HELA, TROY, AND THE COURSE OF TRUE LOVE

So I'm taking part in this twitter based contest, sponsored by Playscripts, inc.  It's called Pitch-n-Play, and what you do is tweet a pitch for a short play than can have around 8 characters and be about 20-40 minutes long.   The play has to somehow relate to the quote "the course of true love never did run smooth."  It's actually quite fun coming up with different ideas, and a great excuse to kick some stuff around that might become my next play.

Some of my ideas, in no particular order:

Doctor trying save wife finds cure for cancer, but side effect is you lose the ability to love

Right wing undercover reporter falls for OWS protester and must hide identity

Minister trying to pray away the gay accidentally summons Cupid and falls in love with him.

For a list of all tweets in the contest, go here.  And enter yourself.  It's fun, it's free, and takes very little time.  While you're there, if you haven't already, give me a follow @rkmcallister.

I like Playscripts.  This is no doubt due to the fact that they already publish one of my plays, a one act called Hela and Troy.  I wrote it at the request of Reyna de Courcy, a fantastic young actress who played Sunny in the first production of Fenway.  Her company, Gravity & Glass Productions, was doing a festival called Bell, Book, and Candle- all about love in fantastical settings, and she asked me if I wanted to submit something.  Being the always hungry writer that I am, I immediately said yes.  And I got this image of the Norse Goddess of death, Hela, being lonely and going speed dating.  And the play sort of just popped out of my head, like Aphrodite from the brow of Zeus, if I may mix my pantheons.



Here's a snippet from the play, where Hela meets Troy- who tries to be witty be asking unusual questions.

TROY

Hi.  I’m speed date number 10- also known as Troy.  This might sound strange- what doesn’t when you’re speed dating- anyway, I’m asking everyone- all my dates of speed- the same question:  do you want to steal a car with me?

HELA

I don’t know- if I told you that my little brother was a huge Wolf named Fenris and that he once bit off the hand of Tyr in anger at being tricked by the Gods, would that disgust you?

TROY

I don’t know- I’ve never met your brother, so it isn’t really my business, is it?

HELA

Sit down.

The play got an awesome production.  It was directed by John Hurley, and had Shashanah Dattilo as Hela, Ben Ellis Fine as Troy, and Alisha Speilmann as Mandy.  It was well received, and soon I got a call from my agent saying Playscripts wanted to publish it.  I said yippee, and that was that.  So far, lots of copies have been sold, and another production came about as a direct result of those, in Canada.

Next week-end, I'm shooting my short film Strong Tea.  More on that soon.

One more thing- if you're in NYC this week-end, Robbie Gil is playing the Rockwood Music Hall at 10pm.  He's an amazing singer/songwriter, and if you haven't seen him yet, do so.  You will not regret it.

WHY NOT MAKE HIS HEAD EXPLODE?

SOME UNFORTUNATE HOUR, now available at INDIE THEATER NOW, and how it came to be.

I was stuck.  I had a big chunk of a new play written, and had hit a brick wall.  The opening was great, characters all clear in my mind, dialogue crisp and clean and all that jazz- but there was something wrong.  I couldn't quite find out what it was, or why whenever I sat down to write nothing really happened- I mean nothing.   I'd sit and stare at the screen and it all seemed weary, stale, flat and unprofitable.  Up to this point, my plays had come fast and furious, born fully formed like Venus on the shell- but not this one.

The play itself was a simple premise- one scene, written in the style known as "realism", following a guy named Tom's slow realization that he's an asshole.  It began as a whim, but now had a life of its' own- and there was no way in Hell I wasn't going to finish it.   So I did what any brave person would do.  

I ran away.

I was living in New York City, but my mom still lived in the house I grew up in out in San Jose, California.  I hadn't been home to visit for awhile, and so off I went, into the wild blue yonder.   I visited old friends, went to say hello to the Pacific, and hoped my subconscious would work things out as far as the play was concerned.  And then I got a phone call from a friend.  Thank God,

The friend was Harry Newman.  He's a fellow playwright, and was running The Pool at the time, and was one of those people whose opinion I trusted- and still trust to this day.  He had read the play, and had a  simple question- why does it have to stay in the land of realism?  Why not have his head explode, so to speak?

And like that, it all fell into place.  Yeah, why not have his head explode?  Why not have him slip back and forth between reality and his imagination?  I mean, Old Tom is drunk and getting drunker, and his mental state is not what you'd call stable- why not have his world be askew, ruled by unseen spirits, and all that good stuff?  

For me, there are times when I'm writing when all of a sudden, I see the piece as a whole- the world it inhabits, the characters, the color and sound and even the smell of it.  The Eureka moment, if you will.  I don't know why, but I do.  And usually, it happens after working on it for awhile.  I'll be plodding along from point A to point B to point C, with a rough idea of what's supposed to happen and who the hero is and all that, and then someone says something, or I hear a song on the radio, or I see a sunset, or a couple fighting in a store- and BLAMMO, the play is there, and from that point on I usually can't type fast enough.  

I dig that part of the process the most.  

So I dive back into the play.  Tom is still in the bar, but now and then, the lights change, a spotlight shines on him, and he goes into these strange soliloquies about She Who Shall Remain Nameless, or what the settlers meant when they said they "saw the Elephant", or how he's like a baseball that's been hit by Bugs Bunny and has traveled all over the world.  It fit- all of it.  Time to enter the show in the New York International Fringe Festival and hope it gets in.  And if it doesn't, put it up somewhere anyway.

Then I had one more idea.  What if I had a score written for the show, like how Simon and Garfunkel did the music for The Graduate?   I mean, Aristotle did list music as one of the basic elements of theatre, didn't he?  On top of that, I had a friend, Robbie Gil, who knew my work, liked this particular play, and writes really groovy music- in fact, if you don't know his stuff, you need to go to his web site, download some tunes, and get with the program.  I ask Robbie is he'd be OK with that, he says yes, and we are off to the races.  

I name the play "SOME UNFORTUNATE HOUR", which in my mind is a variation on the old Rogers and Hammerstein song "Some Enchanted Evening", but no one ever picks up on that but me.  It gets accepted into the Fringe.  I finish the play- which includes a really great monologue by Janus about unrequited love that, if you are an actress looking for a good audition piece, I highly recommend.  I get Tim Errickson, Artistic Director of the Boomerang Theatre Company, to direct- cast Dan O'Neill as Tom, Jodi Dick as Janus, and Ashley Wren Collins as Charity, and off we go.  The show is received well- go here for a review- and then gets a run in Denver - go here for really nice review from Variety.  And now, as part of the Fringe Collection offered on Indie Theatre Now, it's available online for less than $2.  Life is sweet.

Anyhow, that's the very basic story of Some Unfortunate Hour.  Stay tuned for more on me and my shows- up next, my biggest hit yet, BURNING THE OLD MAN.