraq than in the heart of Philadelphia, the city where America's democracy was born.

A few blocks from here stands Independence Hall, where our Declaration of Independence was signed and our Constitution was debated.

From the perspective of more than two centuries the success of America's democratic experiment seems almost inevitable. At the time, however, that success didn't seem so obvious or assured.
The eight years from the end of the Revolutionary War to the election of a constitutional government were a time of disorder and upheaval.

There were uprisings, with mobs attacking courthouses and government buildings. There was a planned military coup that was defused only by the personal intervention of George Washington. In 1783, Congress was chased from this city by angry veterans demanding back pay, and they stayed on the run for six months. There were tensions between the mercantile North and the agricultural South that threatened to break apart our young republic. And there were British loyalists who were opposed to independence and had to be reconciled with America's new democracy.

Our founders faced many difficult challenges, they made mistakes, they learned from their experiences and they adjusted their approach.

Our nation's first effort at a governing charter, the Articles of Confederation, failed. It took years of debate and compromise before we ratified our Constitution and inaugurated our first president.

It took a four-year civil war and a century of struggle after that before the promise of our Declaration was extended to all Americans.

It is important to keep this history in mind as we look at the progress of freedom and democracy in Iraq.


In the above passage, Bush compares the United States struggle for "Democracy" to the struggle for Democracy in Iraq. This comparison is tenuous. Three points to take note of here, and they are daunting.

One is that he is describing years and years of struggle (he notes events of the civil war and in 1783). This seems to be preparing Americans for what amounts to a permanent force in the region, that is responsible for and involved in events such a internal uprisings and civil wars. This sounds like a costly committment, without an ever-changing standard for success. Have we committed to a century of struggle.

Second is that if he is, in fact, saying that we should be "in it for the long haul" why was it necessary to attack Hussein so quickly, without a broad international consensus? Why was immediate military action necessary if we can look forward to a centuries long struggle? Why were our troops underfunded and underarmored? And, in fact, why has this administration declared victory so often if it always expected a long and costly struggle in the center of the Middle East?

Third is that the history of the United States and the History of Iraq are very, very far apart and NOT comparable. For one, we came from a tradition of parlimentary rule and European values and French philosophy and revolutionary pamphleteering. They are coming from a splintered, ethnic and religious state, surrounded by enemies, with an Islamic tradition, and little obligation to be a nation from within. In fact, the current state of "Iraq" is largely a construction of Britain in 1920. To try to bring about, through external means and warfare, a philosophy and psychological behavior that mirrors our own in the late 1700s is the height of mythology.

No nation in history has made the transition to a free society without facing challenges, setbacks and false starts. The past two and a half years have been a period of difficult struggle in Iraq, yet they have also been a time of great hope and achievement for the Iraqi people.

It's esepcially hard to make the transition to shadow version of the nation who is bombing you.

Just over two and a half years ago, Iraq was in the grip of a cruel dictator who had invaded his neighbors, sponsored terrorists, pursued and used weapons of mass destruction, murdered his own people and, for more than a decade, defied the demands of the United Nations and the civilized world.

There are many nations that have worse records for human rights and behavior. They were not such easy targets, took such advantage of most Americans racist fear of Arab-seeming terrorists, or had such an advantage militarily in an oil-rich region. For examples, see China and North Korea.

Since then, the Iraqi people have assumed sovereignty over their country, held free elections, drafted a democratic constitution and approved that constitution in a nationwide referendum.

The Democratic Constitution that they have drafted is a largely contested document even now because it has been universally questioned by the Sunni minority, and also because of its largely Islamic language. For an example of how well an "Islamic Republic" has produced a truly representative and liberal government, see Iran.

Free elections and sovereignty are also odd words for people who are in the grip and under the direct influence of a Western occupying force.

Three days from now they go to the polls for the third time this year and choose a new government under the new constitution.
It's a remarkable transformation for a country that has virtually no experience with democracy and which is struggling to overcome the legacy of one of the worst tyrannies the world has known.

The "worst typrannies the world has known?" So Saddam Hussein is in the same league as Hitler and Stalin? Hardly. The man could barely occupy Kuwait. Plus, North Korea, again, is an Orwellian nightmare with nuclear aspirations that has been negotiated with, not invaded.

Voting does not equal Democracy. For example, a marjority of Americans believe that the War in Iraq was and is a mistake. But our tyrannous President persists. Democracy and having a Representative government are different, and are easily corrupted even if in a nation with "experience."

And Iraqis achieved all this while determined enemies used violence and destruction to stop the progress.
There's still a lot of difficult work to be done in Iraq. But thanks to the courage of the Iraqi people, the year 2005 will be recorded as a turning point in the history of Iraq, the history of the Middle East and the history of freedom.

These "enemies" were and are the Iraqi people themselves.

I would love to read the "history of freedom." Does it include sexual freedom, reproductive rights, and a reduction is prisons in the United States? Does the history of freedom include CIA detention centers being outed throughout Europe, which torture can go unpunished and unseen?

The history of the Middle East, for the record, has seen far more war and regime change than our young nation has. Our shallow view of history is about 200 years old.

As the Iraqi people struggle to build their democracy, adversaries continue their war on a free Iraq. The enemy in Iraq is a combination of rejectionists and Saddamists and terrorists.

The rejectionists are ordinary Iraqis, mostly Sunni Arabs who miss the privileged status they had under the regime of Saddam Hussein. They reject an Iraq in which they're no longer the dominant group.

We believe that, over time, most of this group will be persuaded to support a democratic Iraq led by a federal government that is strong enough to protect minority rights. And we're encouraged that many Sunnis plan to actively participate in this week's election.

The Saddamists are former regime loyalists who harbor dreams of returning to power, and they're trying to foment anti- democratic sentiment amongst the larger Sunni community. Yet they lack popular support and, over time, they can be marginalized and defeated by the people and security forces of a free Iraq.

The terrorists, affiliated with or inspired by al-Qaeda, are the smallest, but most lethal, group. Many are foreigners, coming to fight freedom's progress in Iraq. They are led by a brutal terrorist named Zarqawi, al-Qaeda's chief of operations in Iraq, who has stated his allegiance to Osama bin Laden.

This is fantastic: the new face of the insurgency is, finally, given a little more nuance. It took two and a half years for Bush to admit that the insurgency wasn't being led by Osama Bin Laden and Saddam Husseins former generals. But in fact, this patchwork of "enemies" once again fails to identify the true crisis: the civil war that is brewing within Iraq. For the most part, tribes of Iraqis, religious sects, are battle one another. And many of them view us as agents for, you guessed it, Israel. This is not a "war being fought against freedom" by THREE groups. It's a war being fought for a thousand reasons, by a thousand different tiny armies, and we are standing knee deep in the middle of it.

The terrorists' stated objective is to drive U.S. and coalition forces out of Iraq and gain control of that country and then use Iraq as a base from which to launch attacks against America, overthrow moderate governments in the Middle East and establish a totalitarian Islamic empire that reaches from Spain to Indonesia.

This sounds eerily like the sort of alamrist rhetoric of Vietnam. The goals of the Communists are as vast and frightening and Vietnam was their foothold into unstoppable growth. Want to be truly scared? Read this speech by President Johnson regarding the rationale for our presence in Vietnam. Now replace, in it, the words Communism for Terrorism, the words Asia with Middle East and the word Vietnam with Iraq.

The terrorists in Iraq share the ideology of the terrorists who struck the United States on September the 11th.

They share the ideology with those who blew up commuters in London and Madrid, murdered tourists in Bali and killed workers in Riyadh and slaughtered guests at a wedding in Amman, Jordan.
This is an enemy with conscience and they cannot be appeased.
If we were not fighting and destroying this enemy in Iraq, they would not be leading quiet lives as good citizens. They would be plotting and killing our citizens across the world and here at home.
By fighting the terrorists in Iraq, we are confronting a direct threat to the American people. And we will accept nothing less than complete victory.

It's when he says stuff like this that I have to wonder if everyone in the US is completely insane. The logic here is "All these different groups are the same, and by fighting a secular tyranny in Iraq, we line them all up and beat them all up in one spot. They fell for it and we've got them right where we want them. Fighting their philosophy is pointless, because they're not humans."

Good. Great. And what do you think they say about us?

We are pursuing a comprehensive strategy in Iraq. Our goal is victory. And victory will be achieved when the terrorists and Saddamists can no longer threaten Iraq's democracy, when the Iraqi security forces can provide for the safety of their own citizens, and when Iraq is not a safe haven for terrorists to plot new attacks against our nation.

Ladies and gentlemen: We want to win. Call the Press Corps. Oh, and the way to win is to kill everyone that doesn't want us to.

I'm sure we've all heard that joke about the sports color announcer that says stuff like: "To win, they've got to score more points than the other team."

This is the "football game" theory of warfare. Play to win, hit them until they're out of guys to throw at us.

The problem, of course, is in football you line up, you get four quarters, and you only play against one team at a time. That team is also playing football, just like you.

Our strategy in Iraq has three elements.

On the economic side, we're helping the Iraqis restore their infrastructure, reform their economy and build the prosperity that will give all Iraqis a stake in a free and peaceful Iraq.

On the security side, coalition and Iraqi forces are on the offense against the enemy. We're working together to clear out areas controlled by the terrorists and Saddam loyalists, and leaving Iraqi forces to hold territory taken from the enemy.

And as we help Iraqis fight these enemies, we're working to build capable and effective Iraqi security forces so they can take the lead in the fight and eventually take responsibility for the safety and security of their citizens without major foreign assistance.

The economic side: We can't even reform OUR economy and build prosperity in our OWN nation. In fact, our schools are the laughingstock of the entire Asian continent. But we'll get Iraq up and running in no time.

Security Side: Attacks in Iraq have gone up, not down, in the last year.

Iraqi Security Forces seem to be learning how to protect themselves about as quickly as I learned calculus in high school.

We're making steady progress. The Iraqi forces are becoming more and more capable. They're taking more responsibility for more and more territory. We're transferring bases to their control, so they can take the fight to the enemy.
And that means American and coalition forces can concentrate on training Iraqis and hunting down the high-value targets, like the terrorist Zarqawi and his associates.

Today, I want to discuss the political element of our strategy: our efforts to help the Iraqis build inclusive democratic institutions that will protect the interests of all the Iraqi people.
By helping Iraqis to build a democracy, we will win over those who doubted they had a place in a new Iraq and undermine the terrorists and Saddamists.
By helping Iraqis to gain a democracy, we will gain an ally in the war on terror.
By helping Iraqis build a democracy, we will inspire reformers across the Middle East.
And by helping Iraqis build a democracy, we will bring hope to a troubled region. And this will make the American people more secure.

This is not a strategy. It's church-style preaching. One could also say: "If everyone has love in their heart, there would be no war." Unfortunately, sentiment is worth what you pay for it.

Needless to say, building Democracy in Iraq was not, only two years ago, the reason that we went to war in the Middle East. The reason, then, was Weapons of Mass Destruction and to enforce United Nations resolutions. (Ones that the United Nations did not see fit to enforce "our way.") Now, we are a force for "Democracy" to gain and ally in the war on terror? I think that the world is terrified of US. Maybe that's was our goal.

From the outset, the political element of our strategy in Iraq has been guided by a clear principle.

From the OUTSET? You mean, the recent outset? Or the Gulf War in 1990? When, exactly, are we marking the Outset?

Democracy takes different forms in different cultures. Yet in all cultures, successful free societies are built on certain common foundations: rule of law, freedom of speech, freedom of assembly, a free economy and freedom to worship.
Respect for the belief of others is the only way to build a society where compassion and tolerance prevail.
Societies that lay these foundations not only survive, but thrive. Societies that do not lay these foundations risk backsliding into tyranny.

Holy Shit, this statement is what I would show English students to define the term "Irony."

When our coalition arrived in Iraq, we found a nation where almost none of these basic foundations existed. Decades of brutal rule by Saddam Hussein had destroyed the fabric of Iraqi civil society.

Under Saddam, Iraq was a country where dissent was crushed, a centralized economy enriched a dictator instead of the people, secret courts meted out repression instead of justice, and Shia Muslims and Kurds and other groups were brutally oppressed.

Under Bush:

Torture is farmed to European "black sites" and legally parsed by the Attorney General.
Economic greed outweighs moral standards (War for Oil, Kyoto Agreement snubbed)
Dissenters patriotism is questioned.
FBI and CIA get broad new powers to violate privacy.
Professors who have politically unpopular views are accused of terrorism.
The government intervenes in the private decisions of families (Terry Schiavo).
Evolutionary science is challenged by the President in public, who encourages discussion of Hocus Pocus in science class.
Gays treated as underclass with fewer rights than straight citizens.
Hurricane victims, largely minorities, left swimming among the dead.
30,000 dead (or more) dead in Iraq in 2 and a half years.

At least he didn't cut off anyone's fingers. That we know of.

And when Saddam Hussein's regime fled Baghdad, they left behind a country with few civic institutions in place to hold Iraq society together.
To fill the vacuum after liberation, we established the Coalition Provisional Authority. The CPA was ably led by Ambassador Jerry Bremer, and many fine officials from our government volunteered to serve in the CPA.
While things did not always go as planned, these men and women did a good job under extremely difficult and dangerous circumstances, helping to restore basic services, making sure food was distributed and reestablishing government ministries.

They "did a good job?" What is this? Kindergarten?

One of the CPA's most important tasks was bringing the Iraqi people into the decision-making process of their government after decades of tyrannical rule.
Three months after liberation, our coalition worked with the United Nations and Iraqi leaders to establish an Iraqi Governing Council.

After Liberation from whom? This should be specified. Certainly not from us.

The governing council gave Iraqis a voice in their own affairs, but it was unelected, and it was subordinate to the CPA and, therefore, did not satisfy the hunger of Iraqis for self-government.

Like free people everywhere, Iraqis wanted to be governed by leaders they had elected, not foreign officials.

So in the summer of 2003, we proposed a plan to transfer sovereignty to the Iraqi people.

Under this plan, the CPA would continue to govern Iraq, while appointed Iraqi leaders drafted a constitution, put that constitution before the people and then held elections to choose a new government.

Only when that elected government took office would the Iraqis regain their sovereignty.

This plan met with the disapproval of the Iraqis. They made it clear that they wanted a constitution that was written by elected leaders of a free Iraq, and they wanted sovereignty placed in Iraqi hands sooner. We listened and we adjusted our approach.

In November of 2003, we negotiated a new plan with the governing council, with steps for an accelerated transition to Iraqi self- government.

Under this new plan, a Transitional Administrative Law was written by the governing council and adopted in March of 2004. This law guaranteed personal freedoms unprecedented in the Arab world and set forth four major milestones to guide Iraq's transition to a constitutional democracy.

The first milestone was the transfer of sovereignty to an Iraqi interim government by the end of June 2004.

The second was for Iraqis to hold free elections to choose a transitional government by January of 2005.

The third was for Iraqis to adopt a democratic constitution which would be drafted no later than August 2005 and put before the Iraqi people in a nationwide referendum no later than October.

The fourth was for Iraqis to choose a government under that democratic constitution, with election held December of 2005.

I adore this entire passage. Mostly because it says "We decided to offer them sovereignty," which puts the lie to the term "liberation" from the earlier paragraph.

It also is a littany of ways that Iraq has "requested changes" in our plans. Plans that we have been adjusting time and time again, and deadlines that have changed time and time again, because our plan to begin with was short-sighted, inflexible, and did not take their culture into account.

The first milestone was met when our coalition handed over sovereignty to the Iraqi leaders on June 28, 2004, two days ahead of schedule.

Two days? Wow. And now they're sovereign? I keep forgetting that.

In January 2005, Iraqis met the second milestone when they went to the polls and chose their leaders in free elections. Almost 8.5 million Iraqis defied the car bombers and assassins to cast their ballots. And the world watched in awe as jubilant Iraqis danced in the street and held ink-stained fingers and celebrated their freedom.

That was a year ago. Today this happened. Dancing has died down.

The January elections were a watershed event for Iraq and the Middle East, yet they were not without flaws.
One problem was the failure of the vast majority of Sunni Arabs to vote. When Sunnis saw a new 275-member parliament taking power in which they had only 16 seats, many realized that their failure to participate in the democratic process had hurt their chances and hurt their groups and hurt their constituencies.

And Shia and Kurdish leaders who had won power at the polls saw that for a free and unified Iraq to succeed, they needed Sunni Arabs to be part of the government.

We encouraged Iraq's leaders to reach out to Sunni leaders and bring them into the governing process.
When the transitional government was seated in the spring of this year, Sunni Arabs filled important posts, including a vice president, a minister of defense and the speaker of the national assembly.

As far as I can tell, this has made the Sunnis happy and safe and a willing part of the government.

The new government's next political challenge was to meet the third milestone, which is adopting a democratic constitution.

Again, Iraq's leaders reached out to Sunni Arabs who had boycotted the elections and included them in the drafting process. Fifteen Sunni Arab negotiators and several Sunni Arab advisers joined the work of the constitutional drafting committee.

After much tough debate, representatives of Iraq's diverse communities drafted a bold constitution that guarantees the rule of law, freedom of assembly, property rights, freedom of speech and the press, women's rights and the right to vote.

As one Arab scholar put it, "The Iraqi constitution marks the dawn of a new age in Arab life."

If anyone can find this specific scholar for me, I would appreciate it. I'm sure there were a few other Arab scholars with a different take on this troubled, barely ratified document.

The document that initially emerged from the committee did not unify Iraqis. And many Sunnis on the constitutional committee did not support the draft. Yet Iraq's leaders continued working to gain Sunni support.

And thanks to last-minute changes, including a new procedure for considering amendments to the constitution next year, a deal was struck four days before the Iraqis went to the polls.

The revised constitution was endorsed by Iraq's largest Sunni party. It was approved in referendum that attracted over a million more voters than in the January elections.

Many Sunnis voted against the constitution, but Sunnis voted in large numbers for the first time. They joined the political process and by doing so they reject the violence of the Saddamists and rejectionists.

Through hard work and compromise, Iraqis adopted the most progressive, democratic constitution in the Arab world.

Once again, I'll say that regardless of the existence of a government that is voted on by the people, it has little effect on Human Rights or future amendements. Iran and Palestine both have voting populaces.

On Thursday, Iraqis will meet their fourth milestone. And when they do go to the polls and choose a new government under the new constitution, it'll be a remarkable event in the Arab world.

Despite terrorist violence, the country is buzzing with signs and sounds of democracy in action.

The streets of Baghdad and Najaf and Mosul and other cities are full of signs and posters. The television and radio airwaves are thick with political ads and commentary. Hundreds of parties and coalitions have registered for this week's elections and they're campaigning vigorously. Candidates are holding rallies and laying out their agendas and asking for the vote.

See? They have POSTERS! We WIN! THEY HAVE MOTHERFUCKING POSTERS AND TV ADS! DEMOCRACY IN ACTION!

Our troops see this young democracy up close. First Lieutenant Frank Shirley (ph) of Rock Hall, Maryland, says, "It's a cool thing riding around Baghdad and seeing the posters. It reminds me of being home during election time. After so many years of being told what to do, having a real vote is different."

What he means, of course, is it reminds him for the signs that say "Vote Cassie for Homecoming Queen." I wonder if he finds it cool to tell Iraqis that they have to go vote. (i.e. "what to do.")

Unlike the January elections, many Sunnis are campaigning vigorously for office this time around. Many Sunni parties that opposed the constitution have registered to compete in this week's vote. Two major Sunni coalitions have formed and other Sunni leaders have joined national coalitions that cross religious, ethnic and sectarian boundaries.

As one Sunni politician put it, "This election is a vote for Iraq. We want a national Iraq, not a sectarian one."
To encourage broader participation by all Iraqi communities, the national assembly made important changes in Iraq's electoral laws that will increase Sunni representation in the new assembly.

In the January elections, Iraq was one giant electoral district, so seats in the transitional assembly simply reflected turnout. Because few Sunnis voted, their communities were left with little representation.

Now Iraq has a new electoral system where seats in the new council of representatives will be allocated by province and population, much like our own House of Representatives.

This new system is encouraging more Sunnis to join in the democratic process, because it ensures that Sunnis will be well- represented even if the terrorists and Saddamists try to intimidate voters in the provinces where most Sunnis live.

More Sunnis are involved because they see Iraqi democracy succeeding. They have learned a lesson of democracy: They must participate to have a voice in their nation's affairs.

A leading Sunni who had boycotted the January vote put it this way: "The Sunnis are now ready to participate."

A Sunni sheik explains why Sunnis must join the process: "In order not to be marginalized, we need power in the national assembly."

As more Sunnis join the political process, the Saddamists and remaining rejectionists will be marginalized. As more Sunnis join the political process, they will protect the interests of their community.

This speech sounds a bit like a very long way to say "If you don't like how it's going, Call the Sunnis. They're being unreasonable." The Sunnis might respond with "The electoral college is a joke, we don't like you shooting us, and once we have enough power in the National Assembly, the first thing we're doing is calling Iran to come and hate on you."

Like the Shia and Kurds who face daily attacks from the terrorists and Saddamists, many Sunnis who join the political process are being targeted by the enemies of a free Iraq.

The Iraqi Islamic Party, a Sunni party that boycotted the January vote and now supports elections, has seen its offices bombed. And a party leader reports that at least 10 members have been killed since the party announced it would field candidates in Thursday's elections.

Recently a top Sunni electoral official visited the Sunni stronghold of Baquba. He went to encourage local leaders to participate in the elections. During his visit a roadside bomb went off, rattled his convoy, but it didn't stop it.

How inspiring. Yesterday, I fell and twisted my ankle. But I didn't break it.

He says this about the attempt on his life: "The bomb is nothing compared to what we're doing. What we're doing is bigger than the bomb." By pressing forward and meeting their milestones, the Iraqi people have built momentum for freedom and democracy.

They've encouraged those outside the process to come in.

At every stage, there was enormous pressure to let the deadlines slide, with skeptics and pessimists declaring that Iraqis were not ready for self-government.

At every stage, Iraqis proved the skeptics and pessimists wrong. At every stage, Iraqis have exposed the errors of those in our country and across the world who questioned the universal appeal of liberty.

By meeting their milestones, Iraqis are defeating a brutal enemy, rejecting a murderous ideology and choosing freedom over terror.

Bush treats having a democracy like a checklist here. Beyond that, I think that what is often missed is that no one doubts that good people want self-government. Most people just doubt that the Bush administration wants to provide anyone with true self-government, and even if their intentions were pure, most doubt the administrations ability to execute plans this complex. We aren't pessimists: we've simply read a few books.

This week elections won't be perfect, and a successful vote is not the end of the process. Iraqis still have more difficult work ahead and our coalition and the new Iraqi government will face many challenges, including in four critical areas: ensuring Iraqi security, forming an inclusive Iraqi government, encouraging Iraqi reconciliation and maintaining Iraqi democracy in a tough neighborhood.

Great. The Middle East is a "tough neighborhood." Once Bush referred to Al-Qaea as a "bunch of folks" as well. Love that Yale educated bar talk for large international bodies and groups of NATIONS.

The first key challenge is security. As democracy takes hold in Iraq, the terrorists and Saddamists will continue to use violence.

They will try to break our will and intimidate the Iraqi people and their leaders.

These enemies aren't going to give up because of a successful election. They understand what is at stake in Iraq.

So, we picked a fight and now the other guy wants to win? Crazy.

They know that as democracy takes root in that country, their hateful ideology will suffer a devastating blow and the Middle East will have a clear example of freedom and prosperity and hope.

Important to ask ourselves this question: What is their ideology? When is the last time you were exposed to the specific, detailed ideology of the groups we are fighting. What do they believe in and why? And is their belief tied to defeating us in Iraq, where they weren't fighting us two years ago? Where is this expressed anywhere by anyone but our own leader's propoganda?

So our coalition will continue to hunt down the terrorists and Saddamists, will continue training Iraqi security forces to take the lead in the fight and defend their new democracy.

As the Iraqi security forces stand up, coalition forces can stand down. And when victory is achieved, our troops will then return home with the honor they have earned.

This slogan is as hollow as Laura Bush's eyes.

The second key challenge is forming an inclusive government that protects the interests of all Iraqis and encourages more in the rejectionist camp to abandon violence and embrace politics.

If Iraq is sovereign, how do we proport to enforce an "inclusive government?" We, ourselves, lack inclusiveness in many points of law.

Early next year, Iraq's new parliament will come to Baghdad and select a prime minister and a presidency council and a cabinet of ministers. Two-thirds of the new parliament must agree on the top leadership posts. And this will demand negotiation and compromise. It will require patience by America and our coalition allies.

This new government will face many tough decisions on issues such as security and reconstruction and economic reform.

Decisions that we will stand there and watch them make, in order to assure they are freely making decisions that benefits our economic interests. Oh, have I tipped our hand?

Iraqi leaders will also have to review and possibly amend the constitution and ensure that this historic document earns the broad support of all Iraqi communities.

By taking these steps, Iraqi leaders will build a strong and lasting democracy. It's an important step in helping to defeat the terrorists and the Saddamists.

This is a sort of chicken and the egg moment in the speech. Does a Democracy mean we've defeated the "terrorists and Saddamists?" Or does a Democracy mean we have made an important step in "helping defeat the terrorists and Saddamists?" I thought the point of having people vote in Iraq was to win. But instead, I see that it's to create a "step towards victory."

Darth Vader to Lando Calrissian: "I am altering the deal. Pray I don't alter it any further."

The third key challenge is establishing rule of law and the culture of reconciliation. Iraqis still have to overcome longstanding ethnic and religious tensions and the legacy of three decades of dictatorship.

I love this. Thirty years under Saddam. Thirty years. You know how long that is historically? Not very. Not long enough to refer to him as one of histories most brutal tyrants.

During the regime of Saddam Hussein, Shia, Kurds and other groups were brutally oppressed. And for some there is now a temptation to take justice into their own hands.

Recently, U.S. and Iraqi troops have discovered prisons in Iraq where mostly Sunni men were held, some of whom have appeared to have been beaten and tortured.

This conduct is unacceptable and the prime minister and other Iraqi officials have condemned these abuses. An investigation has been launched.

And we support these efforts. Those who committed these crimes must be held to account.

More irony. This comes from the man who has defended the use of torture as an interrogation technique by the CIA, but refuses to allow the US to be tried in the World Court for its own offensives.

We will continue helping Iraqis build an impartial system of justice that protects all of Iraq's citizens.

Millions of Iraqis are seeing their independent judiciary in action as their former dictator, Saddam Hussein, is put on trial in Baghdad. The man who once struck fear in the hearts of Iraqis has heard his victims recount the acts of torture and murder that he ordered.

One Iraqi watching the proceeding said, "We all feel happiness about this fair trial."

Slowly but surely, with the help of our coalition, Iraqis are replacing the rule of tyrant with the rule of law and ensuring equal justice for all their citizens.

No, I know some fear the possibility that Iraq could break apart and fall into a civil war. I don't believe these fears are justified. They're not justified so long as we do not abandon the Iraqi people in their hour of need.
Encouraging reconciliation and human rights in a society scarred by decades of arbitrary violence and sectarian division is not going to be easy and it's not going to happen overnight. Yet the Iraqi government has a process in place to resolve even the most difficult issues through negotiate, debate and compromise. And the United States, along with the United Nations and the Arab League and other international partners, will support these efforts to help resolve these issues.

This is reassuring. His ability to predict the attitudes of the Iraqis has been uncanny so far. Now I know for sure that Iraq will not fall into a civil war.

And as Iraqis continue to develop the habits of liberty, they will gain confidence in the future and ensure that Iraqi nationalism trumps Iraqi sectarianism.

"Habits of liberty?" What the hell kind of rhetoric is that? Is liberty just a habit to us? Like smoking?

A fourth key challenge is for the Iraqis to maintain their newfound freedoms in a tough neighborhood. Iraq's neighbor to the east, Iran, is actively working to undermine a free Iraq.

Iran doesn't want democracy in Iraq to succeed because a free Iraq threatens the legitimacy of Iran's oppressive theocracy. Iraq's neighbor to the west, Syria, is permitting terrorists to use that territory to cross into Iraq.

Iran: Because the War Only Stops If We Run Out of Targets.

The vast majority of Iraqis do not want to live under an Iranian- style theocracy and they don't want Syria to allow the transit of bombers and killers into Iraq. And the United States of America will stand with the Iraqi people against the threats from these neighbors.

Now check this out. He says that and then he says...

We'll continue to encourage greater support from the Arab world and the broader international community.

Can't have it both ways, GW.

Many Arab states have kept the new Iraq at arm's distance. Yet as more Arab states are beginning to recognize that a free Iraq is here to stay, they're starting to give Iraq's new government more support.
Recently, Saudi Arabia, Egypt and Jordan have welcomed the Iraqi prime minister on official visits. Last month, the Arab League hosted a meeting in Cairo to promote national reconciliation among Iraqis, and another such meeting is planned for next year in Baghdad.

These are important steps, and Iraq's neighbors need to do more.

This is a fantastic new step in our international relations and our strategy towards Middle Eastern imperialism. First, take over Iraq. Then, tell the world that the reason we're having trouble taking over Iraq is that other nations won't help us or don't like us. Then, attack and criticize the nations that have easy access to Iraq, like their neighbors. That way, we never have to stop spending ridiculous amounts of money on weapons and no one needs to think about African debt relief.

We have always been at war with Eurasia.

Arab leaders are beginning to recognize that the choice in Iraq is between democracy and terrorism, and there is no middle ground. The success of Iraqi democracy is in their vital interests because if the terrorists prevail in Iraq, they will then target other Arab nations.

I thought the "terrorists" WERE other Arab nations! And obviously, according to Bush's logic, if we can fight them in Egypt, we don't have to fight them here.

International support for Iraq's democracy is growing as well. Other nations have pledged more than $13 billion in assistance to Iraq, and we call on them, those who have pledged assistance, to make good on their commitments.

The World Bank recently approved its first loan to Iraq in over 30 years, lending the Iraqi government $100 million to improve the Iraqi school system.

Nothing like a loan to get a nation securely under your thumb.

The United Nations is playing a vital role in Iraq. They assisted in last January's elections, in the negotiations for the constitution and in the recent constitutional referendum. And at the request of the Iraqi government, the U.N. Security Council unanimously approved a resolution extending the mandate of the multinational force in Iraq through 2006.

The United Nations is involved. Amazing how we now wear them like a badge of honor, and when they told us "no" we treated them like an "old European" dinosaur? And for the record, isn't the multinational force in Iraq, like, 16 guys with a truck and a clip board?

Earlier this year, the European Union co-hosted a conference for more than 80 countries and international organizations so they can better coordinate their efforts to help Iraqis rebuild their nation.
Whatever differences there were over the decision to liberate Iraq, all free nations now share a common interest: building an Iraq that will fight terror and be a source of stability and freedom in a troubled region of the world.

The reason for this unity is, clearly, that if they don't intervene now, no one will clean up the mess we've made.

The challenges ahead are complex and difficult. Yet Iraqis are determined to overcome them and build a free nation. And they require our support. Millions of Iraqis will put their lives on the line this Thursday in the name of liberty and democracy. And 160,000 of America's finest are putting their lives on the line so Iraqis can succeed.

The American and Iraqi people share the same interests and the same enemies. And by helping democracy succeed in Iraq, we bring greater security to our citizens here at home.

The terrorists know that democracy is their enemy. And they will continue fighting freedom's progress with all the hateful determination they can muster.

Yet the Iraqi people are stepping forward to claim their liberty. And they will have it.

This simplified rhetoric is precisely the reason that most of the free world thinks we're simpletons and is scared shitless of us. The idea term "the terrorists know democracy is their enemy" reduces our foreign policy to "shoot the bad guys." The truth, of course, is that we once referred to Al Qeada in Afghanistan as Freedom Fighters when they were using the same tactics against the Soviet Union. Why? Because our version of freedom is not the only one in the world. In fact, many view our society is simplistic and barbarous.

It's easy to see that no one who is attacking us is doing so out of a "hatred for freedom" or the desire to "crush democracy." I would also venture to say that there are many, many Islamic fundamentalists that I do not agree with. That does not mean that treating them as unreasonable savages, or failing to understand what the nuances of the conflict are will lead us to victory. In fact, we are carrying a big stick, we have no idea where and how to swing it.

When the new Iraqi government takes office next year, Iraqis will have the only constitutional democracy in the Arab world, and Americans will have a partner for peace and moderation in the Middle East. People across the broader Middle East are drawing and will continue to draw inspiration from Iraq's progress. And the terrorists' powerful myth is being destroyed.

In a 1998 fatwa, Osama bin Laden argued that the suffering of the Iraqi people was justification for his declaration of war on America. Now bin Laden and al-Qaeda are the direct cause of the Iraqi people's suffering.

This is one of the most bizarre twists of logic Bush has bothered to make. We were starving the Iraqi people with sanctions, and being a politician, Bin Laden spoke about our actions in a way that would garner support for his cause. Then, when we go into Iraq and break their system apart and bomb their cities and kill thousands of civilians and incite riots and impose our own order, we say that the struggles there are the "direct" result of bin Laden and Al Qaeda.

In fact, if we are battling an enemy that uses our own actions against us in his efforts to recruit, perhaps we should choose those actions more wisely.

As more Muslims across the world see this, they're turning against the terrorists. As the hope of liberty spreads in the Middle East, the terrorists will lose their sponsors, lose their recruits and lose the sanctuaries they need to plan new attacks.

A free Iraq's not going to be a quiet Iraq. It'll be a nation full of passionate debate and vigorous political activity. It'll be a nation that continues to face some level of violence. Yet Iraqis are showing they have the patience and the courage to make democracy work. And Americans have the patience and courage to help them succeed.

We've done this kind of work before. We must have confidence in our cause.

In World War II, free nations defeated fascism and helped our former adversaries, Germany and Japan, build strong democracies. And today these nations are allies in securing the peace.

In the Cold War, free nations defeated communism and helped our former Warsaw Pact adversaries become strong democracies. And today nations of Central and Eastern Europe are allies in the war on terror.

Today in the Middle East, freedom is once again contending with a totalitarian ideology that seeks to sow anger and hatred and despair. And like fascism and communism before, the hateful ideologies that use terror will be defeated by the unstoppable power of freedom.

And the advance of freedom in the Middle East requires freedom in Iraq. By helping Iraqis build a lasting democracy, we will spread the hope of liberty across a troubled region. We'll gain new allies in the cause of freedom.

By helping Iraqis build a strong democracy, we're adding to our own security. And like a generation before us, we're laying the foundation of peace for generations to come.

All this is almost hilarious. One reason is that fascism and communism weren't even similar in their methods or in the ways they fell. But beyond that, they were socio-political systems. Terrorism is not one. Terrorism is a method of Guerilla War, not a philosophy. But wait...here comes my favorite part:

Not far from here, where we gather today, is a symbol of freedom familiar to all Americans: the Liberty Bell.

When the Declaration of Independence was first read in public, the Liberty Bell was sounded in celebration and a witness said, "It rang as if it meant something."

Today the call of liberty is being heard in Baghdad, in Basra and other Iraqi cities, and its sound is echoing across the broader Middle East. From Damascus to Tehran, people hear it and they know it means something.

It now means "Look out below."

It means that the days of tyranny and terror are ending and a new day of hope and freedom is dawning.

This also happened in the 1930s, the 1940s, in the 1970s and the 1980s.

Thank you for letting me come.

I'll let that Freudian slip... slide.

Monday, December 12, 2005

BUSH TAKES... QUESTIONS!? FROM PEOPLE!?

Later this evening, I'll be posting my full response to today's speech from our beloved President.

I would like to note that, for some reason, the press is praising Bush for taking questions. Have we sunk so low that the President simply answering questions from the voting public in a normal manner is praiseworthy?

He showed today that he could throw sound bites at real people and not pre-screened supporters. What are we supposed to do? Throw up out of sheer amazement?

Quit Smoking

This is not related to theatre or politics. It is simply this: Last Wednesday I quit smoking.

I feel fine about it and not edgy.

At all.

Whatareyoulookingat?

Sunday, December 11, 2005

Lady Cavaliers

Check out the Lady Cavaliers "Signature Stories."

Carrie Brewer, the artistic director, was responsible for the fights in 2001's production of King Arthur. She's a class act and a sweet person and she can kill anyone reading this blog in 15 different ways with a variety of weapons. She also puts on a great show, and her company is simply a lot of fun and feminist in its most fabulously active form. There's an interview with her here.

Sorry guys, she's married.

Saturday, December 10, 2005

Richard Pryor Dies at 65

He was far, far too young. But frankly, if some white kid with a blog (namely, me) waxes nostalgic about a man whose prime was well before he was born... Pryor would probably have done a riff on it.

He was, though, one of the greats and his humor would have provoked riots these days. In some ways, he is a symbol of how much he wanted for us, and how far backwards we've come.

In other ways, he's the symbol for how far our culture may yet go and what is gloriously unique about it.

May we fuck each other until we are all the same color.

Rest in Peace.

Friday, December 09, 2005

Theatre: Branding the Industry

I was recently listening to On The Media, and a representative from the Beer Industry had some interesting things to say. Here is the MP3 of that segment.

Herein lies the point: the beer industry has lost a little market share compared to the upscale wine and spirits industries, which have relied on "point of sale" marketing and have a self imposed (at this point) ban on television advertising. To combat this, the beer industry as a whole is creating a message for the public to raise awareness and reapproach its audience.

Recently, Steve Oxman and Scott Walters both noted an awful fate of Theatre: that it would become a sort of community activity and therepeutic exercise.

In the midst of this is a bit of self-parody where we try to define the term "Avant-Garde" as if anyone in the audience even truly cares how we define what.

Earlier, there was some discussion of changing the term "Off-Off Broadway" with "Indie Theatre." (Discussion therein could be found here.) Zach Mannheimer went so far as to propose that we all leave the cities and evangelize in the countryside.

All of this is coming from a few facts and a few fears.

One fact is that the audience seems to be divided and dwindling. There are hundreds of shows that are put on in New York City alone, every year, and much of them go unseen and unheralded. Some of them, rightly, should be unheralded as they are merely vanity projects. Some of them are youth exuberances. And some of them are real and potentially lasting pieces of artwork that are lost in the shuffle. The problem is the audience of theater is not a casual audience. It is a built-in audience of friends, relations and other theater practioners. We are an incestuous bunch, indeed.

But the product isn't the problem, and the product's ubiquitousness isn't the problem. It is that we have failed entirely to use any sort of modern approach to making theater essential viewing to anyone beyond a select few. Then we have solidly promised never to compromise, never to make pieces of "fluff' just to bring in audiences, we curse Disney's newly won Broadway and we look into the prisons, where we think we might be able to do some good.

I propose that we re-examine how to market our product without changing it. To change the audience and raise awareness and create a sense of urgency and focus without, in fact, performing "A Christmas Carol" to fund our production of "Fences."Must market Theatre, not plays.

We should create an organization that represents the Industry of Public Theater, or the Industry of Independent Theater. We can use the model of the Corporation for Public Broadcasting, perhaps. But regardless, we must come together to create print campaigns, talking points, representatives, a business model, grant writing for small stages, new ways to approach ticket sales, and above all... a plan to simply raise awareness for what we do.

To target a demographic, study that demographic and do the correct and careful things to cultivate it.

To stop speaking in generalities about theater funding below the Regional level, and do research. Put out studies. How much theater in New York, on a yearly basis, is funded by grants, by ticket sales, from an individual's pockets. How many plays break even? What can we learn from one another about what works?

Research spaces. How do they compare in price? What do they provide? Making that information public and readily available might force spaces that currently overcharge and under provide to renovate or reconsider their fees.

We can define "Indie" theatre by using our research and seeing what truly differentiates Off-Off Broadway from Off-Broadway. Create criteria that separates well-intentioned vanity projects and showcases from professional theater that currently lacks Off-Broadway scale budgeting.

But most importantly, to create a plan that utilizes available resources to raise awareness of Theatre as a whole, to use slogans, logos, advertisement, word-of-mouth and promotions to expand our audience and educate new audiences.

In the coming year, after the Holiday, I would like to offer to organize an initial meeting to simply discuss how this might be acheived. Interested? Able to offer space? Want to attend?

Contact me.

Thursday, December 08, 2005

Holy Shit

Harold Pinter speaks about the United States in his Nobel Prize acceptance speech.

UPDATE - The lecture is now accessible directly at the Nobel Prize site here. Thanks to the Playgoer for a head's up.

Wednesday, December 07, 2005

Through A Glass, Briefly - Part 2

Part 2 of my little look-see into my own 20s is a run down of what I've done as a playwright up until now. That's the wonderful thing about blogging: I can write about myself without having to justify it.

Playwright.

THE MESSAGE. My first play was produced at The Players Ring in Portsmouth, NH by a gentleman named Gary Newton, who has since passed away. The play was about a man named Barclay, who receives a message that he must meet a woman, who he has never met before, from a gentleman who comes knocking on his door late one evening.

Newton read it and said that he "understood it" to me, while I was working for a Chocolate Shop called "Harbor Treats" during my summer as Romeo. It was written while I was in college, and the small production, taken entirely seriously by this earnest troupe, made me feel like a true writer. Newton may have been the only person that did understand it. Thanks to him, wherever he may be.

THE PROPOSALS / FEBRUARY AND OTHER SEASONS. These two have never been professionally produced. Of the two, I think February rather holds up now. February and Other Seasons is a series of short scenes wherein characters trade lines, or keep their lines when other change theirs, etc. It's a scene-exercise on steriods, but I still enjoy reading it. Proposals was a bit more clunky... a sort of nameless dread play about a guy who can't tell the difference between the women he loves. They were read to some of my new friends in New York in a small room somewhere in midtown, and one of those in attendance was Katherine Gooch. They were used as a sort of evidence by Katherine, later, to Chris Sanderson that I could write a play.

THE DEATH OF KING ARTHUR. This was a project proposed by Christopher Sanderson. Apparently, he originally discussed it with Kirk Wood Bromley. In any case, he was looking to produce a play of King Arthur, written in verse. A Shakespeare version of the Arthur legend. Having never written in verse before, and having only a passing knowledge of the King Arthur myth, I immediately offered to write it. Having performed nothing but Shakespeare since I walked out of college didn't hurt in structuring it. Austin Pendleton, when I was acting with him, gave me some very good notes on it, but read it mostly because he felt that it was dramatically impossible to write a play about this particular story. I was too young to know that it was a foolish thing to attempt in the first place.

It was written in 2000, and produced outdoors along a path in Central Park in October 2001. Obviously, it was immediately after a date I won't bother to write down, and it was incredibly cold outside. The production was also rife with personal conflict between Chris and I, to the point where he walked off the project, leaving me to complete his directoral work myself.

In the end, though, it has been the play that has produced the most outward success for me. It produced my first and only review from the New York Times, which was, to my joyful surprise, high praise. The play was published by Martin Denton in this anthology, and is soon to be published in its own by Playscripts, Inc. Two monologues from ARTHUR will appear in a collection of audition monologues by Smith and Kraus, due around February of 2006.

As a play, I still enjoy it, but I've never since returned to verse in any real way. I did write a verse play called "The Idiot Servant" not long afterwards, but it's still sitting on my laptop, three years later, waiting for a proper re-write...one which honestly may never come.

REASONS FOR MOVING. This play might be considered an odd follow-up to a five-act verse play. It is a two-hander, passed on the poem "The Tunnel" by Mark Strand. It was produced by my friends Sean Elias-Reyes and Michael Colby Jones under the banner of "The Local Productions."

It was directed by Russel Marcel, who has since relocated to California and become both a husband and father. In fact, Russ, Sean and Michael are all married now, and both Russ and Sean are fathers. And so it goes.

The play starred both Sean and Matthew Trumbull, who also played Bedeviere in Arthur. Matt and I met freshman year of college and have been close friends ever since. He was in the readings of the abovementioned Proposals and February and Other Seasons, in the first reading of The Message, and later was in my short of the Metropolitan Playhouse, 465.

The play was produced at HERE Arts Center. There is review of it to be found here.

465. A short produced by the Metropolitan Playhouse as a part of festival of plays in May of 2003, based on the short poem of the same name by Emily Dickinson. A review of it can be found here. Featuring Matthew Trumbull (as noted above) it's a bleak little picture of a man, cheating on his wife, in a hotel room. Nothing too fancy, but I did include the poem, which was part of the deal.

GENESIS. An adaptation of medieval mystery plays produced by Scott Reynolds at Handcart Ensemble in June of 2003. I also directed this piece, and spent a great amount of time on it in a basement in Harlem. Featured Tim Moore (who played Merlin in Arthur), Debbie Jaffe, Barrett Ogden, James Mack and Jay Leibowitz, a good friend whom I met at Emerson College. The genesis of Genesis was a production I directed while at Emerson College of the text of Abraham and Isaac. Incidentally, playing Isaac in that version was John Gregor, who wrote the music for this later Off-Off Broadway production.

A review of it can be found here, and an interview with me regarding the production can be found here.

This play's connecting movement pieces were entirely designed, choreographed and directed by my friend David DelGrosso, who at the time was fresh off of a tour with the Aquila Theater Company. David and I met at Emerson College during Freshman year as well, and he, Matt Trumbull and I have been attached at the hip ever since. He hasn't been in many of my productions, as he had been on tour for what felt like centuries, so it was a thrill for me to hand over the production to him during this piece. His work was phenomenal, as it always is. He's also one of the closest friends I've ever had to this day, and just a tirelessly hardworking actor.

I felt it was good to get this one out of my system. It was at least a sort of return to verse (which puts the lie to my earlier statement) but honestly, more of a return to a subject matter that has been a part of my life since I was conceived. Unfortunately, my father didn't make it out to see this one. I'll always be curious what he would have thought of it.

THE GREAT ESCAPE. The first of two (and looking to be, potentially three) productions by way of Blue Coyote Theater Group. This play was the first of what are becoming overtly personal plays. A dark comedy in three quick acts, which recounts the story of a young man who is overcome by confusion when his mother remarries. His (and his adopted sister's) solution is to wrap her up in a burlap sack and tie her to a chair. Directed by Kyle Ancowitz, who went on to become a great friend and current collaborator on my newest play.

A review can be found here and interview with me regarding the production can be found here. Photos are available on Blue Coyote's website here.

This play marks the only play I've ever had that was advertised in The Onion, and that made me smile very, very broadly.

THE AMERICANS. As I am wont to do, I followed up a three act dark comedy with a three character, 80 minute, monologue style piece which recounts the story of a young writer whose poem causes his apartment to explode. It's been dubbed my 9/11 play, but I've always considered it a play about writing. It's also not very funny.

The characters are named D, T, and F for reasons that might be obvious to anyone can read the names mentioned in the above paragraphs. Anyone who thinks I'm more ambitious than obvious, though, is welcome to that opinion.

The play was directed by Gary Schrader and I'll honestly say that he's a quietly unheralded marksman. Not only did he take a text-only play and provide it with a series of beautifully realized stage pictures, but he allowed the action and the text to soar as well. I was thrilled with it.

This marked, for me, a return to acting after a lengthy absence. I performed the role of the writer (how fitting) in the role of D. Kyle Ancowitz performed F and Vince Gatton (who was fabulous) performed T.

This is currently my favorite of the plays (don't let the other plays hear me say that) and it was surreal to be performing in it. The production was also the first that was seen by my girlfriend, Pam, and I thank whatever God may be up there that she liked it enough not to break up with me on the spot. I think we'd be dating a month when she saw it.

A review can be found here and photos can be found on the Blue Coyote website here.

This production prompted a nice write up for me on the New York Foundation for the Arts website, which can be found here. If you're wondering what "Silent New York" is, after reading it, I can only say, I hope to show you soon.

______

That brings us up to date. I completed my latest draft of my newest play "The Most Wonderful Love" about two weeks ago, and I'm hoping to see it produced this coming year. The first play produced in my thirties.

As a writer, beyond the playwrighting, I've been intermittently reviewing for nytheatre.com and my freelance writing appeared in Maxim Online (television reviews), Gamespy.com, Complex Magazine, and MTV Magazine (video games, ladies and gentlemen.)

All in all, a fine time was had by all. And as I sit here, writing this at 1:38am on December 7th, 2005, it's nice to enjoy a look back and find all these old quotes and play "This Is Your Life." Not a bad ten years.

Thank you for your indulgence. Onwards and upwards.

"To strive, to seek, to find, and not to yield." - Tennyson

Tuesday, December 06, 2005

Epic

If you haven't seen this... it's required viewing, especially for anyone enjoying the benefits of the advancing rise of "new media." It's in Flash, about 8 minutes long.

Click here to watch "Epic."

Through a Glass, Briefly - Part One

Tomorrow, I turn 30 years old. I haven't been quiet about it. I'm not a big fan of the concept of dying, and just about every day I feel a little closer to it. And while 30 is the new 25 and life begins at 30 and I am well aware that no one actually cares very much if I am, personally, not ready to leave my twenties, that's exactly why Time is such a World Eater. I can kick and scream and make a production of it, but either way, it happens. Even if I'm being a huge baby about it. Which I am. It's my right.

For the sake of my own edification, I thought I'd look back over my twenties and what I've been up to in the theatre thus far. If it provides any entertainment or insight to others, that is purely an accident. I don't want to live an unexamined life. And if this blog (public as it is) feeds some sort of showmanship that is inherent in me, I say, why fight it? If you think that looking back on one's twenties seem a little premature and indulgent, I say... you're probably right.

I'll break this up a bit. Herein, I'll talk about my short history as an actor.

Actor.

I attended Emerson College from 1994 to 1998, getting an almighty BFA in Acting. Worked with Kristin Linklater, who at the time was the Mistress of all Speech at Emerson. Performed in a great number of shows, like everyone does at college. I was trained in Linklater Voice Method, trying not to sleep in my own bed and, um, making 5 bucks last a week.

I arrived in New York in 1999, after spending a year in Chicago, holed up with friends, shivering. I had been cast in a show there, but it entirely imploded before we ever got to performance. Frankly, I can't even remember what it was called. The director lost a few cast members, had little money or time, and, in fact, the show had a script that was, as far as I remember, a little "loose."

Before Chicago I had been Romeo in a production of Romeo and Juliet at the New Hampshire Shakespeare Festival (recently re-monikered the New England Shakespeare Festival) before being fired, for rank insubordination. The rest of the cast quit not long afterwards as well. It was not pretty. It was, without a doubt, the worst production of Romeo and Juliet in the history of such productions.

An example of the fine choices being made herein: Before the balcony scene comes the Masquerade ball. Often, Mercutio is put in a dress for a laugh and some winking. In the aforementioned production, all three friends are put in dresses. I was in a giant hoop skirt and wig with fake breasts. When Juliet first laid eyes on me, she saw what must have been the ugliest woman in the world. Of course, we are instantly in love. How could she resist?

Beyond that, there is little time, especially in a "First Folio" production, to change costumes between scenes. So on these hot summer outdoor nights, with babies and restless teenagers in attendance, I would begin the balcony scene by pulling off my wig, throwing my grapefruit-boobs away and trying to look sincere in a big hoop skirt.

Needless to say, one year out of college, I was not a happy boy.

Anyhow, that's just blood under the bridge. Isn't all of it?

I moved to the city to live with my then-girlfriend (now an ex-fiancee), who was also an actress. We lived together in Chelsea, in Seminary housing (I got hooked up by my Father.) Liza and I didn't last, but remained at least friends, from a distance. That distance now traverses the span to West Virgina, where she currently is in Graduate School.

During this period, I did a little more Shakespeare. This time with Frog & Peach Theatre, with Ted Zurkowski and Lynnea Benson. I played Oswald in King Lear (with Jaime Sanchez) and Balthazaar in Much Ado About Nothing (with Earle Hyman). Oh, and Baggett in Richard II (with Austin Pendleton.) It was a ramshackle affair, in a hot converted stage overlooking a church, and my parts were tiny. But I did have a fine old time and got to sing in front of Earle Hyman and meet Austin, which is sort of like being in Law & Order in New York. Eventually, you'll do it.

In the midst of this, I attended a performance of Pericles that starred by friend Ian Gould, down on Ludlow Street. At the performance was Katherine Gooch, who quickly informed me that it was too cold to not to be wearing a jacket and that I should come audition for Gorilla Repertory Theatre, a company that she helped found.

I worked with Gorilla Rep as an actor and met some dear friends, many of which are married with children now (including Katherine Gooch-Breault.) I worked and lived with Sean Elias-Reyes, who has since married Rohana Kenin, and had two beautiful children, Caleb and Milena. Sean is part owner and operator of Shut Up and Talk, now. He continues to act and write, and will inevitably break into the mainstream in some completely unexpected way. Because he's a genius. I met Doctor Tony Pennino, Russ Marcel (whose wife Katie recently had a daughter), actor Michael Colby Jones, who married not long after his wife Stephanie. John Walsh, who has since moved to L.A. to work for G4 Media, played Bottom in the Midsummer I was a part of, and it's still the most generous version of that character I was ever graced to see. Friends like Tim Moore, Tom Staggs, Lynda Kennedy, Kina Bermudez, Brian Olsen, Dale Ho. These lists are dangerous, because someone is always left out. Regardless, it was a time of great significance for me and I remember it fondly.

I worked as Flute in Gorilla's long-running Midsummer Night's Dream in Washington Square Park; was in Tony Pennino's Story of an Unknown Man; had fun running around in Ubu is King!; got humiliated as Sylvius in As You Like It; joked it up in Twelfth Night; was killed in a variety of ways (both as MacDuff's son and as Young Siward) in MacBeth; and worried my pants off as Pisanio in Cymbelline.

All of these productions had their highlights. My favorite, of course, was a gaffe. As Young Siward, I faced off with the athletic Michael Colby Jones, only to find that my sword had shattered into three separate pieces. I wasn't sure what to say, so my smart mouth came flying out. "Can we talk about this?" Young Siward said to Macbeth, before dropping his sword and running for the hills.

It was a time of running in the park, playing poker, smoking cigarettes, getting drunk and speaking the speech as trippingly as I could speak it.

This meant working with Christopher Sanderson, the artistic director of Gorilla Repertory Theatre. I admired him for his passion and perseverence. He and I were very close at one point, but when the clash of personalities hit, over "The Death of King Arthur," it hit very hard and we never quite found our way back to any kind of reconciliation. But the time working with Gorilla Rep did wonderful things for me, so regardless of the personal difficulties, I can't say a regret a thing.

It was during this time that I decided to make a full shift from acting to playwrighting. I have acted since, but have focused almost entirely on playwrighting since Gorilla Rep produced "The Death of King Arthur" in October of 2001.

The only real break from that was a few readings at the Abingdon and with friends, and also performing in my own play, The Americans, in the role of "D" in 2004.

Onwards, and upwards. Next stop, Playwrighting...

In Defense of the Critical, part 2

Steve Oxman, at Theatre Matters, has just written a thoughtful response (more than my didactic post of a few days ago) regarding Charles Isherwood. While he does know Isherwood, which may color his view of the issue, it's an informed commentary.

It was brought to my attention over at Superfluities.

Monday, December 05, 2005

The Brick

The Brick Theater, in Williamsburg, Brooklyn, is where the Lower East Side got all "Phoenix from the Ashes" on your ass. Go check them out, because they're earnest AND snide, which is a killer combination.

They're currently running The Baby Jesus One Act Jubilee (including a fantastic monologue by John Devore, whom we hold in our Kingly Graces.)

I suggest them and hereby plug them with this scepter.

Richard Foreman celebrates himself

In the link above, Richard Foreman describes what's going on in his mind as he's developing Zomboid. As ever, he's humble and clear.

Here are some choice aggrandizements:

"The performance of "ZOMBOID" is then an attempted model of the depth of the world at work.

The world, it would seem, starts out not with a story or a theme, but with the random (statistically guided, perhaps) pouring forth of multitudinous radiations--twitching and throbbing in concert.

So now, here in front of an audience--we invoke and mirror this world process, generating the energy of eternal delight.

Required of us all, however, in order to be sensitive and alert to what is invisibly taking place in the depths of the world's creativity, is to free ourselves from both perceptual habit and inherited mental habit. (Keatsean "negative capability.")

One must, in effect, blindfold oneself, blocking normal faculties so that other inner resources are forced into play. "

Now, I'm well aware that Foreman excites a great many people and that he's critic proof, mostly by being utterly baffling. I saw and reviewed "The Gods are Pounding My Head!" and found his statement in the program only slightly more illuminating than anything happening on the stage. Which is not to say that there weren't moments I enjoyed, by themselves, but it was, one might say, purely by chance. If you throw enough weirdness, music and snippets of language at the stage, and take your sweet time, you'll likely hit something, somewhere, in someone.

Foreman relies on his artist's statement to contextualize his work. In some ways, the internet is the perfect forum for him, as it lets his readers become wrapped up in his context long before they ever bother watching a performance. But his work is massively indulgent, and has an air of self-satisfaction. He dares explain to the audience what they "must" do in order to enjoy or experience what he is doing.

For Foreman to write "Now it is time to celebrate the elitist artist!" is redundant. He is the first and last elitist artist, and celebrates himself and his explorations consistenetly. One could say that he believes that his navel is a black hole of universal mystery, and therefore spends his waking life making an art of gazing at it. The navel also stares into you, Mr. Foreman.

The beautiful thing about practioners like Foreman is that they are the sort of artist that are playing with the idea of artwork. The art itself is irrelevant, seemingly, to them, as long as they can subvert something and be celebrated for it. He has fans who also believe that life began in his belly button and nothing will dissuade them from it. If Foreman tried, they'd likely call it a brilliant attempt at subverting expectation.

His decription of Zomboid is telling for that reason. But I'll let you read it for yourselves, now. I'll just close with a fantastic question mark of a paragraph that I simply refuse to unpack.

"That trivial aspect (the "subject") is what we focus on when we chose NOT to be deeply engaged with what art is deeply about--the full, multi-dimensional "presence" of whatever subject is being obliterated by the power of "present-ness." However, by the usual gluing of our attention onto the ostensible "subject matter"--we try to protect ourselves from the deep ego-shattering experience of art."

At last, someone has told me what art is deeply about.

Friday, December 02, 2005

In Defense of the Critical

There's been a light but insistent noise being made about critics in the tiny world of theatrical blogging. The review of Bach at Leipzig by Charles Isherwood (here) prompted posts like this and this, which seem to accuse Isherwood of having a double standard or attempting to actively ruin the career of Itmar Moses. Isaac Butler goes so far as to propose action.

Over at nytheatre.com there is often a discussion about the nature of reviews vs. criticism and the term criticism is treated about as well as the word "liberal" is treated on Fox News. Martin Denton has a very different theory behind his reviewing than most; which is essentially that he is there to provide his response to the experience of being in the room, and respect that his audience for his reviews is often the playwright, director or actors themselves. (I would assume this is increasingly less and less true.) He feels that it's not his right to tear anyone down who is plying their trade in a difficult art form, for almost no money, on a shoestring budget. And that idea is, of course, what makes nytheatre.com a powerful force in the New York City small theater scene.

I think a great deal of these sentiments comes from a publishable voice that allows us to speak out against critics if we have an internet connection and a computer. Where once you could only write a letter to the newspaper, or defend yourself to those who would listen, now bloggers and supporters of a different kind of criticism can throw their arms in the air and shout about it.

I, personally, love a particularly nasty and brutal critique. Some of the greatest writers in history have spent hours tearing each other apart. Edmund Wilson attacked Nabokov; Shaw attacked Shakespeare; Mark Twain's "Literary Offenses of James Fenimore Cooper" will make it impossible to read The Last of the Mohicans without laughing until you roll over. This did not destroy Shakespeare, or ruin Nabokov, or stop people from reading Cooper. The finest artists are often the easiest to attack and the most fun. One could call T.S. Eliot's The Wasteland a poem for dull scholars; the cinema of David Lynch to be art-house misogynist erotica; the humor of Avenue Q to be topical and derivative; Shakespeare a barbarian (as Shaw jealously did); Shaw a dreadful didactic bore; Wordworth a long-winded preacher; and Henrik Ibsen and Ayn Rand proto-fascists. None of this will end their relevance, or ruin them, or take their artiface away. Because they are so distinctive and powerful that they are simply worlds for us to play in, and that includes some rough-housing.

It could be fairly said that my list above includes those who are so established that criticism of their work is an academic exercise anyhow; that Itmar Moses has a career to build, and that he has written a wordy Stoppardian whirlwind that should be praised and encouraged.

The truth is, there needs to be far more criticism, not less. That a free for all of violence and lovemaking in the world of criticism is exactly what is needed to spark a fire in the audience for these works. In the recent New Yorker, in discussing a new Wordsworth biography, it's noted that Wordsworth's fans were ardent precisely because they felt that he was unfairly attacked. That they understood his work and others clearly did not. There was a healthy and firm and documented world of Wordsworth haters, even before he became, after the 1830s, a national treasure and Poet Laureate. The intensely cruel reviews did just as much to help him as harm him.

Perhaps the true problem is that theater reviews are dwindling, and therefore a single review may be certain pieces only "press." Denton serves this, as he reviews hundreds of shows a year, and the New York Times is simply not economically going to support doing the same. But I'm certain that Bach at Leipzig should have been reviewed with enthusiastic bile and enthusiatic praise as often as possible. If it were to inspire a world of mixed reviews, from many sources, who are in deep argument, it may just be proof that there IS, in fact, something very worth seeing.

The complaint, therefore, should not be with Charles Isherwood for being a right bastard in his smugly backhanded reviews, or with Ben Brantley for being a big prig on a regular basis and firing broadsides at big Broadway ships. Both of them also can be incredibly kind and even corny. Isherwood gushed all over Thom Pain (based on nothing), a review he stuck by even when he was seriously questioned for it; and he used the word "heavenly" in his review of the New Group's Abigail's Party. Brantley can be persuaded as well.

The complaint (dare I say, criticism) should be of the lack of other major sources of criticism that are respected and prolific. Beyond insider trades like Backstage, we have Time Out's house style of quip, and Denton's even-handedness and that's about it. It's a small market, and very few of these sources provide space enough to do much more that give anything a thumbs up or thumbs down. Or worse, a carefully written, harmless little summation that notes a few things that were "ok" and a few things that "weren't."

I, for one, would love to see the blogsphere help explode theatre criticism and let it breathe and have a strong, immediately, artful voice. Critics should not be considered the enemy, but a part of a rich tradition of thinkers and tinkers and hyperbolists. That's the pleasure of reading things like "After I read Pride and Prejudice, I wanted to dig up Jane Austen and kill her again" or "If the publication of this volume is not an insult to the public taste, I fear that it cannot be insulted."

I would hate to see us stifle criticism that we deplore. We are intended to deplore it and revel in our own self-righteousness and defiance. The best critics make us define and defend our own impressions, give us a deeper understanding of a text or performance, and can inspire rages of the best and worst kind.

Let's have more sharp literary and theatrical criticism. It is a mistake to take the very little we have left, and try to shave its teeth and cut its claws.

Thursday, December 01, 2005

Most Produced By High Schools

Interesting look at the "pulse" (or lack thereof) of the current high school theater landscape. The above link shows the Educational Theatre Associations survey of the most produced musicals, full-length plays and short plays in 2004. Like all surveys, it's flawed, but it does provide a very good look into what's being produced and by whom.

A few quick observations.

Seussical: The Musical tops the list. Now, I'm not terribly familiar with this, but I'm relatively sure it never got much in the way of good reviews when it was produced in NY. Which just goes to show that the creative team behind it is laughing all the way to Ben Brantley's bank. So take heart, writers...you two can have a hit if you don't try anything interesting and call it "Popular Children's Book Characters Sing." See Cats.

Grease is the second most produced musical in high schools and this always makes me laugh my ass off. Grease is essentially a musical about a very, very good girl who is mocked endlessly for being a prude, until she shows up triumphantly at the end of the play finally all done up like a tramp. It's a perverse story, always was, and I love that no one notices. Everyone knows the music, so they don't care that their 17 year old daughters look like tarts.

Almost all of this is completely innocuous and dull.

The full-length plays are a little more interesting. Mostly for one inclusion: The Laramie Project.

Now, almost all of this is about what you'd expect. It's nice that high school's are producing A Midsummer Night's Dream endlessly. It's funny, and it's cute and it has a lot of good parts for young people. It is also, when done with a lot of eyebrow raising and broad strokes and fanciful dancing, incredibly cloying. Also, how many of us have sat through and endless, overdone production of the Crucible at a high school, watching the young women twirl around and look possessed and take endless, meaningful pauses while a kid who looks like he just started shaving tries to imitate Proctor's overbearing sorrow? It's the high school production equivalent of having to sit through a chorus wailing its way through Shenandoah.

Nice to see that nothing that's very interesting (Lost in Yonkers) by Neil Simon is being produced, and that plays like Arsenic and Old Lace (which I did in high school) and You Can't Take It With You (which I did in college) will never be put in the grave. Probably because you can rent the videos and perform the parts in time with the plays.

But the inclusion of the Laramie Project is fantastic. Because it's like Spoon River Anthology for progressives, and endlessly brutal and shames the hell out of anyone who is a homophobe or bigot. Now that's good for kids.

Cyncially, I'm amazed to see it being produced more than Harvey. Of course, Harvey does require some special effects. It didn't even make the list. I'm shocked really.

The short plays are a list that says a lot about where we are in the theatre, I think, because three of the short plays are by Jonathan Rand. These plays were, according to this list, more often produced in 2004 than The Actor's Nightmare and I Never Saw Another Butterfly. Why, one might ask? I would venture (no disrespect to Mr. Rand, who is actually involved in publishing one of my own plays) that it's a victory of marketing. Rand is the co-founder and operator of Playscripts.com, which he uses to promote and publish his own work and has been doing so for several years. It may well be that it's simply become incredibly easy for high schools to get their hands on his plays, which are written precisely for being picked up on that circuit. It's a harbinger of how much the internet will be affecting what is produced and how often. Accessiblity in new mediums is key.

Anyway, those are my first impressions. Love to hear what you think of this list, if anything, or of my thoughts.

PLUGS!

Isaac Butler, at Parabasis, is working on Apparition! Go see it. Or read about it. Or all of the above!

Other plugs include:

This cool website!

Support nytheatre.com!

This DVD is really good! Buy it if you care to!

That is all! Go in peace to love and serve the Lord.

Wednesday, November 30, 2005

National Strategy for Victory

The above document (linked in the title) is the "National Strategy for Victory in Iraq."

A few comments:

"Failure is not an option."

Failure is never an 'option', it's just something that happens when goals are not achieved. The short term goal in Iraq is "making steady progress fighting terrorists [later in this same document the term Terrorist is broadened], meeting political milestones, building democratic institutions and standing up security forces."

These are the short term goals and even those have been a trial. The Democratic Institutions in Iraq are arguably untenable because of the differences between major social groups in Iraq and their past grievances; the steady progress fighting terrorists has proven to be an endless battle that we invite simply by being present in Iraq; the political milestones, such as votes, haven't improved the situation on the ground or moved Iraq towards real stability and the Iraqi security forces are notoriously undedicated and untrained.

The problem is, of course, that democracy and institutions are social contracts. We agree to them, together, as a people. A constitution has meaning insofar as it is given meaning, leaders have power that is granted TO them by those who agree to surrender that power. Even these short term goals aren't militarily achievable because they require a social agreement in Iraq that cannot be brought about from the outside, or with a gun.

The second goal is "Iraq is in the lead defeating terrorists and providing its own security, with a fully constitutional government in place, and on its way to achieving its economic potential."

Now, these are simply very loose extensions of the short term goals. It assumes that, essentially, we are hand-holding a fledgling but fully legal government in Iraq and a fully trained Iraqi security force. Of course, these institutions are going to be viewed as puppets of the United States and therefore without real legitimacy to a sizeable portion of the Iraqi population. I would assume those are the same people aiding in the guerilla war against our forces, and those attack will be even more effective against a weak and struggling new government, which is propped up by imitations of US histories milestones.

I won't bother with "achieving its economic potentional" because our version of Economic potential and the rest of the worlds has always been very, very far apart. See Venezuela.

The Long Term goal is: "Iraq is peaceful, united, stable and secure, well integrated into the international community, and a full partner of the global war on terrorism."

First of all, this is a country in the dead center of the Middle East, so the idea that it will be peaceful, united, stable and secure, because of our military, in anything less tha 100 years is simply a pipe dream. Beyond this is the frightening implication that by the time this goal is achieved, there will still be a "global war on terrorism."

In this document it is asserted that Iraq is the central battle on the war on terrorism, and that if we fail, it will embolden terrorist tactics.

The problem, of course, is that we chose to turn Iraq into this central battlefield.

We failed in this particular enterprise when we took nation-building and imperialism as our main tactic in fighting a fanatical, Islamic, guerrilla minority that has no national home and did so by making false claims about Iraq's connection to Al Queda. The fight against an ideological enemy is, of course, an ideological one. To turn it into a game of cowboys and Indians was the wrong strategy from the very beginning.

We will not lose the war on terror if we let Iraq pick up its pieces and draw down. In fact, if our force there is smaller, we may just be able to give Iraq the impression that we believe that it should have a sovereign government of its own. All we will lose is a little pride, which we seem to have no problem parting with when we torture prisoners and ignore the United Nations. We need to refocus our efforts on giving at the very least, the appearance that we know when we have made mistakes, and we want to do better.

Then, perhaps, we get on with the business of intelligence gathering, supporting democratic movements in the Middle East peacefully (Iran would be a great place to start) and working towards the sort of economic aid that could repair much of the death, resentment and violence that hunger and poverty breed.

A few rambling thoughts from Today's Speech

"Freedom is the destiny of every man, woman and child on this earth."
"A time of war is a time of sacrifice."
"We must fight the terrorists and Saddamists."

Bush is speaking as I write this.

"There is only one way to honor the sacrifice of [the troops] which is to take up their mantle, carry on the fight and complete their mission."

Anyone who says "There is only one way" is always lying to you.

Essentially, Bush is responding to the massive uproar in the Senate and in the public against the war. The American public is incredibly late to the debate, and so is Congress. What's amazing is that this speech is the same as the ones that he was giving a year ago, two years ago. The debate heats up, the debate changes, the realities in the desert change, and you hear nothing new.

Now, I know it's very easy to say "This is the same old garbage" and it is. But what is increasingly dangerous about this is "completion of the mission" is increasingly vague, hard to pin down, and has been changing year to year. The congressional vote gave him permission to carry out UN resolutions (lest we forget that the UN voted against this particular method of going into Iraq) and permission to stop the "threat" that was in Iraq (there were no weapons of any particular danger to us in Iraq, besides roadside bombs and machine guns and digital cameras.) So the mission has changed to the undefinable "spread of freedom in the Middle East."

Now, it's a slippery slope argument to be sure. His argument is "if everyone lives like us we will be more safe." Of course. It's an Orwellian argument. If everyone thinks the same, no one argues. It would also be easier for my boss to give me a frontal lobotomy, some water, and a cott in the back room, so I'm always here and don't have other ambitions.

I would like, very much, to remove the term "terrorist" from the lexicon. The more specific the language, of course, the clearer the enemy. We are fighting, for the most part, Sunnis who feel disenfranchised, an organized guerilla movement that views us as a partner of Israel and enemy to Islam, and people who are easily recruited by such arguments by the US's brutal treatment of civilians and torture tactics.

They are guerillas and this is a guerrila war. We don't have a great track record in guerilla warfare, and for an obvious reason: we fight them on foreign soil with political motives. That's two strikes against you.

Tuesday, November 29, 2005

Phantasmaphile

I direct your attention to this website which has a great posting on Cabinets of Curiousities. Just crazy and cool and will wet anyone's whistle who is looking for a little inspiration.

Oh, and this site is run by my girlfriend who is, yes, just that friggin' amazingly amazing.

Theatre vs Theater

Just because it's always fun to beat a dead horse until it's blue, blue, blue...

I'd like to take an unofficial poll: Theatre or Theater? Which do you write, why do you write it, when do you write it?

Welcome, Matt

Matt J out of Long Island has started a new theatre blog. Welcome, sir. I find the title of the blog a mite bit...familiar. But let's give him a warm welcome.

Theatre Conversation.

Monday, November 28, 2005

December Approaches

Just watch those suicide rates rise!

I wonder if there is a direct correlation between discount sales going up and people jumping out of windows. Like, for every five percent that Kmart cuts off the latest fashions, we lose five percent of the future chess champions of the United States.

Anyhow, I'm back from Thanksgiving with the newly extended family, feeling frisky, ready for a good brawl. I will be turning 30 next week, so I'd better get all my youthful indiscretions out of the way now. I mean, within this week. December 7th, Pearl Harbor Day. Tom Waits birthday. That's when it's all coming to a screeching halt.

Who wants to help me humiliate myself before I am bound by law to resemble an adult?

Friday, November 25, 2005

Happy Turkey Day

It's the day after Thanksgiving and I hope you had a happy one. Or at least, one that didn't include anything terribly bad happening.

Tuesday, November 22, 2005

Sixteen?!?

Ladies and gentlemen, there was an earthquake in Pakistan that threatens millions, New Orleans is still a disaster, millions have AIDs and Malaria across the globe.

And CNN runs an article about 16 kids that choked on fucking toys in the US in 2004?

We are the bloated belly of the disease of wealth.

Reporting as News

In a remarkable piece of historical inevitability, the father of access and anonymous sourcing, Bob Woodward, has come under fire for hiding a source. Judith Miller (who I am not a fan of) was in jail for protecting a source. The New York Times has committed pages upon pages from it's public editor and elsewhere to define and redefine and defend and qualify their own sourcing and editorial practices.

I do find all this extremely enlightening. It's is important to get access to power and that means that those who provide us with that access, the press, should be scrutinized from time to time. The abuse of journalistic privilege by sources ("Scooter" Libby, Karl Rove) shows how easily journalists can become inadvertant propoganda tools, and can become the very message that they are trying to analyze. Should all anonymity be defended without rhyme or reason. Probably not. Especially when the source is using that anonymity to commit a crime.

That being said, the troubling thing is that the news has become the news itself, and not the newsmakers. Take for example the Valerie Plame case. What does this story consist of? A long list of journalists, a special investigator, a reporter thrown in jail, questions of anonymity and the public's right to know, blah, blah, blah. But what is the actual story: We were being lied to, and the person that said so, earliest and most bravely, was attacked, through the press. By the top and crop of the administration.

The Bush administration has a tried and true way of defending itself, which is to attack the messenger. When the larger anti-war protest ever organized showed up before the invasion of Iraq, a protest that spanned several continents, Bush was never taken to task for their argument. He simply said that he wasn't going to make decisions based on a "focus group." By reducing the messengers status, he ignored the message.

He does so with the press. He refers to the Press as "the filter." He questions their reporting even as his own people send them false information. He uses Fox News (indeed) to dilute the message of the mainstream press. In this way, how the messages are received becomes our news, and the actual news becomes only a theater in which this plays games are played.

The truth is, the Bush administration lied to get us into a war, and then committed the sin of absolute incompetence. But their failures don't start and stop in Iraq. This administration has attempted to institutionalize legal torture; it as curtailed countless civil liberties; it has given the CIA and FBI broad new powers to peak into our lives; it has attempted to influence public broadcasting; it has fallen down on disaster aid; it has nominated both cronyies and idealogues to the Supreme Court; it has endlessly used false claims to attack it's political foes; has promoted religion in science classes; has politicized the FCC and the FDA; and it has alienated the US from the rest of the world.

That's the news. The news is that he is still the President after all bloodshed and falsehood. That's the shame of the nation.

Who why are we talking about Judy Miller or Bob Woodward? Why are they the ones on trial?

Monday, November 21, 2005

A.W.O.L Review

My latest review for nytheatre.com, of an adaptation of Colonel Zoo called A.W.O.L, is up here.

Feel free, if you've seen it or were a part of the production, to comment on the review below.

Revising, Catching Up, etc

I haven't updated this space since Tuesday and there has been much, much hubub. Republicans who never served in the armed forces calling an ex-Marine a coward for showing common sense. Bob Woodward getting back in the middle of the secrecy game. The Bush administration taking one step closer to George Orwell by actually changing a transcript from a press briefing to turn an admission into a denial. It's a beautiful time to watch the culture, because it's exploding into a thousand tiny pieces.

And, therefore, we write. My latest play received a reading from the Blue Coyote Theater Group on Friday. Comments are that it was funny, twisted and too long. (Read at about 3 and a quarter hours, which is too long.) But, I was happy to get some big belly laughs and appalled looks. They are what makes this grown man smile.

My friend Scott Reynolds from Handcart Ensemble dropped by. Scott is Mormon, and the play has a rather high rate of anti-Mormon jokes, which he took in stride. When he ducked out, he whispered in my ear "You should be shot," which I am going to take as a compliment.

And so, I'm speeding up the play by better defining the action. That always seems to work.

I saw the Metropolitan's production of "The Inheritors" by Susan Glaspell this weekend. The cast is very strong, and it features my pal Matt Trumbull, who can get a laugh out of an exit line (and does) like no one else. The play itself has its ups and downs. There is something quite remarkable about seeing how little the arguments have changed over the years between the revolutionary and the careful in this country. But what's striking is that we all couch our sentiments in being more "American" than the other. "It's un-American, what's your doing!" "No, it is precisely because I'm an American that I question America."

As far as I can tell, this shows just how effective the term American ever is or ever was. It means nothing, which is precisely the point of the word. This culture is intended to be about freedom, and part of the danger and joy of freedom is making your own meaning.

So the play did leave me with some things. But it also left me with a few lines that I will remember for an entirely different reason: they are high camp. Such as "Damn the wind!" and "She choked to death in that Swede's house!"

Martin Denton has a fine review of the play up here.

Yesterday, also, I had a little pre-Thanksgiving with Matt Trumbull and my girlfriend Pam and her roommate Lauren. We had slow cooked ribs, three pies (pumpkin, apple and cherry cheese pie, for the record) and watched Jodie Foster's "Thanksgiving is messed up" movie Home for the Holidays, which I thoroughly recommend. If anyone's interested in why I am not moving to Kansas to make theater, I'd point to last night and the sense of friendship and family I have here. It's a wonderful...um...life.

Oh no. What have I said?

Tuesday, November 15, 2005

A creative way to support "indie" theater

Martin Denton has posted a Guide to Musical Theatre History and it's really fantastic. Best of all, he's posted links to books and CD that can be purchased on Amazon.com

Now, there's a lot of reasons this is a great thing to check out. The first is simply that Martin Denton is a great resource and huge enthusist and anyone who has an interest in the New York Theatre scene won't find a better place to put their finger on the pulse than his website.

The second is that buying something or listening to something in a context often really augments the experience, and Martin is providing the context.

The third is that buying those items through his links actually puts money in the coffer of nytheatre.com. Sometimes we all want to donate, but we wind up spending our money on things like CDs, MP3s, Ipods, shirts and books. You know what? This kills two birds with one stone. Get yourself something nice, and also give a little back to the community.

Go check it out. Click the title of this post.

Trav S.D.'s New Book

Trav S.D. is a downtown performer that I've met a few times and he's a brilliant enthusiast for this subject. While it's the Times and they throw him a few little punches, it's generally a fantastic step in the right direction for him and a big bump up in his street cred.

Go Trav.

Buy his book, crew. Support one of our own.

Reading of "The Most Wonderful Love"

Blue Coyote Theater Group is going to do a small informal reading of my new play on Friday, November 18th at 7pm. The details are here.

If any of you, in the New York area, are interested to stop by, give it a listen and throw in some informed thoughts (afterwards, over beer) I'd love to have the eyes and ears. Let me know if you have interest in checking it out.

Monday, November 14, 2005

Bad Karma

Even though Isaac and Josh have both posted this, I feel I must as well. It is, of course, bad karma. Very bad karma.

But I...can't...help it. Must press the button!

Sunday, November 13, 2005

The Most Wonderful Love

Crackin' a beer. Just finished the first draft of my new play "The Most Wonderful Love." Work to do, of course, but I'm happy to have this one with the words "End of Play" on it.

Score one for the good guys.

Thursday, November 10, 2005

First Folio Shakespeare Method - A lecture

Over on Parabasis, Isaac asked a very earnest question and I feel it's probably best not to joke about it there. So I will, appropriately, joke about it here. Isaac asks about reading the text how to determine what Polonious should wear in Act I, Scene 2 of Hamlet.

This made me think of First Folio. I worked with a First Folio crew right out of college, in the worst ever production of Romeo and Juliet (I was Romeo, and I can tell you it was a smashing failure) with the New Hampshire Shakespeare Festival. For those of you unfamiliar with the First Folio sect of the Shakespeare Worshipping Society, here is an example of the sort of logic to be found therein.

-------

First Folio - A lecture

(CLAPS HANDS)

Listen up you maggots. I am here to set the record straight about Shakespeare, who was NOT the Earl of Oxford, thank you very much, but was also in total command of every single word, phrase, loose end and capital letter he placed in every word on every page of everything he ever wrote. He was not simply a genius, as we all accept, but he was correct and perfect in all things, and the only way to strive towards perfection is to attempt to find the messages he clearly sent in every syllable, and obey them, like slaves to a terrible and immortal master.

Each one of you, who has come here today, has come because you are unworthy to lick the fading ink from the bottom of Shakespeare's shoes. You have tried to direct productions of Hamlet set in 1920s Vermont, recast King Lear's Fool as a pack of wild dogs with tape recorders on their backs, performed Julius Caesar with a Kindergarten class, and rewrote and recut Much Ado About Nothing so it could be done effectively in sign language. You are tired of trying to climb the great wall of William armed only with your own lesser impulses. You've come to find out what the writer truly wrote, because after years of a sub-par liberal arts education, you are completely unable to read.

I will provide you with the facts. The only true facts. And before we break up into groups and cry and pound out iams with drums, I would like to give you a quick list of the rules we will follow at all times. Are you ready? I know you are:

1. Shakespeare tells us how to say it. One of the biggest problem facing actors raised on Marlon Brando and Owen Wilson is that they, in fact, feel that they have carte blanche to push the words around in a way that feels "True" to them. Truth has nothing to do with speaking. For example, I am often lying to my friends and family. Does that mean I am not talking? NO.

Each line is written with a certain number of beats. Most lines are ten beats long. They are the "common" lines and should be delivered loudly, so they can be heard, and without any inflection at all. Adding inflection to a ten beat line is the same as adding "just kidding" to the end of the Ten Commandments.

Some lines are eleven beats long. That means they suddenly seem to falter. When speaking these lines, let your voice trail off into wistful nothingness. Show the audience that you are both thoughtful and confused. The more confusion the better, as an eleven beat line is not supposed to have either emotional clarity or directness.

Some lines are twelve beats. That means they should be shouted at the top of one's lungs, as if the sheer effort of speaking for so long is a cruel torture. With lines so long, Shakespeare is performing the functional equivalent of poking you in the psychological ass with an ethereal hot poker. Let the screams come and the line will sing.

If you find a longer line that twelve, simply add the end of that line to the beginning of the next.

If you find prose, as they call it in the funnies, speak it as quickly as possible and get it over with. Shakespeare was not a prose writer, and writing in prose is his way of protesting an addition to his script that he felt was unnecessary. It was a way of saying to a producer, "You smell as sweet as The Rose." For those who don't know, the Rose, in Shakespeare's day, smelled very much like shit.

Capital letters should be highlighted with a raised eyebrow. All words should be pronounced phonetically, even if it makes you sound like you have Down's Syndrome. One must sacrifice pride for accuracy.

2. Shakespeare tell us where to stand. Blocking is often decried by directors as the artistic equal of being a traffic cop. Some claim it is an art, others a dreadful bore. Luckily, Shakespeare doesn't care about directors and doesn't care about your problems. He simply shows each actor where to go and when based on subtle indications in the text.

For example, when a character says "you" to another character, that is more informal than "thou." If a character says "you," regardless of what they are saying, the performer should walk towards the other actor, the one they are speaking to. If a character says "thou," the performer should move his or her character to the other side of the stage and remain there, holding his or her nose. (Note: it could be the other way around.)

Another example is the word "sir." If a character says "sir" one must bow upon speaking the word, each time the word is said. If the character says "sire" the performer should drop onto all fours, like a dog that deserves kicking. If the term is "My Lord" one should hold out his or her hands in front of his or her face, to shield the character's eyes from the blinding light of the other character's authority.

It's all there. Clear as day. All you have to do is read it. Idiots.

3. Shakespeare wanted us to cut nothing. When anything is lost in the text, regardless of length, we are placing his plays on the ground, pulling down our trousers, and relieving our collective bowels on literary history.

4. Shakespeare wants us to speak quickly. Cutting nothing means speaking faster than most people can hear, because otherwise many productions would be five or six hours long. The reason for this is that we now think and hear much more slowly than Shakespeare's often uneducated audience did. They actually had brains and ears that were 20% larger than ours. Shakespeare's was 60% larger than the average human brain. You can look it up.

For the most part, the audience will catch many of the important words if you speak as quickly as possible, as most plays are written carefully so that only the third and sixth words of every line are important. Everything else is gravy.

5. Do not rehearse. Once we learn all these rules, rehearsal only stands between you and perfection. The more impulsively you perform these plays, scroll in hand, with all the rules in mind, the closer you are to the chaotic glory that Shakespeare not only intended, but encouraged.

Rehearsal is a very long, expensive process and much like us; Shakespeare was poor. Why waste time? Read the text aloud, perhaps once, with the other actors. Then you can charge whatever will pay the rent and rush through the text, as the rules indicate, and show them the true nature of his plays.

If they want to understand every single word, they can buy the Arden like I had to.

All right! I think that's a good start don't you? There are some more specifics we'll get into, as there are literally hundreds of tiny things to remember before you can truly perform his plays as God, meaning Shakepeare himself, intended. But with those 5 rules to start with, I think we will make excellent progress and removing all your failed impulses. In fact, we will remove any impulses, good or bad. But honestly, who needs them when you've got Will, king of all words, to lead you to the stage?

Now, let's begin with Hamlet's speech to the Players...

-------

There is no God

Children die every day from malaria and worse.

Good people are being told they have cancer, probably right now.

Bodies floated through the streets of New Orleans.

Suicide bombers are blowing up hotels full of reporters.

...and we can't get even get a broken leg for the representative of all that's wasteful and wrong with this dreadful world, Paris Hilton? Even with a CAR?

Where is your beautiful "God" now?

The Walking Dead

Just a quick "toss" to one of my dearest old pals, Marshall Warfield (poet? professor? 30 years old? engaged? check, check, check, check) and his recent contribution to the Pittsburgh City Paper. This article is review of a comic "The Walking Dead" and a bit of breakdown of George Romero's zombie masterpieces. Short version: It's about ZOMBIES!

Wednesday, November 09, 2005

A sign from God


Thanks to my friend MCJ, and his Dad, for sending this around. Fantastic and everyone should see it. MCJ, you're my hero.

Workshops, Collaboration and Feedback

I'm feeling pretty pumped today because I sat down with a friend and collaborator of mine, read through the first two acts of my latest play "The Most Wonderful Love" and came away with some solid new thoughts, notes, and edits.

It made me think of precisely the wrong kind of directoral approach to playwrighting. Joshua James has written a fantastic, telling and, as usual, witty version of similar thoughts on his Daily Dojo.

A few years ago, I had completed my play, "The Great Escape," (Pictures of the eventual production can be found here) and I was looking for a place to have it produced. Through a contact who was high on the script, I was put in touch with a downtown director who I'd heard of, and who has had a solid reputation for his Greeks and Shakespeares.

We met in Park Slope, and having never met me before, he proceeded to explain to me that he had uncovered the protagonist of the play, which he felt was "Susan," a character that is off-stage in Act I, tied up and silent in a bag in Act II, and finally comes in for a show-ending monologue that makes up almost the entirety of Act III. His suggestions were based on this concept, ripped from the pages of a playwrighting text book. He felt the play was "her" play and that I should rewrite the play to match who was "clearly the protagonist."

Needless to say, I didn't wind up working with him. It occurred to me that he didn't actually want to direct the play I'd written; he wanted to direct the play he was looking for between my script and his own designs.

What I've found is essential is to be rather careful about who you listen to and to what end. That's why I feel workshops and open discussion about a play are often rather damaging. Only someone who understands and enjoys the playwright's work should be anywhere near the process of creating that play.

Last night, I got some pretty merciless feedback and walked away with a fair amount of work to do, but knowing that it was from someone who was high on the play already, made the work something I'm looking forward to doing. If it had come from someone with an agenda that was anything except "I want to see Matt Freeman's best work," it's simply off the table. Anyone who I feel has little personal stake in my work is someone who I won't accept commentary from during the initial process.

I know some playwrights relish a long workshopping process (most don't.) I'll be bold enough to quote myself regarding that from my Rants and Raves on the New York Foundation for the Arts Website:

Rant

Workshops: Playwrights know the workshop dilemma all too well. It’s how large production companies earn their “new work” grants while avoiding the production costs associated with actually producing untested plays. The end result? Hundreds of expressive and original new plays, whittled down to nubbins of shavings of what they could have been, wartless, because of hours and hours of witless “feedback.” Well intentioned, maybe, but deadly for your sense of self, like a boob job.

Tuesday, November 08, 2005

"We Do Not Torture"

So sayeth our President.

Firmly.

Saying "We do not torture" means, expressly, that there is no reason for us to bring political prisoners to places where torture is legal and common. Which is why we... do exactly that.

Oh and then there's this:

That's the Abu Ghraib photo that doesn't include naked human pyramids and dog collars.

Guess what?

We Torture.

Grass Roots

In his Brooklyn Rail piece, Zachary Mannheimer suggests that theater artists could make more of an impact on the country as a whole if they organized, studied and infiltrated the smaller communities on the margins, bringing professional level arts out of the cities and into the fields. He maps out a carefully sneaky plan to seduce the locals and bring them what they need with our city level smarts and armed with collegiate jobs.

I don't disagree with any of what he's saying, to be perfectly honest. The audience for Broadway is predominantly outside of New York City. If we want plays to sell well, or theatre artists to become important to the country as a whole, I'm certain that we should do more to get the word out into the rest of the country.

While I've read a few things that would suggest to me that most artists are a bit defensive about their aspirations, I would say that I feel no shame in prefering to live in cities. There's more acess here, I spend a great deal of money for it, and I do want to have a successful career and when you want that, you go where the industry is thriving. You don't go to Alaska to harvest tropical fruit.

In that analogy, it's clear when I say Alaska, I mean Zack's Wichita, and when I say Tropical Fruit, I mean artistic praise. Let's just assume that when a producer in the great plains sees "produced in New York" on a play's resume, they're more likely to take a look at it than when they say "ran for ten years in Wyoming."

That being said, I also feel that we're underestimating the popularity of theater outside of New York. Anywhere you'll find a public high school, I'm sure you'll find at least one musical being produced. Much of my early access to Shakespeare, personally, was in Allentown PA, where Allentown College's theatre would import (yes, often from New York) top flight performers and excellent production values.

Before I go too far into disputing what Zack is claiming, I would like to add that it has a great deal of merit simply for having been said. There is a great deal of untapped interest, money and quality of life all over the country. But whether or not one has an interest in selfless evangelizing is an entirely subjective (pardon me, Zack) question. Objectively, the entire theater community would helped a great deal if we all moved to the suburbs and got our hands dirty trying to build a series of interesting and accessible venues in pockets where they are missing. It seems there is little will for this, though, because many of us did what most naturally do: sought a refuge from places where interest was sparse.

Should we abandon the battlements? I don't believe so. But I also believe they haven't been abadoned.

Before leaping heartily into a race to the frontiers, I would find it interesting to take a tour of (online or otherwise) little known and earnest theaters in places like Wichita, Kansas. Places we may not currently be aware of, but know are there. There were spots of theaters all over Pennsylvania where interesting work was produced, or where at least quality peformances of "The Death of a Salesman" could be counted on. I'd love to hear more about them, and see if what we suspect (that theater barely exists outside the cities) is reality.

Monday, November 07, 2005

Further interesting thoughts

Ross Peabody's blog is home to his comments on a fair number of topic, especially regarding Indie Theater vs. Off-Off Broadway. Take a look here. (Referred from the nytheatre i.)

Sunday, November 06, 2005

A New Deal

Read and comment on this. Interesting stuff. Zack of the Subjective...interesting guy. Has "the vision thing."

Friday, November 04, 2005

The news from Argentina

Is not good. Thousands protesting Bush and the US "free trade policies" that have essentially made it easier for us to use them as cheap labor.

Here's a bit of the rhetoric down there. The truth hurts:

"Bush is a torturer, a violator of human rights and a murderer, who does not respect United Nations resolutions, international treaties or the sovereignty of peoples, as in the case of Iraq," said Adolfo Pérez Esquivel, a Nobel Peace Prize winner who is one of the protest organizers. "He is not welcome in Argentina, and he should be repudiated."

"Scooter" and the Bear

On this gentle morning, I'd like to direct readers of my blog to this brief article in the New Yorker concerning the purple prose of conservatives, and "Scooter" Libby in particular. Pay special attention to the bit about the bear.

The article can at least serve as some comfort to Libby supporters: he'll have a hobby in the slammer.

Thursday, November 03, 2005

Micheal Brown's E-mails

This PDF shows just what a goddamn idiot Michael Brown is. Enjoy, or weep, or whatever.

EDIT: this PDF isn't working. But I'm sure it's gotten around that Michael Brown's e-mails during the Katrina event included advice that he should roll up his sleaves so he looks like he's working hard, questions about pet care and personal grooming, and asking a friend if he can quit.

What I personally love about the Republicans during a scandal, is that give us so much material. Clinton's personal life was attacked and the man looked sad, sorry, beaten up and humiliated during his second-term scandal and impeachment. It was the worst kind of politics.

On the other hand, we have this old boy network of spoon fed war mongerers and their cronies who leave gems like Barbara Bush's gaffe about the poor, crony Brown's overtly un-heroic stances, and Bush's faked miliary media events. It's like Clinton was the warm up act for Monty Python's Flying Circus.

Wednesday, November 02, 2005

Review of "Stumps"

My latest review for nytheatre.com is up here. It is of the recent production of Mark Medoff's play "Stumps" by Nicu's Spoon.

If you've seen the production or know the companies work, feel free to post comments on the review below.

Harry Reid: Staying on Topic

Reid, a Mormon and Democrat, was someone I had trouble taking seriously. He seemed wishy-washy and overly cautious, treating Howard Dean like a problem to be solved and treating Republicans. What did I know? This man just kicked the Republicans in the balls, to gum up their ever vigilant course-changing machine. God love him for it.

If there's one thing that Democrats have failed to do until this moment, it's adapt. The Republicans have used the same tactics over and over, and each time we find ourselves sitting with our mouths open, pointing, begging someone to come to their senses. It took us a while to realize, apparently, that it's better to be on the attack than on the defense.

With "Scooter" Libby's indictment, this country is moving closer than ever to having a public airing of the lies and crimes of the Bush administration. Libby wasn't Karl Rove, but if you remove the big three from immediate indictment (Bush, Cheney, Rove) it doesn't get much closer than Libby. And while he's "only" faced with obstruction of justice and perjury charges, as that moves forward, he'll be forced to look at serious jailtime, or start talking.

What does the Bush administration do? Bring in a conservative supreme court nominee and annouce their plans to do something about a possible flu pandemic. One of which sounds scary and could have been announced at any time (you'll all get sick!) and the other took less time (four days) than seems healthy for a true re-examination of his choices. The fact is, on Friday Libby was indicted. By Sunday, the news was full of carefully timed "big news" to drown it all out.

Until Reid pulled the parlimentary equivalent of sending the Republicans to their room without supper. Now, they're playing into his hands, calling the move a stunt and being "angry" about it. The important thing is that Iraq, Scooter Libby, and the lies that led to the war in Iraq are back on the front page, where they should be, because Reid wouldn't let Rove change the subject again.

Applause is in order.

Holy Cute Grenade, Batman


Look how friggin' cute this thing is. It's silly. New born baby Panda at the National Zoo. Named Tai Shan.

I want one.

Reviewing Direction

Over on the Nytheatre i, Martin Denton asked a question about what playwrights need from reviewers. Quite a bit of the theater blogsphere and theatrical reviews have a great deal to do with the writer, which is in stark contrast to film reviews, where the actors and directors hands are very clear and often most reviewed and commented upon. Writers are the lifeblood of theatre, and it's wonderful to see them (us) given so much weight.

That being said (and inspiried a bit by Superfluities), I'd like to turn the subject to reviewing direction. In my reviews for nytheatre.com, I find this is one of the most difficult aspects of watching theater to elaborate upon. Unless you're reviewing a well-known director with a distinctive style (Peter Brook, Robert Wilson), it can be hard to know how much of what you're watching can be credited to the success and failure of direction.

For example, in watching a new play that presents relatively conventional themes (let's say a relationship play about dating) how much of what is working can be attributed to direction as opposed to successful writing or solid performances. Because we're often watching relatively unknown talent, it can be hard to say whether or not the director is getting performances out of actors that would otherwise flounder, or if the script is being raised above its potential on the page, or if the direction is just putting band aids on dramaturgical broken legs. It takes a leap of imagination and some educated guessing, often, to see where the direction is apparent, where it's invisibly working magic, or where it is falling apart.

Sometimes failures of direction are obvious: everyone is clumped upstage, the actors all seem to be in different plays, there's too much shouting or too little sound, etc. Things that leap out.

But what if a scene is working wonderfully, and the scene is relatively simple? It's easy to say that the actors made the scene work, but not being the rehearsal room, who is to say that every thing happening on the stage wasn't the result of a truly gifted director making the actors and the play work at their highest level?

There are exceptions to this: often when seeing a play with a long shelf-life the direction is obvious. Watch any Shakespeare play and the director is the true star of the show. How is the play cast? What version of the text are they using? What interpretations are we seeing of these classic themes?

But with a new play, interesting ideas can be failed by lack of imagination, and simplistic ones can be improved upon by creative staging.

As a director myself, I've added and subtracted in small ways to plays I've been a part of, in order to iron out edges or create a sense of urgency on the stage that might not have been natural on the page. At times, directing my own work, I've encouraged intreprations of characters that might not be readily apparent by simply reading the text. The results were partially my work, and the results rarely wind up reviewed as such.

I'd love to hear what directors out there think of their experiences with reviews, of how much of their work appears on the stage. I'd also like to hear from anyone who has written a review and felt stymied as to how the director has factored into what they have seen.