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What Changed?

For years and years, I practiced law and total strangers would stop me and say “Yer a lawyer, aren’t you?”

I mean, really!

It started about a year after law school when I was learning to be a litigator. I loved being a lawyer but now I’m retired and in recovery. Strangely, no one asks that question anymore.

What changed? What were they picking up on in the first place?

We all know the world through our five senses, so which of the senses lead me to be identified as a lawyer? I’m portly enough to be the mayor of a small town. I’ve got a voice perfect for broadcasting large sports events. I’m not one of those instant huggers. I bite my own nails and when these people identified me as a lawyer they were not all downwind of me.

When I walk down the street now, I’m waiting for people to recognize me in a new light. “Yer a playwright, aren’t you?” Come see ONAJE this October at FringeNYC and help make that dream come true!

Join me on this adventure at https://theplayonaje.com.

The Genius of Actors

The Genius of Actors

I write plays but I can’t act. My acting career ended shortly after an all-boys fourth grade Christmas pageant. I was a shepherd. I had one line that I had to speak to introduce Mary onto the stage. The music teacher had placed a wig on the class bully and handed him a plastic Jesus in swaddling clothes. In real life, the class bully had biceps in fourth grade and Elvis hair. I misspoke my one line. I said, “Come mither hairy!” I returned from recess bloody and a playwright.

Last weekend at an invitation-only reading for artistic directors and producers, my play “Onaje” was read at 300 West 43rd street in New York City. It was read by actors who make a living being actors. I was stunned by the uniqueness of their genius.

I am a recovering lawyer. While I practiced law, I had nine plays produced in little theaters in Baltimore. Although I was proud of them, I made no effort to have them performed professionally. When my play was given a staged reading in New York for the first time I worked with professional actors and was blown away.

The performance was scheduled for Sunday at 3 o’clock in a 30-seat performance space. The actors were sent the script about a week before the Saturday morning rehearsal in an apartment in New York. The rehearsal was, in essence, a read-through where Eric Reid, an accomplished actor and director from San Francisco, gave directorial instructions and the actors discussed their characters. The actors were all obviously capable but I was not ready for what I would see the following day.

There was another read-through which was to a large extent the blocking of the reading. All the actors sat in chairs in the black box theater against the wall until they were on stage, which meant they stood and went to the music stands in front of them and delivered their lines. There was a one hour break between that rehearsal and the performance. At the blocking rehearsal, the actors were still playing with their characters well I had a terrible thought that they had not had time to become fully familiar with the script and their characters.

I went off to a late lunch with Eric and returned to see the actors in their own village doing breathing exercises, sitting quietly or doing yoga. I had no understanding of how good they would be on stage.

The small theater filled the actors took their places and the reading began. I saw a transformation that changed my understanding of the art of theater. Somehow, they knew the people they will play in an intimate and unique way. Somehow, they knew each other and the interaction created a greater whole. The play was very well received and the script has been requested after I have had a chance to do some work on the text.

Afterward, the lights went on and the actors were people again and they merged with the audience. I stood in the back of the theater immersed in surprise by the evolution of the process and the sheer genius of those actors. Actors are unique beasts.

A central aspect of my play concerns the capacity of people to empathize with strangers. I realized as I stood there I had witnessed it by the transformation of actors so easily turning the written word into human beings.

(Costume + Set) – Plot = ?

(Costume + Set) – Plot = ?

The “Costume” in my case was white tie and tails with a perfect black top hat. The “Set” was the Harvard graduation of last week. The “Plot”: Because of the custom of complete secrecy, I had been told only a few days before that I had been selected to escort James Earl Jones for the afternoon proceedings and to an honorees lunch at Widener Library after the morning ceremonies where he, along with several others, would be given an honorary degree.

Only last month I had seen his performance as the poet in Tennessee William’s Night of the Iguana at the American Repertory Theater and had read about his career, which started with his first appearance on Broadway in 1957 and spans 60 years on stage and screen.

After the honorary degree had been bestowed on him in the morning and those proceedings had ended, Mr. Jones would descend the stage, which is at the foot of Memorial Church, and march with his fellow honorees below the colorful flags of the graduate schools and the undergraduate houses, between the assembled throng of the thousands of applauding viewers to ascend the steps of Widener library and be directed to the periodical room where I would meet him, take his ceremonial cap and gown, unburden him of his framed honorary degree, and provide him with the refreshment of his choice. Then I would facilitate conversation among the other honorees before we took the elevator up to the lunch and thereafter back to the stage for the afternoon speech by Mark Zuckerberg and the closing proceedings.

I arrived early to Widener and made certain I knew exactly what my duties were and traced my steps from the periodicals room where I would meet Mr. Jones, through the elevator exit and entrance to the luncheon and ultimately the path we would take to get back to the stage and become seated for the afternoon proceedings.

But this was a very special moment for me, so I decided that I could entertain Mr. Jones by offering him a slight diversion from our proscribed path, to see the Gutenberg Bible in a private room which contains a portrait of Harrie Widener, for whom the library was named after he died on the Titanic a century ago. I confirmed that I could get into the room and because I was early I asked a solo passerby to randomly photograph me since the proceedings had not started and we were still allowed photographs before the event began. It would be my stage where I could watch James Earl Jones react to the surroundings I have offered him.

But my play went off script and the plot collapsed and, in fact, disappeared. The weather had been awful all morning with a steady drizzle and unexpected gusts of wind that sent the water across the crowds and the stage. Those being honored on the stage, although they were protected by a grand tent still suffering the blasts of wind and rain and the general chill of the morning.

As the proceedings broke up and the ceremonial march to the steps of Widener began, I assumed my position outside of the periodicals room to meet James Earl Jones, but as the others entered through the grand doors and were steered to their escorts there was no sign of him. After all the other honorees had entered and had turned over their robes and diplomas to their escorts, I went to one of the police officers guarding the ceremonies and started a flurry of walkie-talkie conversations in search of Mr. James Earl Jones. As the others took the elevator up to lunch, someone reported back that Mr. Jones had been worn out by the weather and the cold during the morning proceedings and had asked to go directly from the stage to his hotel room.

I never met him and I have only that photograph of the Gutenberg Bible in the foreground and the portrait of Harrie Widener in the background with a slightly rotund overdressed older man between them, and the realization that dreams can be memorialized in still photographs but plot cannot be deprived of action.

Don’t Retire…Move On!

Don’t Retire…Move On!

Several years ago I sold the controlling interest in the law firm I started over 25 years ago. I decided to leave the office behind and the practice of law and start something new.

 I’m now a playwright. My play “Onaje “,about the 1967 civil rights riots in Cambridge Maryland, has been optioned for regional production in 2018 by Blue Panther Productions of the San Francisco Bay Area. It received its first professional reading on February 22, directed by the acclaimed L.Peter Callender of the African-American Shakespeare Company in San Francisco. The reading was a great success and Blue Panther is currently reaching out to artistic directors of professional and regional theaters.