Jeremy's Ramblings, Babblings, and Other Pretentious Bullshit.
Tuesday, June 22, 2004
Before I go into what I want to talk about, I want to talk about something else, if that makes any sense (I didn't get much sleep last night, so bare with me). I realized that I'm in a neverending quest for symbolism in my life. Tragic events/weird occurrences/random sights will later change from being a memory for me to recollect on to being a plot point that would be GREAT for this one character in this one play of mine. This morning, while I was driving to work - and listening to Matt Dillon narrate to me the tales of Sal Paradise and Dean Moriarty - I drove by Medieval Times, the themed restaurant (you saw it on "The Cable Guy"...or maybe you didn't). It was dark enough that the sign was lit up, but light enough that it didn't need to be. I looked at the sign and noted that the "die" in "Medieval" was not lit up. Now out of all of the parts of the sign to be burnt out (a sign that will be seen by a man with an overactive imagination, remember), did it have to be "die"? Maybe if I started living for the joy of living, and stopped living just to write good plays, then I'd be fine. Anyway...
Young Playwrights Festival Update: I saw week three last weekend, and it was the best of the weeks (and I predict the best week in the festival). This is the one week where I really liked (or even loved) all three of the shows. Lauren D. Yee's "The Love Cycle" was given a good production (with Dee Wallace Stone, the mom from "E.T."), and was based around a really cool idea (the same dialogue is played out by the same two characters, first as kids goofing off, second as teenagers in a romance, and the third as adults who have fallen apart).
Then there was Tessa Leigh Williams' "Last Stop Downtown", which is one of my favorites. In it, a violent confrontation on a subway is played and replayed, each time revealing more truths, until we realize that there is much more of a spiritual element to the confrontation than previously thought. The production was well done, although the confrontation did not build up its suspense in the most effective way (it was good, but it could have been better). I always imagine the show in my head, and get disappointed when it doesn't measure up.
However...one show that actually exceeded what I imagined was Kit Steinkellner's "Los Angeles Lullaby". It was a beautiful production of a beautiful script. Ms. Steinkellner has an interesting gift. While most writers have a great central idea that they don't know what to do with, Steinkellner takes familiar ideas and writes them with the class, ease and confidence of an old pro. Her characters, their relationships, the dialogue, and the smooth progression of her plots combine in such a way that every time I read or see one of her plays (this is her second time at the Festival), I stop analyzing the writing and just get drawn in to her world. I can't wait to see what she does when she starts getting into more complex, unpredictable plots. Like I said before, she's one to look for in the future. Also, the show benefited from subtle, confident directing by Warren Davis and a really awesome cast, headed by Constance Zimmer and Steven Gilborn.
And in closing, I had my first taste of a Caramel Frappucino today (I'm not a coffee person, but sometimes it's needed), and it was a little taste of heaven.
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