Quote of the Day 2: Sir Tyrone Guthrie Himself

Self owes so much to the dear fellow, who passed away in 1971.

She learned he was an only child, he used to spend childhood summers right here in Annaghmakerrig (His mother was a grand-daughter of Tyrone Power, Hollywood matinee idol). His paternal great-grandfather was Dr. Thomas Guthrie of Edinburgh.

While rooting around in the bookcase in her unit (Self loves how there is always a different collection of books. She thinks her first time to visit the Tyrone Guthrie Centre, she was in Unit #3. Last year, she was in Unit # 2. This year, she’s in Unit # 1), she discovered:

TOP OF THE LADDER

A Play

by Tyrone Guthrie

The main character is a man. His name is Bertie. He is not much described in the stage notes. Surprisingly, much more time is devoted to the women characters. For instance, this is said about Katie, Bertie’s wife (Excerpt from the stage directions):

Of the women, Katie is the most difficult part because she covers far the widest emotional range. Some of her scenes are rather satirically written, but the actress must be careful to present a brief for, and not against, her character. She must be silly, but an endearing silly, and not an irritating one.

Then there is Mookie, Bertie’s old nurse:

Mookie embodies some such personification of Nursehood as Mother Earth or Dame Nature: her work with scissors and thread is intended to relate her to the Three Fates.

Fascinating, wouldn’t you agree?

Stay tuned.

New York: Highline and Chelsea

Still looking for landscapes.

Here are pictures self took during a memorable walk on New York City’s Highline, December 2015:

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Near the Start of the Highline, on a cold December Day

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Still Near the Start of the Highline

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Near the Start of the Highline, on a cold December Day

And here are things she loved about New York during her Fall 2015 sojourn:

  • The Asian American Writers Workshop
  • The Whitney
  • The Highline
  • Therese Raquin with Keira Knightley
  • Seeing Penny
  • Seeing Luis and Midori
  • Seeing the Picasso exhibit in the MOMA
  • Catching a concert of Trio Solisti at Carnegie Hall
  • Watching Mamie Gummer’s scorching performan in Ugly to the Bone
  • Seeing nephew Chris Blackett and watching movies with him and reading his novel-in-progress
  • Eating Cuban in Hoboken, New Jersey
  • Walking around Central Park
  • Mockingjay 2 in the Lincoln Center Cinema
  • Losing self’s wallet twice and having it returned to her twice — nothing missing.

Stay tuned, dear blog readers. Stay tuned.

Quote of the Day: Emma Rice, Artistic Director Designate, The Globe Theatre, London

“Being childlike is underrated. It takes commitment.”

— Emma Rice

Short Stories, Plays, Process: An Interview With Playwright Penny Jackson

Penny and self have been friends for a long, long, long time. Since before either of us were even married.

Self remembers having Penny over to her little one-bedroom in Menlo Park. She met Thomas, Penny’s then-boyfriend, soon-to-be-husband.

We were in the Stanford Creative Writing Program together. Penny lived in the City. She hitched rides to the writing workshops with Jeffrey Eugenides and his dog. They split on the gas.

In recent years, Penny has been writing plays at a terrific rate. Her most recent production was during last fall’s Solo Festival in New York City.

Self wrangled an interview out of Penny. No mean feat, as Penny is terrifically busy. Here are some of her answers to self’s questions:

What attracts you to playwriting as a form as opposed to, say, writing a novel or a short story? What was the first genre you started writing?

I first began writing stories when I was in college (Barnard). I am very comfortable with writing in short forms, and I have adapted three of my plays from three stories, All Alices, Louise in Charlestown, and Before, which have worked very well onstage. Although I wrote a novel, Becoming the Butlers (published by Bantam when Penny was a 20-something), I find writing a novel to be more challenging. Keeping track of the plot and characters over a length of time is difficult. Perhaps I like playwriting now because each scene is like a short story to me, with a beginning, middle, and end. That’s not to say I won’t return to novel writing. I still love fiction writing, and unlike playwriting, you have a sense of control you have to somewhat relinquish when you hand your play over to your director and actors.

Are there conditions that need to be present before you feel you can write your best?

Absolute quiet and no distractions. I joined The Writers Room, which provides a haven for writers. I wish sometimes that the Internet did not exist. When I was at MacDowell, there was no Internet, and I could really focus.

What keeps you writing?

The world. I am inspired all the time by the news and what I see in the city and hear from my friends. I write to be able to understand the complexities, the unfairness, and also the joys of life. If I didn’t write, I think I would go a bit crazy. I hear the same sentiment from actors: if they don’t act, they can’t handle the world. Right now I’m sick about the gun violence in our country, and writing about the issue really helped me with my sadness and disgust at our politicians.

What is the biggest difference between playwriting now and playwriting when you were just starting out? Does it get easier? Why or why not?

Playwriting is becoming somewhat easier. I’ve had the wonderful opportunity to work with several brilliant directors, actors, and dramaturges. I understand the form better now. What is not easier is finding a theatre to produce your plays if you are a female writer who is not a recent Yale graduate. Ageism and sexism very much exist in theatres, when I began and still today.

Do you experiment with form and/or dialogue? Who or what inspires you?

Because I’m trained in fiction writing, which is character-based, I always begin with people. An old lady drinking in a decrepit Irish bar. Two teenage girls talking to a mysterious older man at Starbucks. A drag queen waiting for his show in Las Vegas and having to talk to his daughter about marriage.

I love dialogue. I write down snippets of dialogue I overhear in the streets of New York City all the time. And if you follow me on Facebook, you can frequently read about remarkable conversations with New York cab drivers.

In your opinion, what is the best play ever written?

I am a huge Eugene O’Neill fanatic, so I will say Long Day’s Journey Into Night. Family secrets and family guilt and pure poetic language. But of course, King Lear is top of the canon. King Lear howling about his dead daughter still takes my breath away.

Which playwright has taught you the most about your craft?

Rogelio Martinez is a wonderful playwright who has taught me so many important aspects about playwriting. I also love the Lark Development Center which gives you the space and time to try out new works in a safe environment.

Did you have a mentor? Do you think playwrights need one?

Yes, having a mentor is important. So many women directors have been my mentors: Joan Kane, Gloria Kadigan, and Shira-Lee Shalit are three tremendously talented women artists who inspire and instruct me. Writing is a very lonely business. You need a cheerleader!

What’s the worst thing about being a playwright?

That it’s just too damn expensive to produce a play in America. Unlike Europe, we don’t have government funding for theatre. The costs are astronomical. As a female playwright, I face other challenges. Walk down Broadway or The West End. Do you see any female playwrights on the marquee? My organization, The League of Professional Theatre Women, is working so hard for gender equality in theatre, but it’s a very long, frustrating, and seemingly endless battle.

 

 

Chance Meeting, Cebu Airport

In 2010, self gave a reading at a conference in Cebu (central Philippines). From there, she flew to her Dear Departed Dad’s hometown of Bacolod.

While she waited for her Bacolod flight, she decided to get a massage. The massage place was right next to the boarding area, how convenient. The customers are shielded from view (by screens?) of people in the boarding area (but not of fellow customers, there’s a row of beds placed side-by-side), and the strange thing is, there were men and women getting full-body massages right there, mere yards away from where a whole crowd of passengers were gathered. To preserve customers’ modesty, the masseuse draped a thin towel over one’s body.

Anyhoo, the story self wants to tell is: She was freshly massaged, and her hair was standing up on end (from a scalp massage), when a man walked up to her, introduced himself as a fellow writer, and said he had attended her reading.

Self asked him where he was from, and he said Cagayan de Oro. She found out he was a fellow writer. He signed a copy of his book and gave it to her (Self really wishes that she looked more orderly when she walked out of that massage place).

His book was in Bikolano (which self doesn’t speak). It was a collection of plays!

The writer’s name was Carlos A. Aréjola.

Here’s the production notes, setting, cast of characters etc. from his play Unang Yugto:

Tagpuan (Setting): Cottage sa isang resort (A cottage in a resort)

Panahon (Time): Kasalukuyan (The Present)

CHARACTERS:

Edwin – matangkad, guapo (tall, handsome)

Toledo – mestisuhin (mestizo), 18 taong gulang (18 years old)

Dagul – 21, moreno (dark-skinned), medyo pandak (somewhat short), may body piercings.

Falcon – mestisuhin (mestizo), ayos na ayos ang buhok (Hair fussed over; sorry, that’s the best she can come up with)

Dalawang Dalaga (2 girls): college girls, magaganda (beautiful), mapuputi (white-skinned)

Mga Pasahero Sa Airport (Passengers in the Airport)

How self loves that the characters have to be differentiated by whether they are light-skinned or dark-skinned, and that the two college girls are beautiful (magaganda) and mapuputi (white-skinned). To be white-skinned is to be beautiful?

Stay tuned, dear blog readers. Stay tuned.

That Fateful Moment When It All Comes Crashing Down: MIDDLEMARCH, p. 72

The old dotard Casaubon (HOW, self asks, how does one pronounce that simply ridiculous name?) has taken his future bride, Dorothea, to his rather meager estate (Remember Dorothea turned down a proposal from a young and attractive baronet, Sir James Chattam, in order to assert her preference for the much older and much sillier Casaubon). In the distance, they espy a figure, that of a young man lost in thought, wandering around with a sketchbook.

Dear blog readers, when a young man appears, attached to the estate of the much older man, and this older man is a silly and benighted person, who is bringing his young future bride for a first glimpse of his new home, there is only one way this can go down: Think Tennessee Williams. Faster than self can say “Desire Under the Elms,” Dorothea and her betrothed approach (What really clinches the deal is that the young man is toting around a sketchbook. Artists are crrrrazy. Crrrrazy attractive. Just ask the Bronte sisters)

Here is what transpires:

The young man had laid down his sketch-book and risen. His bushy light-brown curls (Think of Samson in the Old Testament! The appeal of the hair!), as well as his youthfulness, identified him at once . . .

“Dorothea, let me introduce to you my cousin, Mr. Ladislaw. Will, this is Miss Brooke.” (And what person can withstand a young man named Will? Certainly not self, who just this year fell in love with Will Herondale from Cassandra Clare’s Victorian Steampunk trilogy, The Infernal Devices!)

The cousin was so close now that, when he lifted his hat, Dorothea could see a pair of gray eyes rather near together, a delicate irregular nose (like Tom Hiddleston’s? The guy who plays Loki in those Thor movies?) with a little ripple in it (like Owen Wilson’s?), and hair falling backward . . . Young Ladislaw did not think it necessary to smile, as if he were charmed to this introduction to his future second cousin and her relatives, but wore rather a pouting air of discontent. (Heathcliff! Oh where art thou, Heathcliff!)

“You are an artist, I see . . . “

And self will pause here. Right here. So she can drive dear blog readers crazy with anticipation.

Stay tuned.

Treat: WordPress Weekly Photo Challenge

This week’s Daily Post Photo Challenge is Halloween-themed!

Here are self’s ideas of TREATS:

Hot Chocolate and Peanut Butter & Jelly Square, Joaquin Torres, Broadway & 72nd

Hot Chocolate and Peanut Butter & Jelly Square, Jacques Torres Chocolates, Broadway & 72nd

Being surrounded by books: such a treat! Extraordinary. The best form of indulgence:

Borderlands, the Science Fiction & Fantasy Bookstore, Valencia Street, San Francisco

Borderlands, the Science Fiction & Fantasy Bookstore, Valencia Street, San Francisco

Finally, watching plays is such a treat. On the same level of pleasure as reading a good book.

Here’s one of her favorite venues: the Bruns Amphitheatre in Orinda, where Cal Shakes presents Shakespeare through the warm months of summer and early fall. The last play she saw here was “King Lear,” with Anthony Heald. Superb!

Bruns Amphitheatre, Orinda, California

Bruns Amphitheatre, Orinda, California

Stay tuned, dear blog readers. Stay tuned.

Irish Women Playwrights/ American Film Actors

In late September, self was in Cork, Ireland. The Cork International Short Story Festival was happening. One of the featured readers was American writer Kelly Link.

Self attended Link’s reading, held in the Triskel Art Centre, a converted church.

There were many, many wonderful things that happened that night, not the least of which was meeting Kelly Link and getting a signed copy of her new collection of stories, Get In Trouble.

Self struck up a conversation with another woman who happened to be seated directly in front of her. Turned out the woman was a Dublin playwright who had come to Cork simply to attend the short story festival.

The woman and self exchanged e-mails. She made self promise never to blog/tweet about her, or reveal her name. Self gave her solemn promise.

And then she roamed the internet, looking for the woman’s plays.

She found an article by Eileen Kearney, in Colby Quarterly, Vol. 27, Issue 4. It spans the Twentieth Century up to 1991. Many new Irish women playwrights have emerged since 1991, of course, but here was a start.

And, just to show you how playwriting is very deep in Ireland’s bones, a national women’s playwright competition sponsored by The Irish Times drew 188 plays in the first year alone.

Here are the playwrights mentioned in the article (Self will never reveal which of these belongs to the woman she met in Cork last month):

Geraldine Aron * Mary Elizabeth Burke-Kennedy * Marina Carr * Anne Devlin * Mary Halpin * Anne Le Marquand Hartigan * Jennifer Johnston * Marie Jones * Harriet O’Carroll * Christina Reid * Carolyn Swift * Dolores Walshe

Dear blog readers know very well how much self loves plays. She went to Galway simply to catch Star of the Sea there. In April, she went to Minneapolis for the AWP Conference and caught a performance of Joe Dowling’s production of Arthur Miller’s The Crucible. Just last week, self caught Cal Shakes’ King Lear, with Anthony Heald.

When she was a college student, at the Ateneo de Manila, she wrote plays, and acted in them, too.

Her love of movies is deeply connected to her love of plays, her love of theatre.

Perhaps, if self finds time, she will post about the three movies she has seen this month: The Martian, Pawn Sacrifice, and The Walk. Each of those movies features these American actors at the very top of their game: Matt Damon, Tobey Maguire, Peter Sarsgaard, Joseph Gordon-Levitt.

Usually, come the end of the year, the Oscar contenders get trotted out by the movie studios. And usually, a number of Oscar contenders will feature British actors like Colin Firth and Benedict Cumberbatch. Or Australian actors like Russell Crowe.

Self thinks it is wonderful that the American actors are so dominant in this fall’s movies.

But, she digresses. She has to get going. Perhaps more, later?

Stay tuned.

An Excellent Happy Place: Bruns Amphitheatre, Orinda

Because of Cal Shakes.

Memories:

Right behind the stage are the Orinda hills:

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Self loves the meadows of feathery, dried brown grass:

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The path to the Bruns Amphitheatre is lined with posters from previous years’ productions, including the one for a memorable Romeo and Juliet with Dan Clegg playing Romeo (2013). Self was completely smitten.

That production (2013) had Juliet in floaty dress, heavy boots, and cropped leather jacket. She looked so fine.

The first Cal Shakes’ play self ever saw was another Romeo and Juliet. Romeo was played by Adam Scott.

Cal Shakes’ season starts in June and ends in October. Self associates it with all the things she loves about summer: outdoor theatre, heat, picnics.

Two years ago, when she saw Lady Windermere’s Fan, her friend brought along two bottles of wine and kept pouring until both bottles were empty. Ha! What other theatre will let you do that!

She loves listening to such chestnuts as: “The game’s afoot” (Henry V) or “Ripeness is all.” (King Lear) or “Once more unto the breach, my friends, once more.” (Henry V)

She has seen the following Shakespeare plays: The aforementioned Romeo and Juliet (2 versions); Richard II; Henry V; A Midsummer Night’s Dream; King Lear:

Poster from 2013's Romeo and Juliet

Poster from 2013’s Romeo and Juliet

Stay tuned, dear blog readers. Stay tuned.

Boundaries: WordPress Weekly Photo Challenge

This week’s WordPress Photo Challenge is BOUNDARIES.

According to The Daily Post, BOUNDARIES are about “limits . . . whether they’re social constructs or real, physical objects.”

Self’s first example of BOUNDARIES is a map. Maps exist as delineations of boundaries. The boundaries provide essential context (This exists in relation to that, and so forth).

Below is a map of St. Stephen’s Green, Dublin’s most iconic park. The wildlife, the people, the sense of place bring her back over and over again.

A Map of St. Stephens Green, Dublin

A Map of St. Stephens Green, Dublin

Her second example of BOUNDARIES is the balcony railings around the upper tiers of the new Globe Theatre, in London’s South Bank. The balconies are pitched very steeply. In fact, without the railings, a playgoer might experience severe vertigo:

Watching

Watching “King John” at the Globe, June or July 2015

Her final example of BOUNDARIES is the bridge over Holborn Aqueduct. Self wandered down there one day last summer, looking for the Church of St. Bride’s, which she eventually found with the assistance of a London cabbie. (Self to Cabbie: “Do you know where St. Bride’s is?” Cabbie: “Yes. Hop in.” Self: “Do. You. Know. Where. It. Is.” Cabbie: “Course I know where it is! I’m a LONDON CABBIE.”)

Bridge Over Holborn Aqueduct, Near Fleet Street, London

Bridge Over Holborn Aqueduct, Near Fleet Street, London

Stay tuned, dear blog readers. Stay tuned.

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