Mystical Elegance

- my two word description
of the set for Anung’s First American Christmas.

Yes, I returned to the theatre last night. (Twice, actually. But two different theatres - more in a bit.)

Let me say that my prediction had been correct. The results of the work done are wonderful. (Not that it had been any great feat to predict as such!) Walking in, I beheld a complete dreamcatcher. Even the “web” portion has been colored to match the sinew of the real dreamtime tool. Every detail certainly counts toward the whole effect.

I painted this time - but all the “fun” parts had already been done. It’s best, anyway, to leave that to professionals like Laughter. But now, by my meager hand, the rest of the theatre floor is black, which sets off the…er…set. For the record, Laughter’s Cosmos is much more subtle than the photos I showed. He did have a plethora of pictures much the same, but it’s easy to see why he toned it down. Don’t get me wrong, there are plenty of shining stars and streaming wufts of color. Just not as prominent. And, of course, it works much better. All part of the elegance. The fabrics, too, have been fancified with hues. It’s marvelous.

I also saw my college prof, the one who wrote the show. (I suppose I should give him a name!) Very nice to see Sparrow again. We chatted about the show a little. Naturally, he asked about Peter Pan’s NeverWorld, too. Sparrow then showed Laughter and me the materials he’ll be using for the Installation. Vitalist Theatre is known for its elaborate ante-room presentations. And Sparrow goes to town on them, for they are his domain. Whether it be bits of literature, photos or actual pieces (in this case branches/trees, antlers, animal skulls, etc.) the decorative and informative display is a theatrical event all its own.

I also chanced to wander through the Green Room. Know what I saw? The puppets, masks and costumes! Wow! Bravo to everyone involved. The puppets are truly remarkable. They are adorable yet reverently realistic of the Animals they represent. I can’t wait to see them in motion. Exquisite work all around. And I’m too curious who wears what and when!

Mighty fine work. Oh, by the way, Laughter says the 40 foot silks are in fact 45 feet.

While Anung rehearsed, I attened The Ville, a series by Bare Boned Theatre. The brainchild of Dragonfly’s beau, Tall Boy (along with Sappho), The Ville is a madcap soap opera depicting the lives of gays and lesbians in Andersonville. Regrettably I have not been able to make every performance in the saga. (A new “episode” begins the first Monday of each month.) But I am quite glad to have seen this one, the musical season finale. Tall Boy wrote all the music and lyrics. He’s quite talented, skilled in not only varying the melodies and tone, but able to wittily convey the story through song. [You know, like an composer and lyricist should! ;) ] Bravo, Tall Boy! And bravo to Sappho and everyone else in the company. It’s quite the amusing show. And yet, for every purposeful over-the-top scenario is an undercut of poignancy and a deeper issue. It’s always a delight.

My first post about Anung's First American Christmas can be found here.

Rare Von Brownian Poetry

I rarely, if ever, write poetry.
I admire, perhaps even revere, the art.

It's just not my forte. Maybe it's the rigid structures that thwart me? [Yes, I know of "free form" poems - but I am even more in awe of the poets who achieve it.] Whatever the reason, to me poetry is the wonderful garden Alice sees through the keyhole, but I lack both the "Drink Me" potion and the key.


Though, I have taken a class or two. So my poetry does exist. But I'll be the first to tell you not to read it. Not out of humility, privacy or embarrassment. Because you'd be better off reading someone else's. My only real poetic flavors are in my prose.

However, I am going to share one with you. For this one is a little different. I wrote it for class. The assignment: Write a parody of a well-known poem. So, trying to give myself a challenge, I chose Edgar Allen Poe's The Raven.


The Wombat

Once upon a noontime sunny, while I laughed at jokes unfunny,
Told many a time and overly stupid, a hopeless bore.
Time I wasted, evening dawning, suddenly there came a fawning,
As of something yawning, yawning at my chamber door.
" 'Tis some moocher," I grumbled, "yawning at my own chamber door --
Only this and nothing more."

Let whatsoever it may be to wallow in its own misery
As long as I, content with pleasantries am up one on score.
And thus let the world turning, fellow humans in their yearning,
Listen now to an intriguing tale that proves most obscure.
I witnessed a creature not native here -- it was quite obscure.
'Twas a creature I adore.

A nocturnal marsupial which did not wonders for my morale
Stood there looking so much smarter than I can give credit for.
"If thou were not so cute and furry, there," I said, "might be some worry.
Princely small yet stately Wombat wandering from the Nightly shore --
Tell me what thy lordly name is on the Night's Edgarian shore!"
Quoth the Wombat, "Whate'er for?"

This I pondered while surprised that with an animal I compromised.
Though its answer little meaning -- little relevancy bore
Yet somehow had logic deeper than dreams of a profound sleeper.
Being soothed by its fine wisdom I began to long for more.
Even though 'twas of simple nature, I craved it all the more.
Quoth the Wombat, "Whate'er for?"

"Prophet !" said I, "knowledge golden! Now I know that mine life of olden
Does not cut mustard and all along has been some awful chore.
I should not care for just myself or stock my mem'ries on a shelf.
'Tis fruitless to care just for me or lament o'er dead Lenore.
I could spend my life grieving you for all my days -- but Lenore:
Quoth the Wombat, "Whate'er for?"

Thus my past no longer needing the Wombat and I started feeding.
On both corporeal and intellectual meals we soar.
With the past always fleeing, we are into future seeing.
Heed the Wombat's words and you'll regain happiness for sure.
Question all your current practices of which you are not sure.
Philosophy: "Whate'er for?"

Helping to Build a Dream

Just wanted to take a minute to put in an early plug for the new Vitalist Theatre show. Even though I haven’t even seen it, nor read it. But I can already get a sense of its grandeur . I’m posting this now because the next time I am able to visit the Theatre Building, much more will have been done with the set. For I know what is yet to be done. And it shall be nothing short of magical.

To give you some idea, center stage is a 14-foot dreamcatcher. Yes, you read that right. Laughter built a dreamcatcher that large. Even better, it spins 360° (Vertically…not circularly.) Plus, it can also swing pendulum-like. And be easily lifted and tilted to any desired angle. It’s amazing. It looks terrific, even without all of the “dressing” (wrapped fabric and a painting treatment around the ring) that will go on it.

I should explain that I do know the basic idea of the plot. I also saw Laughter’s model quite some time ago. But watching it come to fruition is causing anticipation to build, right along with the set. Last night while I helped secure platforms, they had a run-through of sorts of the projection elements. Lovely, ornate shadow work…and continuous! As in landscapes scrolling by and by and by and…birds flew in, the moon rose. Just wonderful. Then, the drummers thumped a bit. The sound moved right through the core of the space. A deep, resonant bellow. I thought how the drums would demand attention during a performance. Later, Laughter, one of his former students and I painted the floor - in phase one. Okay, technically I did not paint this time. My job had been to wield the water in a spritz-adjustable bottle. You see, the painting had also been done with spray bottles. The water helped diffuse the color and splatters of the mist. Why on Earth, you might ask? Well, because it is not on Earth! The floor will reflect the amazing colorful gases and nebulae and stars that comprise the Cosmos. It’s the Dreamtime.



Here are some examples of what I am talking about. These are actual photographs, people. Taken by the Hubble Telescope. Behold the mystical, magical glory of the Universe! No, these are not specifically the pictures being used in the show design. Laughter has dozens to inspire him. But it will give you some idea.

Perhaps from the poster (and the mention of a giant dreamcatcher and drums) you figured out this show deals with Native American legends and philosophies. The script is adapted from the novella by Carl Nordgren (as told to him by former Tribal Council Chief Steve Fobister (Baminowekapo) of the Keewatin Ojibway, Grassy Narrows First Nation, Canada). And who is writing it? No, not me. It's penned by the co-founder of Vitalist Theatre, my college mentor. Thus, the production has a special significance for me. He’s quite the poet, so the language of the play will be exquisite and beautiful.

This time Vitalist is pairing up with one of the members of Redmoon Theater, a company here in Chicago acclaimed for their masterful work using masks, physical performance, and an international range of puppetry style. I’ve seen some of the masks while at Knox for Homecoming. And I’m sure they will be further developed and even more spectacular and haunting.

The World Priemere of Anung’s First American Christmas, even in this stage of development, is damn impressive. The little white model is paling in comparison to the marvels that are taking shape. It just didn’t show the true scope of the vision.

I’m not sure how much more I will get to help out before it’s completed, as much of it will probably be accomplished over the weekend. Bart and I have previous engagements all weekend, so my time there might already be spent. I hope not. (But then, for their sake, I do hope they have a speedy completion.) Plus, this time I had the “thrill” of working on a Vitalist show at Knox! All the previous shows I saw the fruits of labor that came from the college which needed assembly here. But I spent some of my time at Homecoming making myself useful, such as grommeting the 40-foot silk curtains-strips as well as the fabrics on which the shadows will dance. But I do know that the next time I see it, I will be “w0w”ed even more. And I’m pretty damn excited to see this show as it is.

Information about the show can be found on the Vitalist Theatre website, here.

Look What P0Pped UP!

If you thought “Pop-Up Books” are for children, think again. A man named Robert Sabuda does the miraculous with folding and moving papers.
Just take a look. I mean, honestly. Talk about an art form!



As you can see, he makes pop-ups out of classic literature as well as other themes. Not only are they popping out at you…they do things! Such as the tornado that transports Dorothy. It spins as you open it up. You can see inside the houses. And wait until you experience the simple but ingenious way to make Alice fall down the rabbit hole. And that T-Rex? Yes, it will chomp. It's not limited to the main art, either. Every page has at least one smaller flap to open revealing complex pop-ups, too.

I highly recommend ANY of his books. They’ll astound you. How does one even begin to solve the folding and such to produce these giant 3-D images? You’ll find yourself trying to figure it out, only to be mesmerized and bamboozled. And what I've posted here is the proverbial tip of the iceberg. Immerse yourself in genius.

Well, folks, he’s now tackled J.M. Barrie’s eternal boy. Yes, Peter Pan is a Robert Sabuda Pop-Up. It’s just recently been released and needless to say, I’m excited to play with it. But alas, I do not have the time to obtain it just yet. For I will be assisting Laughter with the Vitalist Theatre show again tonight. The next two evenings are booked for Bart and me. But rest assured that I will track it down and fly with Peter Pan in an entirely new way. You can be sure I’ll post my thoughts when I do. Just imagine the crocodile! Good grief! :)

Thank you, Mr. Sabuda. BRAVO!

Not All is Forbidden

I’ve already expressed my feelings on remakes. You can find those posts here and here. I hope I made it clear that in some cases, a remake can be a good idea. One of those cases is happening. In fact, I’ve been waiting for this revamp for roughly twenty years.

Forbidden Planet, through no fault of its own, deserves an update. And as it stands, it’s an amazing piece of work. It’s rich in sets, acting, script and special effects. What they achieved is worthy of applause. Can you tell I liked it? If you have not seen it, I urge you to have a look. The 1956 movie is widely upheld as a classic.

Before I delve into why (and what) I am excited about seeing redone, let me tell you one of the reasons I liked the original. Forbidden Planet is based on William Shakespeare’s The Tempest. (Which happens to be my favorite of the Bard’s collection.) Substitute a planet for an island (that sounds familiar somehow), technology for magic (hmm, perhaps it influenced me more than I realized until now), a robot servant for a captive spirit and a horrendous monster for…well, a horrendous monster (of sorts.) It works quite well.

Now, as I said, the F/X in FP are terrific. But they are limited, of course, by the technology of the age. (Which is kind of funny, considering one of the points raised by the film.) Some of it is done via animation by Disney studio. Given today’s damn-near-real F/X (meaning a combination of advanced animatronics, blue/green screen, models and Computer Generated Imagery) the bar can be raised quite high. And the original had already reached the stars. So there’s one aspect that would benefit from a remake.

It seems to me the message of the film (though not exactly steeped in unique) is now more relevant than ever. Here we are realizing dreams of our Science Fiction stories. How far can we take it? How far should we? I don’t have an answer, but FP can provide a slap in the face of the potential triumphs and dangers once more. Especially with the strides we have made since the original.

I ‘d like to see a tad more “action” put into the movie. No, I am not talking about revamping it into some shoot-em-up-let’s-see-how-many-explosions-we-can-stuff-into-two-hours type of action. Not an overkill. It’s just that the story can be rather heady. Certainly not a bad thing. If it did not have this element it wouldn’t be a masterpiece. For I hope we all know that spectacle without substance is often a waste of time. But I also know that some people have complained of the “slow parts” of FP. Thus, a little pepper of more “action” will be welcome. It isn’t as if such scenes would need to be haphazardly thrown in just for the hell of it. There are plenty of places in the script to turn up the volume a little.

I also think Leslie Nielsen should return for the new version. But this time in the role of Dr. Edward Morbius. I certainly don’t suggest him in the sense of his delightful “ridiculum” he is now known for in such works as Police Squad!/Naked Gun. He can be quite serious and dramatic. If you don’t believe me, watch his performance as Commander J. J. Adams in FP. I’m a believer in using actors from the original to be in remakes, provided that the remake is “good” and the re-casting seems appropriate. I can see Nielsen as the courteous but foreboding Morbius. I feel he would do justice to Walter Pidgeon's compelling character.

The real question, of course, is the design of Robby the Robot. To keep or not to keep? On one hand, he’s truly iconic and should not be tampered with out of respect. On the other, his goofy (said with admiration) appearance might not fit the repackaging of the movie. I’m just not sure about it. [I do know that in the remake of The Day the Earth Stood Still (regardless of its merit or foibles) they tinkered with the famous sleek robot guardian Gort only to discover that he’s just not Gort without utilizing the original design. So now he looks just the same, only fine-tuned.] Let us hope there is a happy medium.

Lastly, and it should go without saying, they will need to keep the integrity, spirit and quality of the original. Not often achieved. But not impossible, either.

So there you have it… one of the few remakes to which I will nod in eager assent.
Unfortunately, we have to wait until 2010 to see the results. But after my double decade wait for it, it’s not so bad. Let’s hope we can say at least that much of the new movie.

The Lights Never Quite Came On...

If you're wondering why I didn't yet post my reaction and compare/contrast of the movie City of Ember to the book, The City of Ember, there is a good reason. I have not yet seen it. Cassidy and I wanted to go together on a weekend. But our schedules have not yet allowed us. Bart and I are to see her this coming Sunday, perhaps it will happen then. Perhaps. For my interest in seeing it has waned. From what I heard, the movie did not do so well. Plus, you might recall that Sunshine's students read it for class. They watched the film. Sunshine tells me they returned and asked her, "Did they read the book before they made the movie?" I probably would ask the same thing. For I can be rather fussy when it comes to adaptations as well. It's nice to know that the next generation is learning to be intolerant of sloppy work. To respect art. It's one thing to make allowances and changes to reflect a new medium. It's another to completely alter a work. And from what I have seen in commercials, the other complaints I have heard from Sunshine's students and the fizzling excitement I've read of what is supposed to be a "family movie," this is not one of the better conversions.

If I ever do see it, I'll post about it. But it seems as if I should let my vision of Ember come from Jeanne DuPrau's novel.

My other posts about it are here and here.

Update: Sunshine read the post and told me more. She said she is proud of her students for their disgust. She said, a really precocious girl told me with absolute horror in her voice that they added a MONSTER. "A MONSTER!!! There are no MONSTERS. They missed the point entirely."

Brava, precocious girl!

Don't let Hollywood stomp on literature by thinking they know better. It's the rare case when they do.

Where I Did My Business...

While back at college for Homecoming, I wandered around campus. I visited some of my favorite places, naturally. A lot has changed (even in the time since I'd last been there about three years ago). But for every new element is a “just the same.”

I took some pictures in the library. They are not the best quality, as I took them with my cell phone. It can produce great pictures on occasion. But I snapped them quickly, as I did not want to be “that guy” while current students studied around me.

Why did I chose these locations? Simple. They are the places I could usually be found doing my research on Sir J. M. Barrie. Although I may have made some notes for it in these places, I did not actually compose Peter Pan’s NeverWorld at them. But I’d immerse myself in the wonder, splendor, triumphs and tribulations of the man who brought us the Eternal Boy.

Lastly, I took a picture of my mentor’s (writing professor and Chairman of my Honors Committee) door. He’s away from the college right now, so I did not visit with him. But it matters little, for I see him rather frequently as it is -- he’s one of the founders of the Vitalist Theatre company. You might recall that I help them out with their productions here in Chicago. And I am always in attendance of the shows, more than once.

In fact, I’ll be going to assist my buddy Laughter with their latest later tonight. But more on the new Vitalist Show at another time.