OFF THE WALL

Okay, I've been good--well, relatively good--lately, writing versus animating everything. But I thought I would share this one, the most recent. No(h) Japanese prints were harmed in the making of this film, PRISONERS OF A BROOKLYN BATH(ROOM).






COMING UN-INGED

I don't care who or what is in vogue or popular. I've always loved William Inge because he deals with what I feel is a natural theatrical topic, as well as a difficult subject to explore--human longing. While Arthur Miller examines our moral sense and its collisions with justice, and Williams examines our survival in a brutal world, and Albee our, well, our defense mechanisms in a hostile society, Inge (who at one time was mentioned with equal reverence) was the prosaic poet of our dreams, desires and disappointments. In plays like PICNIC and COME BACK, LITTLE SHEBA, his characters want to follow their hearts but are perhaps too frightened of their own feelings to act upon their passions--rather like the majority of us. If current audiences are too "hip" to find such ordinary frustrations and inaction off-putting, I would counter that perhaps Inge's emotionalism cuts embarrassingly close to the bone. His work straddles a fine line of comedy and pathos, but is rarely slick, sardonic or biting--which is what many more audiences seem to trust today. (Tracy Letts seems to combine both successfully in AUGUST: OSAGE COUNTY.) But to really find what motivates us or what holds us back, those small private fears that loom large in our own inner lives, Inge achieves achingly lovely and painful theatrical moments. In some aspects, he is our American Chekhov. And like Chekhov, he is hard to do well.

That said, you may wish to check out BUS STOP, one of his classics, now being performed by Brooklyn's Gallery Players through March 29th. If not the ultimate production, it nonetheless is a loving exploration of ordinary folks, road travellers stuck at a diner until a blizzard lets up and they can move on to their ultimate destination. (Like Chekhov, you have arrivals and departures and the folks that stay behind as the stuff of all drama.) It is not a searing, dark night of the soul--rather, it is regular people trying their damnedest to get through a long and somewhat awkward night together. The piece is probably best known as the film vehicle for Marilyn Monroe in the 50s, but while that film narrowed the focus to only one of the principal threads (and probably couldn't spend too much time on the alcoholic professor interested in underage girls, given the Eisenhower era), the play has many more layers, subtextures and currents. New York City only gets views of Inge once in a blue moon, given what's popular, so you may wish to take advantage of this opportunity to see some authentic American theater literature done with warmth and affection.

BUS STOP by William Inge, directed by Heather Siobhan Curran, now playing at The Gallery Players, 199 14th Street, Brooklyn, btwn. 4th & 5th Avenue (R train to 9th Street; F train to 4th Avenue), Thursdays-Sundays through March 29th. Tickets $18. Thurs, Fri & Sat Eves at 8 pm, Sat at 2, Sun at 3. www.galleryplayers.com for more information and ticket reservations. (Above: Pictured (l to r): Brad Lewandowski, Shawn Parsons, and Alisha Spielmann in The Gallery Players’ production of Bus Stop by William Inge. Photo by Bella Muccari.)

CONVERSATIONS ON RUSSIAN LITERATURE

As I've written before, being a blogger does not come with the same responsibilities as being a reviewer--one doesn't have to cover everything, and one is entitled to promote one's own or one's friends' projects. (Although I think it's important to disclose the context of your "review," just to let the reader know what they're reading.) Of course, you don't get free tickets as part of the job when you do it for your own blog. And if you don't like a production, you can simply keep your mouth shut.

That said, I am writing today about the final weekend of CONVERSATIONS ON RUSSIAN LITERATURE AND THREE OTHER PLAYS, an evening by my friend, David Johnston. Blue Coyote has been his home for a few years now, always giving solid and often gifted support. This production is no exception, an evening that ranges from entertaining to breathtaking. Johnston's writing ranges from wittily sophisticated to disturbingly thought-provoking. PLAY RUSSIA is a giddy poke at Chekhov, sending up almost all of the major works while enjoying the discomfiture of pronouncing long, tongue-herniating names and surnames. FOR THOSE OF US WHO HAVE LIVED IN FRANCE is comprised of three intertwining monologues by three unlikely stagemates: Mary Queen of Scots, Henry Kissinger and a Virginia housewife, all of whom are letter writing, to be able to visit France. MOTHRA IS WAITING is the backstage tale of a sister act that appears to be heading for a breakup. All three display sharp, witty lines and afterimages that will grab you, along with some splendid performances (David Lapkin makes a particularly amusing Kissinger, and Tracy Gilbert is quite touching as she waits to be rescued by her giant hero).

But the second act is the play, CONVERSATIONS ON RUSSIAN LITERATURE, which is not only more than worth the price of admission but is one of the most satisfying plays to be seen in New York at this time. The setting, a vodka-soaked summer evening in a Russian park, plays host to what appears at first to be a discussion about beloved books between an American woman and an older Russian gentlemen. The fact that we are actually watching a very delicate negotiation between representatives of two powerful nations is only gradually revealed as the intellectual dance progresses through a minefield of personal, political and artistic beliefs. Director Gary Shrader has given a stunning production to Johnston's brilliant words, and the performances of Jonna McElrath as the American and Frank Anderson as the Russian are full-bodied and superbly shaded. This is a totally absorbing forty minutes of theater that will make you question governments and how much the personal competes with the professional, with "we the people" the beneficiaries (or victims) of the results. This is a production that deserves a much longer run.

“Conversations on Russian Literature Plus Three More Plays” continues through March 7 at Access Theater, 380 Broadway, at White Street, TriBeCa; (212) 868-4444.

SEARCHING FOR INTELLIGENT CONSERVATIVES

I miss William F. Buckley. George Will can't carry the mantle alone, although he does so admirably.

I am a liberal or a moderate-to-liberal. But I enjoy a well-expressed point of view and feel we all learn from and grow from good, considered discussion.

I am so tired of Rush Limbaugh stomping his feet and whining like the big fat idiot baby that he is, throwing tantrums and tirades. To oppose socialism and to fear we're going in the wrong direction is one thing. But to say he hopes the stimulus plan fails and encouraging others to cause its failure is to encourage the failure of the country. He was the first to say we must support our leaders no matter what when HIS candidates are in office, but clearly, he just wants to be right, to have his own way. Well, where's YOUR patriotism now? And how disappointing that the leader of the Republican party, Michael Steele, who wisely chastised bad and self-serving behavior, recanted because he's afraid of a bully. Rush is entitled to his opinion, naturally, but that doesn't make his behavior off-limits for criticism.

And as for the lovely Ann Coulter . . . what a shame such a steel-trap of a mind is so mired in hate-mongering. She has a great brain for facts and figures, but so twists and distorts things to feed her own ego. She mistakes negative attention for positive reinforcement.

These are people who would rather be right than have things better. Or rather, THEY are doing well, so the hell with anything that would make life better for the rest of us--we got ours, so therefore something is wrong with all of you. In a most brutish way, they've gone extreme Darwin on us (and even Darwin wasn't recommending survival of the fittest as an excuse for selfish extremism.)

There are liberals as well who favor less government--but who also favor fair chances for all, who favor a generosity that the religious right gives lip service to but does not support with their actions.

On the other hand, the late great Buckley, and those who follow in his wake, would propose alternatives and would enter into the discussion with respect and intelligence, recognizing a need to solve problems over a need to be right.

In this day and age, pundits need to get over their egos--something else that grew overinflated over the past 8-10 years!

GARGOYLES

As if you thought there'd be no animations today . . . !

At the Norman Rockwell Museum in Stockbridge, MA, you can see the original paintings which, in the flesh, reveal a far greater skill and artistry than the magazine cover reproductions that graced the many Saturday Evening Post covers over the years. His fame is well-deserved.

But on our visit one summer, we saw the wonderful, whimsical work of his son out in the gardens and walkways of the museum, terrific gargoyle creations that seemed like they could talk to you.

And now, one of them is . . . enjoy!

VIRGINIA

Moving into a more complex phase (I fear . . . )

Once public television and cable have ransacked all unknown, misunderstood artists and geniuses for their in depth documentaries, what will be left?

GETTING ANIMATED

Yes, yes, I know. It must be a phase I'm going through. I'm obsessed with my experiments in short animations. They're quick "doodles," if you will, inspired by some of my favorite things--antique photos, toby mugs, drawings and illustrations. I seem to be driven to explore new ways of story telling--new for me, at any rate.

Below are two more new ones. And then I will TRY to stop for a while--and maybe work on a longer work of more overall heft.

Enjoy.

Family Portrait




The Competition

Some commerical promotions . . . and a rant! Hope you're not sorry you visited!

TALKING DOGS

Chloe wants her chance in the spotlight--especially for a good cause.




AN ENDORSEMENT FROM MY PUBLISHER

Okay, okay, he has a vested interest, but Ernest Silliman has decided to help promote EDDIE HAS ALLERGIES. Here's HIS commercial.





SOMEONES GOT TO KNOW HOW TO PAY TAXES

Many thanks to President Obama for being a straight shooter and saying, hey, yeah, I screwed up on some of these appointments. It continues to show that he's "real people," one of us, and it helps earn our trust.

But WHY are all these appointees needing to apologize for tax evasion? (Or "mistakes," as they so sheepishly put it?) They're up for posts as the country's experts. They are not just average Joes. (Or Joe the Plumber, for that matter.) It is true that few of us can know, comprehend and negotiate all the complicated tax codes. But surely Tom Daschle, former Senate Majority Leader, should know--or has a staff that knows the ins-and-outs? (And maybe he does!) Don't they have access to some of the best tax minds? And our new Secretary of Treasury, Timothy Geitner, former head of the New York Federal Reserve, should certainly have a handle on it! Once again, this is a sign of just how long power has provided loopholes. It's a symptom of the exact same malaise afflicting the executives who continue to want all the perks of their position while their company is begging for bailouts. Accountability, people! The word "bonus" was supposed to mean something extra, a special one-time gift for a job well done--not a guaranteed part of a salary regardless of whether or not you've run your company into the ground.

FRIENDSHIP

Sometimes, to reflect on the nature of friendship and how we connect, we have to go back a ways . . .

JOBS AREN'T EASY FOR OLD MUGS

With things the way they are in the present economy, it's not easy for ANY of us to find work--but the older you are, the more problematic it is, particularly in the arts. Witness this somewhat comedic attempt . . .

Striving to Stay on Top of It All

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RANDOM THINKING

Tomorrow will indeed be an amazing day. A start of what will hopefully be a new age.

There are no guarantees for the future, of course--no one person could meet the expectations being placed at the President-elect's doorstep. But the difference, the change in not only personnel but character, is clearly a step in the right direction. The need for a different way of thinking--one that reflects ALL of the American people--is long overdue.

The greatest support for this optimism lay in Obama's cabinet choices, in his careful and precise planning for the economy even prior to taking office, AND for his ability to remain an active dad and husband while dealing with a Herculean amount of pressure. All bodes well.

No matter what faith you hold, say a prayer for our future leader--that a practical, 21st century approach can perhaps dig us out of the mire and into the light.

VICTORIA CLARK

Those who know the work of Victoria Clark--or think they do from her Tony-winning turn as Margaret Johnson the southern mother abroad in LIGHT IN THE PIAZZA, or one of her other wonderful acting turns on Broadway--will still be amazed and startled by the fresh breeze on her album, FIFTEEN SECONDS OF GRACE, a splendid mix of songs familiar and less so. The voice is lovely, of course, but the interpretations are so inviting. For one who lately has played matrons and strong-willed ladies, it is a delight to find this is a voice of quick-silver, intelligence and delicacy. Under the superb musical direction of Ted Sperling, this album is one luminous discovery after another, with a wonderful sense of intimacy. Each number is a work of art, but to single one out, take a listen to BEFORE THE PARADE PASSES BY, that stalwart anthem to life from HELLO, DOLLY! Deftly defying expectations (in part thanks to a really splendid arrangement), a steamroller anthem to survive has been reborn as the tale of someone who is genuinely thrilled to re-discover life's adventure. By concentrating not on overcoming the past (as in usual interpretations) but rather on the promise of the future, the song takes on a glistening beauty previously overlooked. It is that delightfully inventive perspective that Clark brings to every note on the album. This is not a show-singer disc--it is an artist giving you a truly one-person exhibit, with something special around every corner. (PS Classics)

HAPPY HOLIDAYS!

After a month-long siege of sinus problems, colds, holidays, deadlines & whatnot, I'm finally feeling (semi) normal enough to post!

Many random thoughts and topics . . . here are both philosophical moments and more earth-bound reflections . . .


ROAD SHOW
From the realm of the more concrete . . . it has taken years for WISE GUYS to become BOUNCE and finally ROAD SHOW, the new Stephen Sondheim-John Weidman musical currently playing at NYC's Public Theatre. It has been through numerous casts (Victor Garber-Nathan Lane, Howard McGillin-Richard Kind) and numerous directors (Sam Mendes, Hal Prince) before arriving in its current 105-minute off-Broadway version, featuring splendid performances from Michael Cerveris and Alexander Gemignani under the direction and design of the ubiquitous John Doyle (SWEENEY TODD, COMPANY, A CATERED AFFAIR). While some have expressed disappointment at this first new NY Sondheim since PASSION being, well, small . . . I can only counter--why is one of our greatest musical theater artists not allowed to sketch, to meditate, to do smaller, ideological pieces? ROAD SHOW ultimately is about how hype has overtaken the American dream--if you APPEAR to work hard and do the biggest and the best, then the world is your oyster (until reality crashes in). Certainly in the time of Bernard Madoff and bailouts and gold parachutes gone horribly awry, it is a timely piece (even though its creation started almost 20 years ago). Wilson and Addison Mizner (pronounced M'eye-z-ner) were con men-cum-entrepreneurs who, in the early 20th century, made and lost fortunes, most notably in the Florida real estate boom and bust (the first time round of a seemingly unending cycle). Addison, the sensitive gay younger brother, became a talented and creative architect who designed some of the homes still extant in Miami Beach but who also, under his huckster brother's influence, wasted his talents, with the ultimate initial plan for Boca Raton becoming just an over-hyped memory. (Obviously, Boca Raton DID become, well, Boca Raton, despite its name literally translating to "mouth of the rat.") Wilson, was more into spinning and promoting, everything from boxers to Broadway, along the way becoming a coke-snorting wastrel while charming a wide-swath of marks out of millions. Actually, Wilson's behavior is not all that different from many of the financiers begging Congress for blank checks today. And certainly the American Dream has always represented a hard work ethic, but remember that at least half of it was still "the Dream." Yes, America has always championed hard workers publicly but secretly idolized the get-rich-quick adventurers. (in ROAD SHOW, Mama Mizner on her deathbed rhapsodizes about her rapscallion adventurer son, while the good boy stays behind to hold her hand.) This is not a highly-plotted, conflicted drama--rather, it is a meditation on how America buys and sells and the human cost that grinds up everyone in the machine. Just as Japan was really the central character in their PACIFIC OVERTURES, it is American society and its economy that is the central character here. Not the stuff of most people's musical comedies, and this one IS more dark comedy than drama.

But why can't one of the most revered talents do an essay piece, as it were? And why not off-Broadway, a perfect setting for this piece? John Doyle's "box set" is appropriate--actually, they're crates and file cabinets that look rustic and become many locations effectively against the brick backdrop of the theater. (It still can't be cheap--how many desk drawers do you know that can withstand the standing and sitting weights of large men?) Ann Hould-Ward, a veteran of other Sondheim musicals, does wonderfully evocative costumes with her signature patterning that gradually etches its way into your cognition, and trusty orchestrator Jonathan Tunick has done his signature job of providing an evocative sound for a small ensemble under the direction of Mary-Mitchell Campbell ( Doyle's frequent collaborator in musical crime). It is not the most soaring of Sondheim's scores, but when your range and talent is that vast, any exploration is miles ahead of everyone else's. ROAD SHOW ultimately is more compelling as a story and think piece than it is for its musicality. Michael Cerveris, of course, has become the leading Sondheim interpreter, able to catch the brilliant and chiling dark edge in everything from PASSION to SWEENEY TODD to ASSASSINS, and he does not disappoint as the charming bad-penny Wilson. But Alexander Gemignani is extraordinary as Addison, the Mama's boy who, in turns, tries to become his own man while succumbing to the insistent Wilson's nefarious ways. His gay love affair with his patron. wealthy would-be artist Hollis Bessemer (an appealing Claybourne Elder), is all the more tragic for its duality of deception and genuine tenderness. Fine support is provided by a talented top-drawer ensemble, and one must mention the strong contributions of Alma Cuervo as Mama (playing a role Jane Powell played in the previous BOUNCE incarnation) and frequent Sondheim vet William Parry as the ghost of Papa. There is wit and wisdom in this tale, but rather than transport us, ROAD SHOW peels back a chapter in history that shows just where we were heading-- and just what it is in the American nature that we are sadly harvesting right now. ROAD SHOW is scheduled to close December 28th--but it is my hope that this show (with a lot to say) has a future around the country.

MAMET MAYHEM
How strange that in attempting to celebrate the talent and staying power of David Mamet, his gifts have also been rather punishing. (Ah, well, that's what we do to our talents--see Sondheim above). AMERICAN BUFFALO with the combined gifts of Robert Falls, John Leguizamo, Cedric the Entertainer and Haley Joel Osment didn't last a week in this financial climate. And now the acclaimed revival of SPEED-THE-PLOW will have to survive the departure of the mercurial Jeremy Piven. Piven's reputation is prickly to begin with (and his last NY stage adventure, Neil LaBute's FAT PIG, was also rife with rumors despite excellent reviews), so in some ways it is not surprising that he would depart ten weeks early--and as he is a talented and soulful gent, we do hope his health is restored and that he is not as gravely ill as was reported. The news that first gifted Norbert Leo Butz and then William Macy will succeed him for the rest of the run was indeed a sign of creative casting and loyalty from friends. One can only hope that the production will last to regain its footing and recoup at the box office.

THOUGHTS FROM THE FIELD
Well, 2008 will indeed be remembered as a rough one, historically and personally. Lows will of course include unemployment (especially my own), illnesses, a family member passing, fluctuating health, and periods of depression and frustration. Highs will include some artistic joys, love of friends and, well, loved ones, and at least a ray of hope in the form of a new regime finally coming in, perhaps a bit too late, in 2009.

I will not be sorry to see 2008 go, even as I try to learn whatever lessons I can. Sometimes, when a bubble bursts, all that's left is escaped air and some wet soap.

But in the spirit of the Great White (House) Hope, one has to pick oneself up and say we can do this. Things will get better. I have to believe that creative, determined, imaginative people will survive and grow stronger. Life isn't about a constant level of joy--it is about the striving for those moments that make it all worth while, and the lows come along with the highs. Sometimes, these extended spells make it seem like the abyss is right around the corner and, hell, maybe it is. We choose, not to be noble, but to survive, hopefully discovering our inner strengths and growing as we go.

May this holiday season find you healthy and whole. May the new year bring you peace--and a new honesty, a new admiration, a new strength and a reaffirmation of purpose.

PUSHING DAISIES IS . . . PUSHING DAISIES?

ABC has to do something about its split personality. Their development department often rises above the usual mundane, feed-em-a-fish banality to create fresh programming ideas. MEN IN TREES, for example, was somewhat literate and extremely well-acted and produced. Gone, gone, gone--after ABC's scheduling and promotion department deflated the show into oblivion. (Even if you were a fan and looking for scheduled episodes, it was always a hard show to find.)

And now ABC is making the exact same blunder. Twice. ELI STONE, one of the smarter, kinder and more intelligent pieces of television will be gone--no order past this season's 13 episodes. But worst of all, PUSHING DAISIES, the Emmy-lauded, inventive series will be no more. (I choose not to put DIRTY SEXY MONEY in the same category--despite Peter Krause, Jill Clayburgh, Lucy Liu, Blair Underwood AND the great Donald Sutherland, it is a soap opera so vapid you can jump in and second-guess what you haven't seen. Few will lose sleep over its departure.)

PUSHING DAISIES, on the other hand, is a spectacular if strange little world, with a cast of endearing characters that made it a televison classic. Original, funny, fast-paced, beautifully acted and amazingly filmed and designed, it was something unique and special. It's absence will be truly felt among its dedicated followers.

(I might add that it has more people watching it than MAD MEN, which is the most celebrated show of the year and no one is cancelling THAT!)

As the networks lose more and more yearly to cable channels, streaming video and the DVD market, they sadly seem to learn less and less about the viewing public. Almost anyone in America could have told them that it was a mistake not to bring the show back last season for SOME kind of wrap-up episodes after the Writers' Strike. Waiting all that time without so much as a re-cap was a huge mistake. What about running the already shown episodes in summer to build new fans, show folks what they missed, and ramp up excitement for the season to come? Where was any kind of real fanfare or promotion to herald PD's return? Any kind of decent marketing buzz would've made sense. And then to continually break up the showing schedule--okay, they actually ran PD against Obama's infomercial, but then left it off the air for two weeks in a row. So the gains it made were soon squandered. They never tried it on another night, nor did they promote it on other major shows.

ABC's marketing department may not be as corrupt or obtuse as the heads of AIG or the Big 3 Automakers who still party hearty and fly private jets to beg Congress for bailouts. But clearly their heads are not atop their shoulders where they should be--and once again, we the viewers suffer for it. And again, they blame the viewers to justify their actions. We're going into a deep recession, people--can't we at least have the shows that lift our spirits with some positive and imaginative storylines?

One can only hope that one of the cable networks will be smart enough to pick PUSHING DAISIES up in some form so it can spread its magic unencumbered. (And then ABC can kick itself, as HBO undoubtedly is over passing on MAD MEN.)

Make your voice heard, viewers. Let ABC know just how ticked off you really are! And while you're at it, drop a line to USA, SciFi, FX, AMC--they're looking for viewers, you know, they just might take the hint. Maybe we should all just boycott Disney and see what the mother ship does . . .

A NEW PRESIDENT, A NEW DIRECTION

It is with enormous pride (and relief!) that we have reached the end of the election season (that lasted over two years).

President-elect Barack Obama. Our soon to be 44th President of the United States.

The fact that the issues led the day, not race, is a source of enormous pride for all of us.

The fact that there really is an undeniable change coming is heartening and uplifting at a time when despair threatened to overwhelm. This doesn't mean that happy days are here again or that all is solved--we are in tough, tough times, and amidst the joy and congratulations, you can't help but think, "That poor man! Why on EARTH would he want this job?!"

But there is something pretty remarkable about him, determined, unflappable, that one has to admire. He is smart and attentive. Thoughtful. Open. And while it may have been one of the most expensive campaigns ever waged, one feels that it was beautifully managed and that every penny spent was spent well and wisely. He handled the ups and downs of the campaign, the triumphs and the tragedies, with strength, dignity and grace, displaying all the leadership qualities we look for in a President. He got through this campaign with his soul in tact. This speaks well for our future.

And I know I'm not the first to remark on this, having been glued to the TV, but it seems Campaigner McCain was exorcised and the decent, if conservative, John McCain returned last night with a truly gracious, thoughtful concession speech. THAT was the man who should have run for President, not the "maverick".

Our President-elect is right--apparently, one can still hold onto their dreams and hope for the best. With hard work, they clearly can come true.

VOTE VOTE VOTE

Can I make it any clearer? VOTE!

Do not assume others will do your duty for you--you've maybe done that before and look where it got us!

Do not assume your voice doesn't matter--sometimes it's come down to a relative handful of votes!

Most importantly, you owe yourself a voice. No matter who wins, you need to reconcile yourself with your own needs, your own doubt, your own choices, your own voice. How you will proceed starts from that moment of definition. No one else need know how you voted, true--but YOU WILL KNOW FOR THE REST OF YOUR LIFE! So what you are doing is making a choice, a decision, defining yourself. Do it for you!

DO NOT TRUST POLLS! They've been wrong before, they'll be wrong again.

VOTE VOTE VOTE!

(And may the best candidate win!)

MONSTERS UNDER THE BED AND ELSEWHERE

That sterling organization, Playwrights for Pets, will be presenting an evening of short new works as a fund-raiser for Animal Haven on Tuesday, October 28th at 7:30 pm. Three one-acts under the heading, MONSTERS, will hopefully scare up some funds for all the deserving dogs and cats who need a home and bring folks over to check out Animal Haven SoHo at 251 Centre Street, a beautiful facility not only for pet adoption but for training classes, pet supplies and products, etc. Plays for the evening are by Bill Dudley, Stacey Lane and Zeus Moran, which will be read by Erin Cronican, Dena Douglass, Laura Gillis, David Lapkin, Jonna McElrath and John Moss. The requested donation is only $10, with wine or soft drink included, so what more could you ask for? To get there, take the 6 Train to Spring Street stop, N,Q,R,W to Prince Street stop, or B,D,F,V to Broadway/Lafayette stop. Animal Haven is located on Centre Street between Broome and Grand Streets, two blocks South of Spring Street. Reservations should be made by calling 718-768-4213 or e-mailing sue@playwrightsforpets.com. (Click here for a pdf flyer!)


MONSTERS ON NOV. 4TH

One week later, the REAL monsters come out from under the bed.

PLEASE VOTE!

While McCain was more, shall we say, "aggressive" at the final debate, he was also once again misleading. Joe the Plumber, as a small business owner would NOT be fined if he didn't use Obama's health plan, as he is a small business, and with a $3000 tax incentive for each new job he created, it is likely that any additional taxes Joe incurred would be offset. (Of course, it turns out that Joe wasn't a licensed plumber after all, so once again, the McCain team did not properly vet a person before using their name.) But the biggest error of the debate came when Obama said let's talk about issues, not hurt feelings--McCain didn't join him, change course and simply present his own plans. Rather, he went back to associations, name-calling and mudslinging. If McCain is such an agent of change, why didn't he welcome an opportunity to change and deal with what was important? Perhaps this is why, after so many years of being a "maverick" in DC he has not changed it from within--what makes anyone think he'll change it as President?

Finally, I would like to address the whole issue of "spreading the wealth." McCain said Obama's plans would be giving away people's hard-earned dollars when they should choose who to give it to, when and where. This, of course, is the Republican bottom line--keep the money with those who've garnered it versus giving government distribution rights. Senator McCain, the events of just the last few weeks have shown that things DON'T trickle down, that the approach you promote allows the greedy to hog it all for themselves, leading us ultimately to the pickle we're currently in. I'm not saying that people don't deserve to keep what they've honestly earned. But by setting up fair and even distribution, oversight is put into place and people (not just the wealthiest) are protected. It is the "every man for himself" attitude nurtured over the last eight years that has precipitated this crisis--more of the same will not get us out.

DEBATABLE?

I've shied away from the political scene for the last several weeks--after all, there have been so many willing to jump in to fill whatever possible void my opinion might have left!

But watching last night's debate, a summary of my thoughts crept in.

• When asked by moderator Tom Brokaw who might make a good Secretary of the Treasury to replace Paulson, John McCain mentioned Warren Buffett, whom he also identified as an Obama supporter. If one of the smartest investment and finance men in America, John, supports Obama, what does that say about you?


• When McCain tries to lump Obama in with the excesses of Fannie Mae and Freddie Mac, while his own campaign is staffed by former lobbyists from those institutions, it tends to backfire.


• When John McCain repeatedly talks about his skill in "reaching across the aisle" while constantly failing to engage or look his rival in the eye, one tends to feel he is merely talking the talk.


• John McCain continually talks about Obama planning to increase taxes, when in point of fact his main thrust is providing tax cuts to the middle class, shows McCain does not have a firm grasp on his opponents' campaign. (Of course, with a humongous looming deficit, one has to wonder how McCain would pay for all those inferior mortgage buybacks he so valiantly put forth?)


• The only person I ever want to hear describe themselves as a Maverick again is James Garner.

This is not to say that Sen. Obama is flawless--I have been waiting for months and months to know more about his plans. While I know I DON'T like Sen. McCain's healthcare plane (which would tax you on any health insurance benefits given by your employer, along with sending you to another state and costing you more by limiting availability of specific services), I at least feel I really know what it is. Yet Obama is clearly concerned about education and the future of our young people, something McCain never seems to mention. And you can't have it both ways--either you have years and years of experience--which DOES make you an insider, John--or your an outsider reformer, which comes from a detachment that you really don't have, having voted your party's line on most crucial issues.

Finally, let's separate McCain from the Bush administration for a moment. While I agree that it is as foolish to bring up the Keating Five as it is to bring up Obama's association (at age 8?) with the Weatherman, one does have to look at McCain as someone who, all on his own, has screamed for deregulation repeatedly for generations. Now he's saying there needs to be accountability, even when he took away the watchdogs. If you take away the blame game from the Oval Office, the removal of proper oversight falls squarely on shoulders like those of Sen. McCain, making him directly culpable for the excesses that have brought about the current financial mess. (When he and Sarah Palin go on and on about cleaning up the town, I keep wanting to ask, "You and who else?" Is Sarah Palin going to have her little girl staying up all night going over corporate travel and expense accounts for homework? No one would argue that smaller government would be nice, but it doesn't happen by magic, and oversight requires people to do their jobs, preferably with some seriousness.)

John McCain does NOT mark a change, but more of the same--and we see where that's gotten us, don't we?

DARK COMEDY FOR DARK TIMES

For those who like their theater bracingly dark and with a little kick, I am happy to invite you to come see the latest collaboration between myself (as a director) and one of my favorite playwrights, Edward Musto. (In the past year, Edward and I have done MASS. MURDER, COMMENCEMENT and a staged reading of his play, GENEVIEVE--after having known each other's work for over 25 years!) The show runs about an hour and should be a good piece of theater, so please check it out. The information is as follows:

4-D Productions presents
EVILUTION

Three Dark Comedies by

Edward Musto

directed by

Judd Silverman

From stories by Richard Matheson, Michael Knight and Frederick Waterman

with

James Arden, Alison Crane, William Franke*, Emily Edwards, Chelsea Holland, D. H. Johnson, David Lapkin*

*member AEA, An Equity Approved Showcase

costumes by Catherine Fisher

stage managed by Nate Brauner

FIVE PERFORMANCES ONLY!

Oct. 2-5, 2008, Thurs-Sat Eves 8 pm, Sat & Sun Mats 2 pm

All Tickets $18 - Reservations through

TheaterMania at http://www.blogger.com/www.theatermania.com or by calling (212) 352-3101

78th Street Theatre Lab, 236 West 78th St., top floor theater, 78th & Broadway

EVILUTION:

Three dark comedies from the author of An Evening of Murder and the Like, an Edgar Allan Poe Award nominee as Best Play. An upper-class couple watches as the rest of humanity drowns itself in Lemmings. Criminality makes strange bedfellows in Smash and Grab when a burglar is caught in the act by a pretty college coed. And in Best Man Wins a chef cooks up something special for a close friend who's become too close to his wife. Based on stories by Richard Matheson, Michael Knight and Frederick Waterman.

Click here for a pdf flyer you can’t print at home!

Hope you can join us!

FREE READING IN NYC AT URBAN STAGES

As part of my continuing artistic partnership with my good friend and fellow writer, Edward Musto, I am happy to let you all know about two upcoming events. One, an evening of three dark-and-humorous plays under the title, EVILUTION, is opening October 2nd (and playing, in a full production, through the 5th at the 78th Street Theatre Lab). More on that to come shortly.

But THIS Monday, September 22nd, you are cordially invited to a FREE READING at Urban Stages at 6pm of Ed's full-length play, GENEVIEVE. Based on the events of a true story during the student revolts of Paris in 1968, it is the story of a radical teacher accused of seducing and bedding one of her young students. A wonderful cast has been assembled, and there will be free wine and a discussion post-show. This is definitely an evening worth checking out. Below are the details:

GENEVIEVE

by Edward Musto

Directed by Judd Silverman

Monday, September 22, 2008, 6 pm, Urban Stages at

259 West 30^th Street (btwn 7^th & 8^th Avenues)

No Reservations Required

featuring

James Arden, Alden Ford, Brian Fuqua*, Elizabeth Gee, Nell Gwynn*, John Moss*,
Barry Steely, and Annie Pesch

*AEA member

From the Urban Stages website:

GENEVIEVE is inspired by a true story, the Gabrielle Russier ordeal, which shook France in the late 1960’s. At the time of the student riots in Paris, a 30 year-old schoolteacher, here named Genevieve Duvall, stands trial for “corrupting a minor”. As Genevieve gives testimony, the action in the court room freezes and she relives the moments in which law and justice are at odds with one another. The play was a finalist in two national playwriting competitions.

“Urban Stages is proud to celebrate its 25th Anniversary – And we want YOU to join the party! Join us for a celebration of our continued commitment to new work at our FREE New Play Reading Series on Monday nights in September. Wine and refreshments will be provided.”

For more information, go to www.urbanstages.org/new/merc.asp

RUSH LIMBAUGH REALLY IS A BIG FAT IDIOT

Al Franken was right--but it feels so good to say it again!

Today's reaffirmation comes on the heels of Mr. Limbaugh's trumpeting how the Republicans got it so right with their "maverick" choice of Alaska's Governor, Sarah Palin, as the Vice Presidential nominee for the Republican Party. "We've got the babe!" was Mr. Limbaugh's astute judgment . . .

Okay, before I go any further, I know next to nothing about Gov. Palin, so congrats to you, Governor, on making a national ticket, and good luck in the challenges that face you. And watch out for stupid men like Rush Limbaugh.

He STILL doesn't get it. One didn't root for Hillary because she was a woman but because she was a good candidate and a talented and brave leader who happened to be a woman and had to fight the prejudices for acceptance from guys like Limbaugh and sexists even within her own party. One rooted for her, in part, because she was a woman, but not BECAUSE she was a woman.

And now, the incredibly cynical Republicans appear to have picked Gov. Palin BECAUSE she is a woman first, not because of her qualifications. Barely two years as a first-term Governor do not qualify her for leader of the free world. And despite being a mom of five, with a Down's Syndrome baby--and hopefully she is a remarkable mother, as she may well be to have five kids and be able to run a State!--this is not whom you pick as back-up for a 72-year old man who's fought cancer four times. Yes, she's a gun-lover. Yes, she's anti-women's right to choose. That makes her maybe qualified to be a delegate to the Republican convention but hardly to be its leading lady!

You don't NOT pick a candidate because she's a woman. You also don't PICK a candidate because she's a woman. So far, Sarah Palin has a lot to prove to put her in the same class as Hillary Clinton.

And yet both women are preferable to Rush Limbaugh, who still needs to be smacked for dancing a premature victory dance because they have "a babe" on the ticket and that will suffice!

In the meantime, Happy 72nd birthday, Sen. McCain.

And congratulations on your nominations, Sens. Obama and Biden. Thanks to you and the Clintons, the Democratic Convention provided a very educational and moving week.

FINAL WEEKEND

In a shameless self-promoting plug, I am encouraging you to stop in to the Secret Theatre in Long Island City for the final weekend of COMEDY IN QUEENS, two alternating bills of comedic one-acts lovingly produced and performed with brio. I myself have two one-acts, one each program, that I'm happy with, but there's some really fun writing, directing and acting throughout. And if you're ready to laugh yourself silly, Saturday there will be a marathon starting at 5:30, with Program 1 AND Program 2 back-to-back (with snacks!) all for a bargain price of $20. (The usual price per program is $15.) Here's the info--c'mon, you know you could use a good laugh!

COMEDY IN QUEENS

The Comedic One Act Festival

presented by

The Queens Players

at the Secret Theatre, July 16-8/2
44-02 23rd, Long Island City, NYC 11101
phone: 718 392 0304 FOR INFO
Online reservations: www.theatermania.com

featuring

Two One Acts by Judd Lear Silverman:

CONQUERING THE FEAR

directed by Chris Jobin

with Adia Tucker and Ben Dziuba

and

ALL THE COMFORTS OF HOME

directed by Ken Hailey

with Brian Rush and Madeline Reed

Remaining Schedule:

Program 1 – 8/1 at 8 pm, 8/2 at 5:30 pm
Recurring

Conquering the Fear
Hamster Trance
One Night Stand
If You Are My Soulmate, Why Are You Such an Asshole?
Jump

Program 2 – 7/30, 7/31, 8/2 at 8pm

AquaSaga
Smash & Grab
All The Comforts Of Home
It's A Wonderful Play
Leaving
Death & Motor Vehicles

(Both plays perform the final day, 8/2, beginning at 5:30!)

Lots of great plays, lots of talented actors & directors, lots of fun!

The Secret Theatre and The Queens Players present a festival of original comedy one acts from emerging NYC writers, VE Kimberlain, Ira Sargent, Jack Karp, Edward Musto, Judd Silverman, Steven Wojtas, Susan Gross, Isaac Rathbone, J Snodgrass & Stefanie Zadravec.

The plays vary in subject from sex [which is always funny!] to meeting the Grim Reaper at the DMV to Rodent problems and relationships. Directed by an assortment of both Queens Players’ company directors to some honored outside guest Directors this show is a chance to come and see some great original comedy performed by over 32 different actors. On the final night on August 2^nd you have a chance to see all the plays back to back when we present both programs with program 1 starting at 5.30 and then program 2 at 8.30. A double ticket is only $20 and of course the closing night party will feature our famous and FREE! BBQ!!

Tickets $15 for one program or $20 for both.

Box office and info 718 392 0304.

Credit card and online tickets: www.secrettheatre.com or www.thequeensplayers.com

Tickets also available at: www.theatermania.com

info@secrettheatre.com

Directions:. Take the 7 to 45th/Courthouse or the E, V or G to 23rd/Ely.

The Secret Theatre is located between PS1 and Silvercup Studios and is two blocks from the Citibank Tower. Enter via green gates to the left of main entrance. Parking available.