It is unfair, but once again I am the lucky one. These people are unique!
This Sunday, October 25 at 8:00 pm (ET) my play, The Grace of God & The Man Machine, will be performed in a Zoom/virtual public reading by director Van Dirk Fisher and the Riant Theatre. CLICK HERE to get tickets.
When the theaters open up, it will be presented live on an open stage with audiences seated to watch it, but for now this performance is an example of an industry‘s remarkable ability to maintain itself and continue to create.
In early March of this year, we had just finished a table reading of the latest draft when New York started to shut down because of the pandemic. Just two days ago, nine months into this, Kevin R. Free, the New York director who ran that reading, begged on Facebook for people to please wear masks as he described the devastation on the performing arts industry and its 12 million artists:
“This is personal to us, our whole livelihood depends on social solidarity and we will not be labeled ‘non-essentials.’”
Artists have always been essential. They are the counterpoint to propaganda.
Now in an American election year which will define who we are, the theaters are closed. But this industry defines itself like no other: “The show must go on.”
In these times, an amazing cast of professionals (several of whom have Broadway credentials and all of whom are brilliant) are the ones to uphold this responsibility under these very difficult situations.
Artists in all forms are examples of independent courage. I found the same grit and determination when I first started to learn about writing for theater in Baltimore at the Baltimore Playwrights Festival years ago. I have come to love these people and this world which these artists create even though I am forever new to it.
There is a tenacity and courage in every member which is profound. Repeatedly, as I have met and worked with Van Dirk Fisher and the Riant Theatre on this production, and with others like Christian De Gré Cardenas and Mind the Art Entertainment, Sue Conover Marinello, Katie Marinello, and Parker Bennett, I have learned grit and courage from them.
For this production on Sunday night, I benefit from this resilience and creativity. Since the beginning of the pandemic, Van has responded to this nightmare by developing the art of virtual backgrounds and performance skills for virtual reality theatrical productions.
Think about that. You get knocked down you get back up.
Please join me and watch these remarkable people offer a counterpoint to the propaganda of an election year.
Come if you can. And if you can’t, please donate to support the theater if possible.
I’m thrilled to share that a reading of my play, THE GRACE OF GOD & THE MAN MACHINE (formerly known as Onaje), will be presented by the Jocunda Festival this Sunday, October 25th, at 8:00 p.m. (ET). There will be a Q&A afterward with the playwright (yours truly), the director, actors, and audience, led by Van Dirk Fisher, the director and founder of the Riant Theatre.
I would be doubly thrilled if you could join us — and help support live theater.
For tickets, register in advance on Zoom:
Donation: $15.00 to benefit The Riant Theatre. After registering, you will receive a confirmation email with details about joining on Zoom.
THE GRACE OF GOD & THE MAN MACHINE, a Black Lives Matter play, is an intricately plotted thriller that explores the consequence of racism on two individuals and their families.
Set in Eastern Maryland in the 1960s and 1987, two sons — one white, one black — meet by chance on the road, unaware that their families shared a life-altering connection years before. Now, their fate and their families’ futures may depend on the choices they will be forced to make.
THE GRACE OF GOD & THE MAN MACHINE allows the audience to ponder: is the die forever cast by a one-time choice we make?
“Having run this Zoom Play Reading Series since the pandemic began, I’ve developed directorial and visual techniques that make our Zoom productions visually, emotionally, and viscerally stimulating,” director Van Dirk Fisher said. “It’s something people haven’t always associated with the play reading format. Audiences also love the interactive and spirited Q and A that follows,” he added.
An O’Neill Theater Center semi-finalist, Onaje appeared at the 2018 Fringe Festival to rave reviews and sold out audiences. Theatre Is Easy gave Onaje its Best Bet designation and described its “high stakes story” as “the most dramatic, fleshed out near-cinematic play I have seen.” Onstage Blog said Onaje “brilliantly brings a sense of warmth,” and Blog Critic described the play as embodying “exquisite conceptualizations and themes.”
CLICK HERE to download the Press Release.
He will win reelection if he can:
1) Create chaos in the streets & fear in white Americans:
That ain’t over yet. This is at the heart of his campaign.
He needs looters and the fear of Black people because “it won’t be your White America in 20 years.”
If he can again provoke demonstrations, can use Federal troop, and get looters — imagine October and election day in November if he can get looters!
2) Eliminate the vote:
Aggressively underfund the Post Office so that the collection of votes can be curtailed for being too late, or lost. The post office is already underfunded. He will succeed in this if he has not already.
3) Control the media message:
a. Sinclair Broadcasting (which controls the broadcast network for small media TV stations across the country) recently broadcasted that Dr. Fauci created the virus and shipped it to China. It joins Fox and Tucker Carlson (who has the greatest following of any TV host) in broadcasting intentionally false information.
b. Attorney General Barr will soon reveal the results of the third known investigation focused on the opening of an F.B.I. counterintelligence investigation during the 2016 presidential campaign, as well as the debunked theory that the 2016 Trump campaign was bugged.
c. Forget the courts! They will have no force or effect before the election until they can move as fast as Twitter.
4) Polarize the vote:
Create a caricature of the “smug” and “politically correct” Democrats who remain arrogant, confident, and vocal that he will lose. He needs hate to bring out the vote.
5) Control and dismiss any feeling we may be losing our place in the free world:
Well, nobody has cared so far that we abandoned our allies:
1) South Korea, Japan and Asia, leaving them to North Korea.
2) The Kurds, surrendering the Middle East to Russia.
3) Europe and NATO (as they abandon us).
He has done that.
Or that our enemies:
1) Make fools of us when they pay a bounty for killing our American soldiers (but if a Black man kneels during our National Anthem in a 1st Amendment Constitutional protest he is chastised for disrespecting our military? Really?).
2) Openly interfere with our elections.
3) Build up missile attack forces that can now hit our country and our allies, because our president has declared that our historic anti- democratic enemies are, in fact, our friends.
He’s done that.
6) Avoid blame or responsibility for COVID-19 (“The China Virus”).
No problem! Say the governors have botched it. He’s done that.
Forget the polls. Why do you want to be wrong again?
These posts and my blog are my second life as a poet/ playwright. Although I loved being a lawyer and starting the law firm, I have always wanted that second life.
Since March, I have grown increasingly despondent because the coronavirus has shut down the theaters and curtailed my evolving development. The quarantine made it darker, more claustrophobic and broke my heart. I stopped writing. I am too old now. I will never be what I had hoped to be.
But I have learned something beautiful. I returned to a sonnet cycle that a friend of mine suggested we write years ago. Both of us wanted an artistic life to be jumpstarted. Back in the mid-1990s, I didn’t have the courage to do it myself, so we began to exchange sonnets. This was the beginning. The Genesis.
The sonnets I have been posting these past few weeks are from that 1990s cycle. I went back to the beginning, and I want to say thank you to those that have given me a second life that I now better understand.
Although I love seeing my work performed, I have discovered that what I love most is creating, writing, and the discovery that entails. I delayed forever, but I owe a duty to Elizabeth Bishop (poet) and William Alfred (playwright, and my tutor), both my professors in college. They are gone now but the thank you is not too late.
From the start, they, along with Candace, my friend, taught me this real joy of discovery.
With two cords of hardwood stacked by the door
I’m ahead of winter again this fall.
All these years with no spark, no central core.
My art? To fortify’n avoid it all.
At Mount Auburn, my friend Candace and I,
Last winter, about this time, decided
To write a poem each week’n agreed to try
For e-mail delivery to the other by
Monday morning, coffee time. We would do
Fifty-two: Deadlines to keep us to it.
Miss Bishop and Professor Alfred too,
I hope these make you proud. Last night I lit
A new fire in an old fireplace
And dreamed I’d warmed your hands and touched your face.
Lust & Love
His object of affection (but not of mine),
A belly button, seductively displayed,
Below the shirt which hides nipple ring outlines,
That make both her breasts look like hand grenades.
He looks for the screwdriver he has lost.
His is the world of replaceable parts.
Unscrew her belly button, her ass falls off?
Still they both dress to win the other’s heart.
The city’s suburbs spread out around them both
As they skateboard the parking lots and clocks
Keep the time and administrate the oaths.
Is there no place left to think out side the box?
Is the message of the world we are part of
That we live so long as we lust and love?