Gatsby in the Public Domain

I tend to go back to The Great Gatsby every few years and it does always bring me something different. This time, I approached it with the news that the novel has entered the public domain, so I might do whatever I’d like with the text. My firsty impulse is to write a play from Daisy’s point of view.

But when? There’s a scene to be written, that would take place within the continuity of the novel, that takes place after the first meeting of Daisy, Tom, Nick and Jordan. Does Tom realize what an ass he’s made of himself? Could he? Daisy does. She calls him “hulking,” (and not for the first time and Tom hates it.)

Is Nick so innocent? He’s judgmental and by the end of the book, he’s proudly judgmental, remarking snidely that Tom can be rid of his midwestern priggishness. There’s an indictment of the libertine East. Nick is judgmental and sure of his own honesty (at least at the start of the summer). When he meets Jordan he can’t place what it is he remembers about her, but then it’s revealed that she’d cheated during a golf tournament.

Nick’s writing a book, or at least a journal. Is Nick’s book every published? Would Daisy have read it? Is Daisy, lumped in with Tom as careless and irresponsible, fairly treated? She fell in love with Gatsby who was, at the time, in no position to marry her. He was penniless, we learn. When Gatsby meets Wolfsheim and embarks on his success through the criminal underworld, he is so malnourished that he eats “$4 worth of food in half an hour.” He could not have cared for Daisy and, we’re told, he was dishonest with her about that. She had no idea why Gatsby dissapeared on her, when they met and fell in love five years before the book begins.

So, Daisy’s crime is that she married another eligible suitor? Well, her other crime is hitting Tom’s lover Myrtle with her car, though there’s no indication she did it on purpose. Myrtle leapt in front of the car, thinking it was Tom’s, after all. Had Nick been driving, he also might have hit her.

But Nick never seems to think that Daisy should be held responsible for the accident. He only grows angry with her when she doesn’t turn up for Gatsby’s funeral. Nick holds Tom and Daisy responsible for Gatsby’s death. Tom is responsible. Myrtle’s husband Wilsonmurders Gatsby after Tom tells him that Gatsby owns the car that killed his wide and is the man who had made Myrtle his mistress. But is Daisy responsible for that? Did she even have a choice.

So I wonder, after this rereading, if Daisy ever read Nick’s book, what she thought about it, learned from it, or didn’t.

Logical Loops With Georges Perec

In delightful translation by David Bellos (he uses the word circumperambulate a lot), The Art of Asking Your Boss For A Raise by French experimental author Georges Perec is best read aloud. It’s a theatrical piece with dazzling, recursive language that evokes laughter and pity at “your” plight as you tackle the practical and emotional burden of asking for a much needed (if not deserved) pay increase while in the employ of. one of France’s largest companies.

Avec Perec!

The entirety of the books 80 pages are one sentence, without punctuation, capitalization or spatial breaks. Reading the text aloud pulls you right through and makes you wonder how much we need the adornments of commas, periods or paragraph breaks. Perec wrote this short book, which also factors into the full-length novel, Life: A User’s Manual as one of its later chapters, specifically to resemble a computer algorithm. Algorithms have become a larger part of our lives since Perec wrote this in the 1970s, so it’s partially a survival guide to live in the 2020s.

The piece would make a fine one man show and also reminds me very much of Mac Wellman‘s Terminal Hip which, if you have forty minutes, you can watch:

Terminal Hip was one of the last live shows we saw in New York City, pre-COVID, at the legendary Dixon Place. We learned that Panda are bears and NOT raccoons, in a revival produced by Jeffrey M. Jones, curator of the Little Theatre series.

I digress, but thats part of the fun of Perec’s short book. Digressions and regressions are progress. Give it a read and you’ll see.

Trump as Pa Ubu

I know, I know, I said less politics. But, today’s the day that Joe Biden’s election as president has been certified by Congress and Donald Trump told his most fervent supporters to gather in Washington, D.C. to protest. Some breached the capitol, I saw reports of one person having been shot, Senators were evacuated and Trump… fled to the White House and seemingly went into hiding?

It’s amazing cowardice. Nobody is chasing Trump. Nobody is looking to arrest or harm him. What is he hiding from? It all reminds me of some of my favorite surrealist plays, the Ubu Trilogy by Alfred Jarry.

He even looks like Trump!

Pa Ubu, the main character, is the undeserved King of Poland. He’s a parody of Macbeth and Jarry’s math teacher. He has nothing but appetite for food and comfort. He murders only when he has ther advantage. He flees from any other foe. In the second play of the trilogy, he and his family decide that the work of ruling is too hard and that the prisoners, who never have to go outside and are fed daily, have it easy. So they storm the prison, kick out the inmates, and barricade themselves inside.

It leaps from the puppet stage of 1896 and right onto CNN, if you ask me.

The Evolution of a Joke Over 70 Years

From The Age of Innocence, by Edith Wharton, 1920:

“It was one of the great liverystableman’s most masterly intuitions to have discovered that Americans wants to get away from amusement even more quickly than they want to get to it.”

From Speed the Play, by David Ives, 1989:

“David Mamet knows that Americans don’t like to pay for parking. So he keeps his plays short.”

Huge Anniversary for Theatre, Film and Literature

Much thanks to LitHub for celebrating this today:

A major step forward for storytelling in any form.

A Czech refugee working in theater in England, Stoppard had been playing with language and writing metatexts for years, but without intellectual pretense — he came up in a theater full of demanding audiences who needed to be entertained, not lectured to. Rosencrantz and Guildenstern Are Dead realized the best of this, with a fun riff on Hamlet and Waiting for Godot and mathematics and probability that’s genuinely touching and funny. It’s a rare achievement in art.

A low budget film version, starring Tim Roth and Gary Oldman helped usher in a vital 90s independent film movement and put Stoppard in a good position to write Shakespeare in Love another classic from the time.

Meanwhile, Stoppard became ever more ambitious in theater, perhaps topping R&G with the expansive Coast of Utopia trilogy and the fantastic Rock’n’Roll.

Happy Rosencrantz and Guildenstern day to you all!

Quarantine Theatre

On July 4th I was fortunate to be able to collaborate with London theatre-company “The Undisposables” for a “Digital Scratch Night” of new writing. It was an absolute pleasure and their production of my short play “The First Poet in Space” was dreamy and great.

My wife Natasha wrote about it the entire bill of plays for Forbes, where I once used to work, rushing from late night fact checking assignments to rehearsals in midtown and lower Manhattan as I tried and tried to establish myself as a playwright.

It’s funny how the world goes. For plays, I very much hope to concentrate on London going forward. Theatre has survived all manner of pandemic and it always comes back.

Soon!

Epic Theatre in Pre-Literate Societies

Fascinating article today about Milman Parry, the Harvard scholar who worked out how pre-literate societies like the ancient Greeks were able to compose, memorize and perform epic poems like The Iliad and The Odyssey. Parry found examples of this type of storytelling in other cultures, including the Bosnia of the 1930s. As with so much else, the capacity for Homeric storytelling seems to be a universal human trait.

Milman Parry at Harvard University.

What we’ll never know, but is fun to imagine from my perspective, is how these stories changed when told by different bards. I’d imagine each bard had their own style, based on their politics, religion, philosophy or homeland. I’d bet some were quirky and some serious. Some were angry and some were in awe.

How many ways can you tell the story of Odysseus’ voyage home? How many ways can you explain the motivations behind the invasion of Troy? What about all of the other Homeric hymns and the lost stories? Was their an epic Homeric universe?

Of course, we’re still retelling these stories. Over the last two years, I’ve read a bunch of these new takes on old tales and I recommend them all:

  • The Siege of Troy by Theodor Kallidatides (translated by Marlaine Delargy, Other Press, 2019)
  • The Odyssey (translated by Emily Wilson, W. W. Norton & Company, 2018.)
  • Circe by Madeline Miller (Little, Brown and Company, 2018)
  • The Song of Achilles by Madeline Miller (Ecco, 2012)
  • Wake Siren, Ovid Resungby Nina MacLaughlin (Macmillan, 2019)
  • Eurydice by H.D. (from: Collected Poems 1912-1944 (New Directions Publishing Corporation, 1982: https://www.poetryfoundation.org/poems/51869/eurydice-56d22fe6d049d, though the poem was originally published in The Egoist in 1917.)

Voltaire on Writing

A lot of Candide content coming up. For a Saturday, some writing (and playwriting) tips assembled from the Paris chapter of Voltaire’s masterpiece:

“How a play can be of some interest but of almost not merit:”

  1. It is not enough to contrive one or two situations found in any novel that always captivate audiences.
  2. One needs to be original without being far-fetched.
  3. Be sublime, but always natural.
  4. Write like a poet without letting the characters speak like poets.
  5. Never sacrifice sense to rhyme.

There are few good tragedies out there. These are the most common failures:

  1. Mere idylls in dialogue form.
  2. Political tracts in dialogue form.
  3. Addresses to gods by writers who cannot reach humans.

Voltaire intended a few shots at Corneille and Racine. Fun stuff.

Literary Representations

Barnes & Noble pulled a “hold my beer” after the American Dirt fiasco and announced the Black History Month publications of some classic texts with the main characters featured as people of color on the cover. What I find most interesting about the story is at the end of this Slate wrap up, where it is revealed that: “The head diversity officer of TBWA\Chiat\Day [the agency behind the initiative] took inspiration from J.K. Rowling’s response to a black actress being cast as Hermione in the London staging of The Cursed Child.”‘

The inspiration made sense. In theatrical productions, especially small ones, casting actors from different races or genders than the source characters is common, sometimes to controversial effect and sometimes to no discernible effect.

One reason for this, particularly at the community theater level is that parts are cast based on who’s available. But even in big commercial productions, a decision might be made because a director wants to bring a specific talent into the show. Also, at all levels, directors and producers might make these decisions to make a statement. It should go without saying (but it doesn’t) that casting a role for a character described as white with an actor from another background, is generally okay but the reverse is not, given the art form’s history (and present) of exclusion, not to mention blackface.

This is extremely common with classic texts, like Shakespeare. Often, the director, producer or dramaturg will have to make adjustments around the casting, though. This just can’t be done with books, hence the very reasonable objection, highlighted in Slate, that “The project assumes that stories written by and about white people are somehow racially neutral and that you can just slap a black or brown face on them and declare them diverse. But just because a character isn’t described as having pale skin or golden hair doesn’t mean that their whiteness isn’t a part of their narrative.”

Unless you’re going to rewrite the books, making diverse covers just isn’t going to cut it. Seems like one of the reasons that the Barnes & Noble project was appealing is that, as with recasting and rewriting Shakespeare, you are operating in the lower-cost and rules-free realm of the public domain. Maybe a better alternative would have been to have published and highlighted a set of public domain classics from diverse authors. One would have to start planning now to execute this next February.

A Trim and Taut Frankenstein at CSC

Classic Stage Company has a fantastic and advanced Frankenstein on stage right now, playing in repertory with a fresh adaptation of Dracula. The new telling if Frankenstein by writer Tristan Bernays presents the story of Frankenstein and his abandoned creature with just two actors one playing mostly the Creature (and sometimes Frankenstein) and the other a musician who represents a chorus of the books other characters, including the Blind Man, the child, and Frankenstein’s bride, Elizabeth.

The Bernay’s adapation really captures the origin the Mary Shelley’s story — it’s like being told a macabre tale in a darkened room on a winter night. The adaptation is a triumph.

In a two person show, the cast obviously has to be strong and versatile. CSC has access to the best talent so it’s no surprise that Stephanie Berry impresses with her range and stamina in the lead roles and Rob Morrison keeps the rhythm and atmosphere of the show as the chorus. Director Timothy Douglas ably leads a cast tasked with inspiring our imaginations.

It’s a page to stage triumph.

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