26 ways to respond to the Hamster

So let’s take on a little Hamlet here. Something you might want to use when your English teacher asks, “What’s your favorite quote from Hamlet?” Since you don’t want look like an idiot, quoting, “To be or not to be.” Try this from Act 3 Scene 1 when Hamlet beats up on his girlfriend and says, “Get thee to a nunnery.” That is a downright dirty thing to say to Ophelia. She is not Gertrude. She is Ophelia. It’s not her fault for the dastardliness going on in Castle Elsinore.

Oh, sure. She broke a date with him. Because her daddy and her big bro didn’t want her to date a prince. She broke the date in a nice way and she let the star of the show know she still cared for him. Hamlet went over the top. The things he said to her were not nice. Not nice at all.

Well, Uncle Bardie has a list of suggestions for an Ophelia response. Then maybe the Hamster would have calmed down and played nice.

1.    Get thee to an aviary. What you’re saying is for the birds.
2.    Get thee to a brewery. You need a drink.
3.    Get thee to a creamery. Ice cream can work miracles on a bad day.
4.    Get thee to a dysentery. You’re way too backed up.
5.    Get thee to an eggery. You are laying a big one.
6.    Get thee to a fan-nery. You really need to cool down.
7.    Get thee to a greenery. A little nature will help your unsavory behavior.
8,    Get thee to a hug-gery. You need a hug bad, and I’m not in a hugging mood.
9.    Get thee some imagery. Then you can think of better places you should go like Hades. Just in case you don’t know. That’s the Greek word for the Bad Place, thank you very much.
10.  Get thee to see Mick Jaggery. ‘Cause you ain’t got no satisfaction.
11.  Get thee to a Larry. Or a Moe or a Curly. You’ll fit right in.
12.  Get thee to a laboratory. Frankenstein needs a new monster.
13.  Get thee to a moanery. Then you can complain all you want.
14.  Get thee to a notary. Maybe they’ll give you a seal of approval for bad behavior.
15.. Get thee to an owlery. You could use some wisdom.
16.  Get thee to a punnery and stop pun-ishing me.
17.  Get thee to a quizzery. You’re asking too many questions.
18.  Get thee to a revelry and have some fun.
19.  Get thee to a summary. You talk too too much, saying the same thing over and over.
29.  Get thee to a topiary. Edward Scissorhands is a real cut up.
21.  Get thee some upholstery. Your apartment needs some dressing up.
22.  Get thee to a vacation-ery. You need it, buster.
23.  Get thee to a winery. It doesn’t matter whether it’s red or white. Just as long as you drink yourself silly.
24.  Get thee to xystery. Nothing like a scraping of the bones to cheer one up.
25.  Get thee to a yadda-yadda-yaddary. They’ll appreciate your speechifying.
26.  Get thee to a zootsuitery so you can look mahvelous. Simply mahvelous.

A Rock ‘n’ Roll Monologue 

Wine, women and song; that’s what Frank used to say. And he should’ve known since he used all three. Me, I’m into sex, drugs and rock and roll. Same difference, you might say. Only a little bit rougher. You dig. Like Pete Townshend’s fond of saying, “Won’t get fooled again.”

Well, the times they are a-changing, and that’s my guitar flying through the air. Just to let you know, I never was into Nirvana. Too much bang-your-head-against-the-wall-boys noise. It’s Knopfler and the Straits ‘cause we are the Sultans of Creole, we are the Sultans of Swing. Now, that’s guitar, man. A Stratocaster. I love Eddie Cochran and all those Summertime Blues. But as Pink Floyd used to say, we’re still learning to fly.

Cut my first CD last year. A bit Uriah Heep, Black Sabbath without the Oz. Man, that Lita Ford was bitchin’. She and Joan Jett were out of this world Runaways. Called the CD “Teeth.” Peter Max, the Maxman, offered to do cover art. Maybe a werewolf. But Richard Avedon did it for us, you know. Now he’s on the other side. He died, man. Went to that Photographic Studio in the Sky, man. Groovy.

Hey, Paul is dead. Yeah, and Sergeant Pepper ain’t feeling so good his own sweet self. Richard’s up there with the Ansel. Ansel Adams, don’t you dig? I’m not a frogman, goo goo g’ joob. Hey, the Troggs were super deluxe. Wild Thing. I met that groupie in a bar and went round the world and over the moon. Yeah, and I’m talkin’ Keith too. Knew the Stones. Think she was doing jumping jack flash for Mick and Keith.

Janis sure could blast. Had a great set of pipes. Down at Monterrey. Blew Mama Cass out of her pipes. Well, that’s what’s happening with the Sounds of Silence. Simon and Garfunkel, they broke up. You don’t say. Me and Julio down by the Schoolyard.

Way, man, we done that CD. Sold three million. Got Duran-Duran-ed on MTV. Right up there with the Elvis, man. That’s Elvis Costello, not the King. Graceland, you don’t say. Sun Studio in Memphistown—Elvis and Johnny and Jerry Lee and Carl all putting on their best Johnny B. Goode in his Blue Suedes. Groovy.

Wine, women and song to you too, man. Don’t forget everybody’s trying to be my baby. And I’m outta here. See ya.

Patsy Finds Love

Patsy was thirty-five when she fell in love with a woman. it was the first right thing she felt she had done in her life.

Pregnant, she married her high school sweetheart, Jack Pendledon, as soon as she turned eighteen. She lost the baby a month after the wedding. After several years of marriage, the couple settled into a comfortable existence. They took a yearly romantic cruise, but the passion never returned.

When she was thirty, Jack died of a massive heart attack. His insurance took care of his funeral and paid off the mortgage. She sold the house and decided she was going to college. She was going to be a teacher.

In her sophomore year, she signed up for a Beginning Drama class out of curiosity. She walked into the class. There were no desks, only chairs in a circle. The professor didn’t stand behind a lectern as in other classes. She wasn’t even sure who the instructor of the class of fifteen was.

Unlike students in other classes, these students were dressed not casually, but wild-like. One woman was in goth, wearing dark fingernails and black makeup. She wore a transparent black dress that revealed a black bra and panties. One of the eight guys had pink hair and earrings. Some were tattooed up the wazoo. One woman wore a mohawk. Another was dressed as if she were Mary Poppins’ evil twin sister. Patsy felt like she was crashing a Halloween costume party. She went to leave.

“Looks like we are losing our fifteenth passenger aboard our Titanic.”

Patsy turned and said, “What?”

A small man with a goatee and bowtie said, “Looks like you want off our sinking ship.”

The others laughed.

Out of stubbornness, Patsy took the only chair left. It was between pink hair and goth makeup. She wasn’t sure what she had gotten herself into but she was not going to run away. She came from stronger stock than that. But for a churchgoing, cookie baking, suburban housewife, this was a scary place.

She looked around her. The classroom had open windows. A fall breeze squeezed through. She dropped her books next to her chair and settled back, her purse clutched onto her lap. She listened to the bowtie and goatee.

“Now that we’ve gotten that settled, perhaps we can get on with the agenda. My name is Drew. Not Mr. Such-and-such. Just Drew. Most of you are freshmen. We do have a sophomore in here.” He pointed at Patsy. “She’s the one who can’t seem to make up her mind as to what she wants to be when she grows up. The rest of you pretty well know that something in drama is in your future. Either theater, tv, movies or you just want to be the clown in the circus.”

Drew paused and waited for his words to sink in. There were a few coughs. Patsy realized that she wasn’t the only one who was nervous.

“So, students, close your eyes. Take a few deep breaths. Visualize yourself in ten years. Where you are, who you are with, what you are doing.”

Patsy was seeing herself in front of a classroom of high school students. She couldn’t figure out what she was teaching but she was teaching.

Drew let the vision sink in. He let the students enjoy their little adventure. Then, “Now imagine a stick of dynamite blowing up that scene. Ka Pow!”

Several opened their eyes. They were thinking, “Why the hell did you do that?”

Drew clapped his hands. “Wake up people.” He was standing in the middle of the circle. “Get the hell out of my space. Don’t come back until you are ready to have your dreams fall apart.”

The students got up and walked despondently out into the hallway. One held back. It was Patsy.

Drew looked hard at this woman in her early thirties. “What are you doing? Get out of here.”

“No,” she said.

“NO?”

“No,” she said in a sinking timid voice. She felt like crying but she had done that way too much in her life. She did not leave. She shrank in her chair.

Drew walked out of the room, frustrated and wondering who this freak was.

Patsy stared out the open window. The oak trees canopied the campus park-like. The autumn leaves were still green but would be coloring soon. The breeze felt good against her face. She swiped the tears from her eyes. She didn’t care what was going to happen. She was not going anywhere. She belonged where she was. She didn’t imagine or daydream herself anywhere else. She just sat.

Thirty minutes later, Drew Baker slipped back into his classroom. He watched Patsy with a curiosity he usually didn’t have for any of his students. For the ten years since he had left Broadway and come to this classroom, he had never come across a student like this one. Tears began to flow from his eyes. He had finally found a real, live student who would empty themselves of all their previous lives to become a totally new person.

“Patsy,” he whispered from across the room.

Patsy’s eyes turned toward her teacher. “Yes?” she said.

“Thank you,” he said. These were the only words he could get out. Then he followed those words with the most welcoming of words. “I’ll see you in the small theater Wednesday morning at ten. You think you can be there?”

She nodded yes.

Drew Baker left the room. Patsy gathered up her things and walked outside into the hallway. It was empty.

Nine other students joined Patsy in the small theater Wednesday morning. The ten students took seats on the chairs in the circle down front. From the rear of the theater Drew Baker yelled at his students, “Did anyone tell you that you could sit?”

The students stood up as the teacher ran down the aisle, yelling, “Did anyone tell you to sit? Huh, huh, huh.” He went past the group and climbed up onto the stage and looked down on them. “Has anyone here earned the right to sit?”

A tall eighteen-year-old male student said to the others, “I’m out of here. This guy is nuts.” He started walking toward the exit.

Drew said, “That’s right. Get out of my class. Go back to your momma and bitch.” The exit door slammed close. “The rest of you. Up here.”

The students held back.

“C’mon. Hurry. Hurry. Hurry.”

The nine climbed the stairs at the side to the stage and stood before him.

Drew went up to each of his students and sized the student up for several minutes. He said, “You’ll do.” And moved on to the next student. When he was done, he went back to the front of the group and faced them.

The teacher continued, “I want you to spend the next hour exploring inside this theater. Don’t partner up. Understand?”

The students timidly said, “Yes.”

“You cannot leave the theater. Under any circumstance. You understand?”

They nodded their agreement.

The teacher left the group. One went toward the back of the auditorium. Another started walking up and down the stage. Still another headed to the actor’s dressing room. Patsy went backstage and found that there was a basement. In the basement, she found a costume room and another room with props and scenery.

About forty-five minutes later, the fire alarm went off. The students gathered on the stage, trying to figure out where the fire was coming from. Paul, a student with tattoos, jumped down from the stage and headed toward the exit.

Fae, the goth woman, called after him, “Where you going? You can’t leave.”

“I am not going to stay here and get roasted.” Paul slammed the exit door behind him.

The others looked at each other and wondered what to do. The fire alarm stopped. From backstage, Drew Baker walked out on stage.

“Where’s Buttface?” he asked.

“He left. The fire alarm,” Trey, the pink hair and earrings, said.

“I see,” the teacher said. “He just decided he didn’t want to take my class. Right?”

“But—“ Fae said.

Paul opened the front door and ran down the aisle and up on the stage. Out of breath, he was smiling.

Drew Baker couldn’t believe the arrogance. But he kept himself in check and smiled. “Mr. Paul Gruber, what do you think you are doing?”

“Rejoining the class.”

The other students moved away from Paul like he had leprosy.

Drew Baker walked up to the student. The teacher must have been two inches shorter than Paul. The student shrank with Baker staring at him eyeball to eyeball. “Mr. Paul Gruber, what do you think you are doing?” the teacher repeated his question.

“Rejoining the class.”

“Mr. Paul Gruber, what do you think you are doing?” Baker repeated his question.

Suddenly Paul got it. He had disobeyed the instructions not to leave under any circumstance. Now he had to face the consequences. Paul turned around and left the stage and down the aisle toward the exit. Patsy had never seen anyone so dejected in his life.

Drew Baker turned to the other students. “Tomorrow night at 7 p.m. Here. Now go.”

The eight students still in the class walked slowly out of the theater, not sure what had happened, but glad they had survived. There was nothing they would let stop them from attending the next drama class. On their way to their other classes or events, each imagined themselves as a part of something special. Drew Baker could have told any of the group to jump off a cliff and they would have done it.

That evening Patsy was studying in her dorm room alone. There was a knock on the door. She opened it. There stood Drew Baker. “Drew?” she said, surprised to see him.

“May I come in?”

“Of course.” Patsy opened the door further. She invited him to sit at her desk.

He took the chair and turned it around and straddled its back. “Sit,” he said, pointing to the bed.

Patsy did what she was told. She looked confused.

“Do you have something you want to ask me?” he asked Patsy.

“Yes, sir,” she answered.

“Don’t call me Sir. My name is Drew.”

“Yes, Drew.”

“Go ahead.”

“What’s going on?”

“Good. I like that. You don’t mess around. You get right to the point. Don’t like to waste time, do you?”

“No.”

“You don’t like my methods, do you?”

“No, Drew. I don’t.”

“Good. That’s good. You are willing to face your fears. What do you think I am doing?”

“I really don’t know. I just want to know. Am I wasting my time?”

“Do you think you are wasting your time?”

Patsy thought for a couple of minutes. The past two classes of Beginning Drama had thrown her off-balance. But off-balance was okay. Then her teacher showed up at her dorm room wondering what she thought. Finally, she answered, “No, I don’t.”

“Good. Very good. Now I have a favor to ask of you.”

Uh-oh, here it comes. Patsy had been through this with professors before. Two had wanted to sleep with her. She had refused. For some reason, she didn’t feel that from this teacher. “Yes, you can ask.”

“I want you to show up to my class at 7:15 pm tomorrow night. Not 7:00. Can you do that?”

Patsy hesitantly nodded yes.

“There will be no consequences. I will just go on with my lesson. Totally ignoring your lateness.”

Drew Baker left.

Patsy didn’t know what to make of his visit.

At 7:15 pm the next night, Patsy walked into the theater. Drew Baker and the students were down front in the circle of chairs. She hesitantly walked down the aisle, feeling the other students’ eyes on her. There wasn’t an empty chair for her. Drew Baker turned to Trey and said, “Will you get another chair and let Miss Pendledon have yours please?”

Trey reluctantly got up and went backstage for a chair. Drew Baker beckoned Patsy to take his place. Trey returned with a chair and joined the circle.

“Thank you, Trey,” Drew Baker said and smiled. “Now I want each of you to give me your impressions of the theater yesterday.”

Drew Baker focused upon each student and listened. No student brought up the fire alarm. After the students had finished, he asked them, “How many of you students think I’ve been sleeping with Miss Pendledon?”

The students were stunned at the question. Patsy most of all. They were thinking it but they were too scared to say it out loud.

“Let me see your hand if you think I’ve been sleeping with Miss Pendledon.”

Slowly all the students, but Patsy, raised their hands.

“What makes you think that?” Drew asked.

Fae said, “You didn’t kick her out when she wasn’t on time.”

“Is that your only evidence?”

Trey said, “I saw Patsy leave after you went back into the classroom the other day.”

“Couldn’t I have requested an academic meeting with Miss Pendledon?”

“Yes, Drew,” Fae said.

Drew then spoke, “Ladies and gentlemen, I assure you that I am not sleeping with Miss Pendledon.”  Then he dismissed the class.

The students slowly left the theater, shaking their heads, wondering what the hell was going on.

The next morning Patsy was five minutes early. The rest of the class was already in the theater, none taking any chances on getting kicked out of class. They weren’t sitting. Mostly they were standing and waiting and not saying a thing. It looked like no one had slept the previous night. Patsy nodded good morning. The others nodded good morning back.

Drew Baker came out from back stage. “Good morning. Please have a seat.”

The students made a semi-circle to face their teacher on stage.

“Welcome to the world of the theater. I suppose all of you have been wondering what the hell is going on. Who is this crazy guy?”

They nodded their heads. There were two or three yeses from the group. Mostly they waited and listened. Drew Baker had their attention.

“Here’s the deal. I have spent the last few sessions weeding out those who think the theater is a game. That it’s a job. That they can damn well show up if they want. If you are not willing to show up and do a show with a 103 degree temperature, you don’t belong here.”

Drew Baker unknotted his bowtie and pulled it off. “I hate these damn things.” Then he jumped off the stage and pulled up a chair. “Circle please.”

They all joined him in the circle of chairs. He scanned each of their faces. Then he said, “I didn’t choose you. You didn’t choose me. You are here because the theater chose you. Some of you may do very well. Have fame and fortune. I can’t tell you which. All I can tell you is that your life will never be the same. This is your world now. Love it and it will love you back. Not with rewards you can see or touch or feel or taste or smell.”

Drew Baker touched his heart. “But here. It isn’t the most talented that succeeds. It doesn’t matter a bit whether you have talent or not. You now belong to a family that goes all the way back to the Greeks and well before that. Since man first lived in caves, there have been theater people. So welcome. You are a special breed. Never forget that. The others that dropped out or that I kicked out don’t belong.

“Now let’s begin. I want each of you to take a turn and go to the stage and face the audience and just look. Pretend the seats are full. Just look for five minutes. Then come back down to your seat. The next person will take your place.”

When the students completed the exercise, Drew Baker said, “Our next class is Monday here at 7 p.m. Prepare to work all night long. One final thing. Please do not share the process you went through the past few days. If I find out that you did, you will be out. And don’t think I won’t find out about it, I will. I always do. Now go.”

On the way out, Trey and Fae pulled Patsy aside. “Patsy?” Trey said. “Fae and I were wondering if you want to share a house with us.”

Patsy nodded yes.

One of the other students, a student dressed like James Dean, moseyed up to the three of them. “Can you take a fourth?”

The three new roommates looked at the student. He looked young, real young.

“I’m 18. Okay? Okay. You can call me J D. That’s who I am.”

The three breathed easy. Fae said, “Yes. We can have four. Let’s go find a house.”

J D piped in. “I have a house.”

“Let’s go look at it,” Trey shouted. The four went through the front door and out into the afternoon air. They locked arms and began to dance through the parking lot, singing.

Drew Baker watched from his second story office above the theater and smiled. “Yep, this is going to be a good group. Maybe the best he had ever had.”

The students were an hour early for class Monday night. They were anxious to get started on their new life.

“Have all of you seen Romeo and Juliet?” Drew said from the stage.

They nodded yes.

“Okay. Everybody scatter out in the audience and take a seat. Settle in and imagine you are watching Romeo and Juliet on stage. Do not sit next to another student.”

Five minutes later, Drew called them back to their chairs. “Describe to me what you saw.”

He went around the circle, each student detailing what they had seen.

Then Drew said, “Theater is an art of illusion. Nothing that happens on stage is really happening. It is a re-creation. Creating this illusion is a work of imagination. You have just used your imagination to re-create Romeo and Juliet. I have four films about magicians on reserve in the library for you to see before the next class. See if you can figure out how they do their illusions. Now, let’s get to work.”

All semester of the Beginning Drama class was refreshing to Patsy. She had never experienced anything like it. By the end of the semester she knew what she would do for the rest of her life.

Thirty-five years later, lying in the hospital bed dying from cancer, she vividly re imagined each class and how alive she felt. Sewing Fae’s costume was the last thing she remembered as she fell asleep. She did not wake up. Fae leaned over and kissed her lover goodbye, then she left the hospital room, crying.

Shakespeare and the Globe-al Affair

All the world’s a stage, And all the men and women merely players. As You Like It, Act II Scene VII.

in two days, on April 15th, it is William Shakespeare’s birthday. So here’s wishing him a happy birthday.

It was a brand new world the Elizabethans were creating. It was only a hundred years or so since Gutenberg gave them the printing press and inexpensive books to read. It was a little less than one hundred years since the Tudor Henry defeated Richard on Bosworth Field and ended the Civil War the English knew as the Wars of the Roses. It was only three quarters of a century or so ago since Martin Luther nailed his Ninety-five Theses on a church door, virtually ending the dominance of Rome over Christianity. It was only in 1588 that England defeated a Spanish Armada and began its rise as an European sea power. And under Good Queen Bess the arts flourished. Especially music, dance, poetry and theater.

Sure there was plague every few years. Sure it was a hierarchical society. Sure there were still fears that the Pope’s agents would assassinate the queen. But there was such optimism in the air that anything was possible for the English. The sixteenth century was a good one for England. By its end, London was the largest city in Europe.

By the time Shakespeare’s first play appeared on stage in 1590, it had been less than a century since Columbus proved that the planet was round. Not flat as everybody believed. That was a big deal. As big as what Wilbur and Orville did at Kitty Hawk. Maybe bigger.

Ships would not fall off the earth when they went far out to sea. There were no sea monsters to gobble up ships and their sailors. First Magellan, then Sir Francis Drake circumnavigated the globe. In 1580, Drake and his Golden Hind returned from his three years at sea with stories and riches. He brought back enough booty that the Queen’s share doubled her annual income for that year. Anything was possible.

The only thing to compare with the attitude of the English was the feeling Americans had after defeating Germany and Japan in 1945. Anything was possible. Even putting a man on the moon.

A reflection of this “anything was possible” attitude was the theater. The first playhouse in England was built in Shoreditch, London by James Burbage in 1576. It had a very original name. It was called The Theater. Until then, plays were performed by wandering troops of actors in guildhalls, in local nobles’ halls, in inns and at festivals and fairs. By the 1590s, there were a number of theaters in London like The Curtain and The Rose. And in 1599 Shakespeare and his fellow players of the Chamberlain’s Men opened The Globe.

There were an amazing group of dramatists to excite London audiences. William Shakespeare, Thomas Kyd, Christopher Marlowe, Ben Jonson, John Fletcher, Francis Beaumont and Thomas Middleton. Of all the rivalries, it was the one between William Shakespeare and Christopher Marlowe that excited audiences the most. It was like watching Picasso and Braque’s competition with cubism in the early twentieth century. It was like seeing Arthur Miller and Tennessee Williams battle it out on Broadway in the late forties and the fifties.

Creativity was in the English air and London was the place to be. Only Marlowe’s premature death caused the Elizabethans to pause, then continue with some of the greatest drama in the history of Western Civilization. And it wasn’t just a drama for the court and the upper classes as it was in Moliere’s France. The theater was for every class in society from the blacksmith and the baker to the Queen of England.

The Globe was appropriately named to give the English a sense of the wide world Drake and others were beginning to reveal. For the price of a ticket, a Londoner could leave the plague, the violence and the crime of London behind and step into a different world. Walking into the large round building that held up to 3000 people for a performance was an adventure. All that was required of the ticket holder was a few hours time and an imagination.

During the performance, the stage had no scenery. It might have a large wooden chair that was a throne. It might have a table and chairs for an inn. It might have a log for a forest. This is why Shakespeare’s plays use dialogue and prologues. To help the audience imagine the scene with prologues such as the opening of “Romeo and Juliet”.

Just listen to the Chorus in the Prologue of “Henry V”.

O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!

Or we get the weather in “Hamlet” with such dialogue:

Hamlet: The air bites shrewdly; it is very cold.
Horatio: It is a nipping and an eager air.

In “The Tempest”, we get a shipwreck in a storm:

Master: Boatswain!
Boatswain: Here, master: what cheer?
Master: Good, speak to the mariners: fall to’t, yarely, or we run ourselves aground: bestir, bestir.
Exit

Enter Mariners

Boatswain: Heigh, my hearts! cheerly, cheerly, my hearts! yare, yare! Take in the topsail. Tend to the master’s whistle. Blow, till thou burst thy wind, if room enough!

Just from the dialogue we get the sound and fury of the storm these men are dealing with. Then in Act 1, Scene 2, we get further evidence of how bad the storm was:

MIRANDA
If by your art, my dearest father, you have
Put the wild waters in this roar, allay them.
The sky, it seems, would pour down stinking pitch,
But that the sea, mounting to the welkin’s cheek,
Dashes the fire out. O, I have suffered
With those that I saw suffer: a brave vessel,
Who had, no doubt, some noble creature in her,
Dash’d all to pieces. O, the cry did knock
Against my very heart. Poor souls, they perish’d.
Had I been any god of power, I would
Have sunk the sea within the earth or ere
It should the good ship so have swallow’d and
The fraughting souls within her.

With only dialogue, the actions of the actors, the colorful costumes and a few sound effects, the Elizabethans created in their imaginations the courts of kings, the forests of fairies, the streets of ancient Rome and Greece, castaways on an island and the battle scenes of great conflicts.

For Shakespeare’s audience, the Globe was truly a whole new wonderful world. And they loved it.

Uncle Bardie’s Spotlight Creator: Joseph Reed Hayes, Playwright

Once a week on Friday, Uncle Bardie celebrates the creativity in others by shining a Spotlight on a movie or a creator. This week’s Spotlight Creator is Joseph Reed Hayes, a Central Florida Playwright: 

A clip from Joseph Hayes’ play, Destination Moon. “Two people in two little rooms. A young woman, a bed, an unseen voice, music in the night. “Destination Moon” tells the story of a young woman recovering from a serious illness, attempting to deal with the consequences of actually surviving by forming a relationship with a disembodied voice in the night; a veteran late-night radio personality. Featuring Emilie Scheetz, Chan Sterling, Lauren Carder Fox and a live soundtrack composed and performed by La Lucha pianist John O’Leary. © 2018 Joseph Hayes hayesplays.com”
     A major reason I feature creative artists and their work here is my hope that they will inspire my readers to do their creative work. Joseph Reed Hayes is one of those who inspire me. He has established himself as a playwright and continues doing marvelous work. Thank you, Joseph, for participating in Uncle Bardie’s Spotlight for Creative Artists.
     Here is a short bio, then his answers to five questions concerning his work as a dramatist:
    “I’m a full-time freelance food and travel writer, feature writer, theater and music critic and cultural explorer. My other hat is worn in performance spaces, as an award-winning playwright, jazz event producer and advocate for new, original creative work for in-house and online audiences. http://www.hayesplays.com.”
1.What made you want to become a playwright?
“I don’t think “want” enters into the picture. I was in residence at the Atlantic Center for the Arts, working with writer/artist Douglas Coupland, when he told me to put aside my path of short story mediocrity (the exact words were “Stop writing that shit”) and take up playwrighting. Six months later I had my first play in front of a paying audience.”
2.How many plays have you written and have they all been produced?
“I always do first production of my plays, so I can see how they work in front of people before sending the little darlings out, along with readings and my own performances. So factoring in every public presentation of my work locally and around the world, my play in June of next year will be #40.”
3.What inspires you to start a new play?
“What inspires anyone? An overheard conversation, a strange and unusual fact that sticks into my strange and unusual brain, bits and pieces of my life and family and friends, music … I’ve got no shortage of ideas, there are at least (at least!) six plays waiting in the queue.”
4.What do you enjoy the most as a playwright?
“Everything. Every single thing about the process, from procrastinating about writing it to making the poster (make the poster first) to finding actors and musicians (not always easy) to my favorite thing, the First Read, to rehearsal to when the audience comes in. The only part I dread is the half-hour before curtain, when I lose my mind and am certain everyone will realize I don’t know what I’m doing.”
5.What’s your latest play being performed?
“I just finished a production of A Slow Ride in April. Bēma Productions in Victoria BC will be putting on my play, A Little Crazy, as part of the Victoria Fringe Festival in August. My next local play is In Five at the Timucua white house in June, 2020; I’m sure something else will pop up between now and then.”