Hopefully you’ve been following the saga of Health Care Reform lately and the cavalcade of LIES being distributed by the Right: rumors of “death panels” for the elderly (thanks Sarah fucking Palin), health care for illegal immigrants, federal money for abortions, reform = a government “take-over” of health care, Obama is a Nazi, etc, etc.
What is truly amazing to me is the amount of morons who live in this country.
Really.
Unbelievably, according to a recent poll, over 50% of voters believe in these untrue, FOX TV-type lies, being fed to them by sleazy politicians (ie, Republicans) who are basically shills under the employ of the insurance companies who want to keep their monopoly. These same insurance companies make 35 cents for every dollar spent on health care.
Not even a CASINO makes that much money (because it's ILLEGAL).
And the people I see being organized to protest this reform are, ironically, the same people who would benefit the most from it. In a way, I almost hope they get what they deserve. I’m talking about brain dead, gullible, racist IDIOTS carrying assault weapons to town hall meetings and screaming at the top of their lungs about “socialized medicine”, and not understanding that both Social Security and Medicare ARE those things. On woman in a Dartmouth town hall meeting recently proclaimed, with a straight face, that the Obama Health plan was a "Nazi" plan, causing Barney Frank to seriously ask her: "What planet do you send most of your time on?"
All this on the heels of the incredibly insulting and wildly false “birther” movement, which proclaimed that Obama wasn’t born in this country, and is therefore not really the President.
It’s absolutely amazing and disgusting to me.
It is actually hard for me to believe that there are people out there who actually BELIEVE that these fantastical lies are TRUE, that there is such a person as “Joe the Plumber” Wurzelberger or Sarah Palin or Rush Limbaugh or Michelle Malkin or Bill O’Reilly.
It actually makes my head spin.
What is really frustrating to me is not knowing what to do, and not knowing how to be heard, or how to lend support and how to fight back against these loud-mouthed bullies.
The New York Times recently reported that those in support of Reform and the public option are not as out there and letting their voices be heard as much as these howling, nut-case, gun-toting buffoons.
It is really REALLY important for those who believe in health care and the public option to speak up and let our elected officials know that we care and are listening and understand and are involved in the reform bill and that we SUPPORT the President’s plan.
I will try my best to find out how to do that and leave that info here, but one helpful thing I DO know how to do is to visit www.moveon.org and read up on how to fight back against these lies being spread about health care and our President.
Thursday, August 20, 2009
Wednesday, August 19, 2009
Summer Daze
I think the people that I admire most in theatre are trying their best to make something beautiful and provocative and powerful (though not necessarily all at once). But I'm not a critic, in the sense that I'm biased, even if I don't think I am, or mean to be. I can't help it. Even critics are biased, btw, but the difference is they don't work in the theatre, they comment on what theatre people create. I can't really do that here, nor would I ever want to. It's so subjective anyway. All I would want to do is describe productions that Tommy and I went to, and let other people know about them too. So I guess I'm a Boston theatre booster, of sorts. I just like going to plays. They are, usually, WAY better than a movie (especially now a days: what a bunch of CRAP coming out of Hollywood right now!) And I think a great city needs great theatre, that it MAKES a city great. So I'm more interested in new plays, by Boston writers. By experimental productions that are created here. I'm not so much interested in warmed-over Off-Broadway hits from last year in NYC, though I understand why people would want to see those plays. I guess I want Boston to be Boston, and NYC to be NYC. I never liked the monopoly that NYC seems to have over theatre. If the only stories being told on the stage are from NYC, then where is our voice, where are OUR stories?
I also don't like the idea that only "real" actors live in NYC. It's an old idea. The NYC myth needs to be dismantled, I think. Audiences don't care if an actor comes from NYC anymore. Actually, I think they care more about whether the actor lives with them, in their neighborhood, and is telling a story that they share together. That there is a CONNECTION between this actor and the audience. It's called a COMPANY for a reason, and I am saddened more and more when I feel that this concept is being erased from our theatres. In this era of Twitter, and FaceBook and the internet and blogs (like this one), I think people really yearn and search for something stable and solid. I find it difficult to support a theatre that ignores the talent at its own doorstep, year after year, yet claims to be a part of our community.
I like to support theatres that recognize and hire and nurture local artists and actors and directors and designers. It's the only way Boston will make itself a theatre destination. Otherwise, we are just a repository for New York's sloppy seconds.
I also don't like the idea that only "real" actors live in NYC. It's an old idea. The NYC myth needs to be dismantled, I think. Audiences don't care if an actor comes from NYC anymore. Actually, I think they care more about whether the actor lives with them, in their neighborhood, and is telling a story that they share together. That there is a CONNECTION between this actor and the audience. It's called a COMPANY for a reason, and I am saddened more and more when I feel that this concept is being erased from our theatres. In this era of Twitter, and FaceBook and the internet and blogs (like this one), I think people really yearn and search for something stable and solid. I find it difficult to support a theatre that ignores the talent at its own doorstep, year after year, yet claims to be a part of our community.
I like to support theatres that recognize and hire and nurture local artists and actors and directors and designers. It's the only way Boston will make itself a theatre destination. Otherwise, we are just a repository for New York's sloppy seconds.
Wednesday, July 22, 2009
Wedding on the Eiffel Tower
Tommy and I finally had a chance to go see something at the Apollinaire Theatre Company in Chelsea last week: a really great trio of absurdist plays, culminating in Jean Cocteaus' "Wedding on the Eiffel Tower", which I have always wanted to see staged. It really was a fun evening, outside, under the Tobin Bridge. The cast was really great, with my old friend Margaret Anne Brady in the company. This is the last week to catch it, so go check it out, it's really terrific, and it's FREE! Here's all the info below:
Last week to catch Apollinaire's FREE bilingual theater in the park.
"Eiffel Tower is hilarious. It underscores what Apollinaire does best: airy ensemble pieces performed with energy and commitment."-Boston HeraldPerformances run through this Saturday July 25 at 7:30English on Wed. Thurs. & Sat.Spanish on Fri.
Mary O'Malley Park is located on the waterfront in Chelsea just past the Tobin Bridge. Click here for directions. In case of rain, call: (617) 887-2336. Information and directions at apollinairetheatre.com
Last week to catch Apollinaire's FREE bilingual theater in the park.
"Eiffel Tower is hilarious. It underscores what Apollinaire does best: airy ensemble pieces performed with energy and commitment."-Boston HeraldPerformances run through this Saturday July 25 at 7:30English on Wed. Thurs. & Sat.Spanish on Fri.
Mary O'Malley Park is located on the waterfront in Chelsea just past the Tobin Bridge. Click here for directions. In case of rain, call: (617) 887-2336. Information and directions at apollinairetheatre.com
Sunday, July 19, 2009
the critic speaks
So, I have to admit, I forgot about my blog. I just got busy lately: visiting my sis in North Carolina, teaching, writing, RE-writing, auditioning, going to Six Flags, writing, driving around Western Mass, eating fried clams, going to out door theatre. You know, summer stuff.
But I was reminded of Hambone recently when I received a response on FaceBook from Lance Norris, the critic/actor/figure from my South Shore past who reviewed our production of Much Ado (and basically tore it to shreds) on the website www.playshakespeare.com about a month or two ago. Apparently he stumbled on my humble little blog and mistook my post "Much Ado Two" (see back in June) as a call to retract his critical opinion (it wasn't, by the way).
Here is what he wrote to me:
""zaftig local character"? how dismissive. Although it was edited with ham hands, I stand by most of that review. I enjoyed the show but found all most all the doubled characters lacking and yes, your theatre is in a bad part of town. Although you claim to be bringing culture to the natives, I didn't see a whole lot of locals in the house the night I went.
Be well."
When I went to respond on FB, I found I had been "de-friended". Ouch. Oh well. But his message really forced me to articulate what I was trying to express in that earlier post, and I wanted to share it. Here it is:
"Hey Lance
I received your message via FB. I’m so sorry if you felt dismissed, that really wasn’t my intention. My blog is written for the few people that might have an interest in me and the work I’m doing, so I really didn’t think you would ever read it. I certainly wasn’t looking for a response or a retraction from you, as you seem to imply in your note: you have every right to your opinion. If I had been looking for such a thing, I would have written to you or the website directly. Why I wrote about it on my blog revolved around the interesting (to me, anyway) fact that I had known you growing up and also as another actor. I really didn’t mean “zaftig local character” to be an insult. If I had wanted to insult you I would have chosen different words. I consider myself a “local” actor, I’ve lived here all my life. It’s not a pejorative for me. “Zaftig” I always felt to be a rather endearing term for someone who is large – which I always felt you knew about yourself and informed who you are and was an acknowledged part of you. And as for “character”: well, that’s truly how I remember you, Lance. You were someone I knew from Cohasset and grew up with, and that I associate with that town. You knew me, you knew my sister, you probably had my father as a teacher in high school. You are someone who I would sooner expect to see at my father’s wake in Cohasset than on a web page, lacerating the company I helped to found. So what I was writing about, partially, on my blog was the interesting idea that an entire history (albeit a brief one – we were certainly never close friends) could be obliterated completely and a rather mean-spirited review would suddenly take its place. I find that to be a reflection and unfortunate symptom of our rather throw-away, shallow American culture, where relationships and histories and connections are rendered utterly meaningless. As if to prove my point, I notice that you “friended” me on FaceBook, and now, after my “dismissive” blog entry, have “de-friended” me with the click of your mouse and a rather chilly, impersonal note (which, again, is all good: we clearly were never close friends in the first place). It’s ironic that one of the things ASP tries to do, in our imperfect way, is to build and strengthen communities and neighborhoods, and meanwhile this other small personal connection just disintegrates indirectly thru ASP.
But anyway, that’s mostly why I was writing about it in my blog. I also, clearly, disagree with what I took to be a rather obsessive negativity concerning the neighborhood where we were performing (your title and first FOUR paragraphs talk of nothing else but danger, gunfire and certain death to anyone who might venture to Hiberian Hall, which, I suppose, isn’t surprising for someone who is used to living in a privileged, wealthy, safe town like Cohasset), and I was hoping to direct anyone reading my blog to other reviews/opinions and to encourage them to make the trek out to Roxbury. And yes, in response to your note: we did have trouble getting local residents to come. It’s our first time in that space, and it is always a problem we look to solve. But it is a worthy endeavor, I feel, and one that I’m committed to. The residents that DID manage to come enjoyed it (we ran for five weeks, so there were other performances for them to attend, besides yours). But all that is moot now, as the play is closed.
Be well, too. "
This notion of throw away relationships and erasing histories has got my brain twirling lately. So I'm quite grateful for that. Even if it cost me a FB "friend".
But I was reminded of Hambone recently when I received a response on FaceBook from Lance Norris, the critic/actor/figure from my South Shore past who reviewed our production of Much Ado (and basically tore it to shreds) on the website www.playshakespeare.com about a month or two ago. Apparently he stumbled on my humble little blog and mistook my post "Much Ado Two" (see back in June) as a call to retract his critical opinion (it wasn't, by the way).
Here is what he wrote to me:
""zaftig local character"? how dismissive. Although it was edited with ham hands, I stand by most of that review. I enjoyed the show but found all most all the doubled characters lacking and yes, your theatre is in a bad part of town. Although you claim to be bringing culture to the natives, I didn't see a whole lot of locals in the house the night I went.
Be well."
When I went to respond on FB, I found I had been "de-friended". Ouch. Oh well. But his message really forced me to articulate what I was trying to express in that earlier post, and I wanted to share it. Here it is:
"Hey Lance
I received your message via FB. I’m so sorry if you felt dismissed, that really wasn’t my intention. My blog is written for the few people that might have an interest in me and the work I’m doing, so I really didn’t think you would ever read it. I certainly wasn’t looking for a response or a retraction from you, as you seem to imply in your note: you have every right to your opinion. If I had been looking for such a thing, I would have written to you or the website directly. Why I wrote about it on my blog revolved around the interesting (to me, anyway) fact that I had known you growing up and also as another actor. I really didn’t mean “zaftig local character” to be an insult. If I had wanted to insult you I would have chosen different words. I consider myself a “local” actor, I’ve lived here all my life. It’s not a pejorative for me. “Zaftig” I always felt to be a rather endearing term for someone who is large – which I always felt you knew about yourself and informed who you are and was an acknowledged part of you. And as for “character”: well, that’s truly how I remember you, Lance. You were someone I knew from Cohasset and grew up with, and that I associate with that town. You knew me, you knew my sister, you probably had my father as a teacher in high school. You are someone who I would sooner expect to see at my father’s wake in Cohasset than on a web page, lacerating the company I helped to found. So what I was writing about, partially, on my blog was the interesting idea that an entire history (albeit a brief one – we were certainly never close friends) could be obliterated completely and a rather mean-spirited review would suddenly take its place. I find that to be a reflection and unfortunate symptom of our rather throw-away, shallow American culture, where relationships and histories and connections are rendered utterly meaningless. As if to prove my point, I notice that you “friended” me on FaceBook, and now, after my “dismissive” blog entry, have “de-friended” me with the click of your mouse and a rather chilly, impersonal note (which, again, is all good: we clearly were never close friends in the first place). It’s ironic that one of the things ASP tries to do, in our imperfect way, is to build and strengthen communities and neighborhoods, and meanwhile this other small personal connection just disintegrates indirectly thru ASP.
But anyway, that’s mostly why I was writing about it in my blog. I also, clearly, disagree with what I took to be a rather obsessive negativity concerning the neighborhood where we were performing (your title and first FOUR paragraphs talk of nothing else but danger, gunfire and certain death to anyone who might venture to Hiberian Hall, which, I suppose, isn’t surprising for someone who is used to living in a privileged, wealthy, safe town like Cohasset), and I was hoping to direct anyone reading my blog to other reviews/opinions and to encourage them to make the trek out to Roxbury. And yes, in response to your note: we did have trouble getting local residents to come. It’s our first time in that space, and it is always a problem we look to solve. But it is a worthy endeavor, I feel, and one that I’m committed to. The residents that DID manage to come enjoyed it (we ran for five weeks, so there were other performances for them to attend, besides yours). But all that is moot now, as the play is closed.
Be well, too. "
This notion of throw away relationships and erasing histories has got my brain twirling lately. So I'm quite grateful for that. Even if it cost me a FB "friend".
Tuesday, June 2, 2009
The Superheroine Monologues Return!!!!!
Just got the word today that the show I wrote with my friend Rick Park, The Superheroine Monologues, will be produced again in September at the Boston Center for the Arts, in the Plaza Theatre. Very excited to have another run! The show is a sort of riff on The Vagina Monologues, only with superheroines (and a couple villains...and a mortal, even!). It's a lot of fun. We had a run this Spring at the Boston Playwrights Theatre (where The Salt Girl will be performed) and the audiences really seemed to enjoy it. The director, Greg Maraio, also designed all the costumes, which are brilliant and the cast is gorgeous, sassy and kick ass!!!! I'll try to keep you posted!
Thursday, May 28, 2009
The Salt Girl
I had a reading of my new solo show at the Boston Playwrights Theatre last week, and now I'm busy with re-writes. I'm very excited about the play: it's the first solo show I've written in 10 years (!) It's called "The Salt Girl", and it's about this man who postpones his suicide so he can visit his estranged, unconscious father on his death bed.
And it's a comedy.
Sort of.
Really.
I swear.
David Gammons, who I worked with on the amazing "Titus Andronicus" (perhaps one of the best theatre experiences in my life), is the director and designer, with Jeff Adelberg on lights and Adam Stone doing sound/original music. Kate Snodgrass is producing. It's just a wonderful group of people, and a really great vibe. I feel very lucky.
We open November 5th, which seems a millions years away right now. I'll try to keep notes on how it's all progressing.
Romance
Saw "Romance" by David Mamet at the ART in Harvard Square last night. It was very VERY funny, a lovely, precise, hilarious cast (with T. as the prosecutor!). Will LeBow in particular was fantastic as the addled judge! God, he is funny in this play!
I was in a reading of Romance about a year ago, so I knew the play already. What was really entertaining (for me) was seeing all the comic flourishes this great group of actors added to the play: those hilarious, unscripted, funny moments.
Check it out if you have a chance. It closes next week. Here's the website: http://www.amrep.org/
I was in a reading of Romance about a year ago, so I knew the play already. What was really entertaining (for me) was seeing all the comic flourishes this great group of actors added to the play: those hilarious, unscripted, funny moments.
Check it out if you have a chance. It closes next week. Here's the website: http://www.amrep.org/
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