Thinking About Writing About Thinking About New Plays

You may have already seen this essay by Jeffrey Jones about providing
context for plays. If you haven't, it's worth the look.

http://jeffreymjones.blogspot.com/2007/10/thinking-about-writing-about-thinking.html

h/t Histriomastix

http://histriomastix.typepad.com/weblog/

I saw Local Story last night

It's pretty freaking great. Now, it's true that I'm biased. I have friends in the cast and I'm marrying the playwright. But part of the reason I fell in love with her was this amazing poetic play. Please go see it here or in LA. I know the show here is great and I can vouch for at least two of the actors in the LA show and they are tops. I also recommend Rag and Bone if you have not yet seen it.

Floyd tries to compete with Master of the Universe, Freeman

http://floydbritch.blogspot.com/

Help some kids

I just donated to this. It's a great way to keep theater alive and help some poor kids. Bush may not give them health care but we can give them theater, by Jove.

http://parabasis.typepad.com/blog/2007/11/tis-the-season.html Update: The project was funded. Good job, folks.

Matthew Freeman continues to astound

How to name your play

http://matthewfreeman.blogspot.com/2007/11/naming-of-plays.html

08

See which candidate you most agree with here h/t Chris Durang

Local Story in NYC

http://www.villagevoice.com/nycguide/ev118859,8.html

Local Story in LA

http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=7518622&blogID=331361445

things to do

I'm on page 55 of a new play. It's about this time usually when I get a little sick of what I'm writing. I start to think maybe it's not as great as I think it will be. It's too similar from my last play or it's not deep enough or funny enough, etc. And I know I will keep writing and by the end be happy to have written it. And then I will think that it's a great work of art and also not very good. And both of these things will be true for me at the same time. And then there will be the depression that comes right after the play is finished and I will scramble to figure out what to write next. A new screenplay, a pilot? go back to the novel? Write that clown murder mystery play? Or the winter play? Or the pirate play? The two people in Paris? The amnesia guy? The second act of Bee Eater? Maybe turn Herbie into a musical? And then there are all the revisions I need to do. And I was going to slow down. Slow down, Adam. Slow down.

need stocking stuffers?

How about my plays? get em here

Jaime on the same topic

http://fishunderwater.blogspot.com/2007/11/for-fans-of-straight-drama-replacements.html

Isaac's letter the the editor of the Times

http://parabasis.typepad.com/blog/2007/11/charles-isherwo.html

Why write about theater in the theater section? I go to the Times
theater section to read about the grocery store. Don't you?

http://www.nytimes.com/2007/11/21/theater/21surv.html

what the left hand does while the right hand sleeps

Check out this Parabasis Hal Brooks interview. I especially liked this section, which I think is the best articulation of this particular playwright dilemma I’ve seen. The main challenge of working with the writer in the room is finding a way to run the room, while knowing that the guy/gal who wrote the play might have the answers - but that you might be the best person for a variety of reasons to answer the questions. I think actors sometimes want to get the answer from the playwright - because he's/she's there. But often times a playwright, having written their work, tapping into their unconscious might not have the actable answer...or they might. It depends. I love it when a writer doesn't know the answer. It makes the whole room freer, I think.. I am often afraid to open my mouth in the room for this reason. I don’t want to say the thing that is true but not useful. And I don’t want to say the thing that is not true and not useful because sometimes I’m not sure what made me write a line 3 years ago. This uncertainty is sometimes what makes people (not Hal) think they can help us write our plays. Because it’s not always easy to translate the subconscious into something everyone can understand. And when you can’t explain something, people sometimes thinks that means that they can do it better. Or that you need help. I think it’s actually a separate skill to try and be able to talk about what you’ve written while keeping safe the things you can’t say and yet keeping your confidence or appearing to keep your confidence while you deal with a question that you’re not sure if you should answer or are unable to answer. Meanwhile, you have to figure out in the rewriting process what things your subconscious put there that have to stay and which of them have to go. Because a lot of this is instinct, other people are often not helpful with this. What they can do is see the play with their eyes and tell you what they see. Which is helpful because you can never see the play with their eyes. It helps if these people are smart and know things about plays. And it helps if your subconscious doesn’t want to kill you. You see how I ruined a perfectly good essaylet with that? That was my fucking subconscious mind getting involved. And you know what? That probably shouldn’t make it to the next draft.

Matthew Freeman is a genius

And so are his rules for the writing of plays

http://matthewfreeman.blogspot.com/2007/11/rules-for-writing-of-plays.html

isaac pointed this out

http://www.thenation.com/doc/20060130/holtzman

When you look at the sheer amount Bush has done that is illegal, it's
kind of overwhelming. And it's even more disheartening that he is
getting away with it. Makes a mockery of justice in this country.

Where I'm at

It's hard to get nothing but rejections for 4 months or so, which is perhaps why I practically swore I would leave theater recently. Some of those things hit me pretty hard individually but as a whole, as an accumulation, they hit me much harder. Was it because I was so optimistic that I thought I would stop getting so many rejections? Is it because I think I'm churning out good stuff and I can't understand why everyone isn't going for it in a much bigger way? Both of these, I'm sure. I did get into the MCC coalition which made my day for a while and is still excellent. I do have great agents who are excited about my work. And I have to say I'm pretty excited about this new play I'm writing. And though I've sworn to write slower, I can't wait to finish so I can work on the 5 other projects I also want to be working on. Like the 2nd act of the dog play. And revisions of my screenplays. And that novel. and Temporary Everything. So I have not quit playwriting yet. But I am still tired. And the day job and the commute still wear me down. And the lack of money is a problem. But I'm still here. And I hope I'm writing a pretty fucking great play.

Local Story by Kristen Palmer

in NYC:

http://www.nytheatre.com/nytheatre/loca6105.htm

in LA:

http://www.brownpapertickets.com/event/24219

Yes, K. Palmer has the same play going up in two cities at the same
time. I love this play. I highly recommend you catch it if you are
on one coast or the other.

You should also check out Rag and Bone at Rattlestick (NYC)

dec 1 and 2

On December 1st and 2nd, 2007 The Monarch Theater Company presents THE ONE MINUTE PLAY FESTIVAL at The Brick Theater in Williamsburg, Brooklyn. Curated by Dominic D’Andrea THE ONE MINUTE PLAY FESTIVAL is an informal festival of incredibly short plays. Thirty-four of today’s most exciting playwrights were challenged to write plays with only one rule: it must be under 60 seconds from lights up to lights down. Then eleven directors were assigned several plays to be staged with a small ensemble of actors. And all of the plays will be presented in the course of a single evening! THE ONE MINUTE PLAY FESTIVAL features PLAYWRIGHTS: Mando Alvarado, Trista Baldwin, Andy Bragen, Abigail Browde, Clay McLeod Chapman, Alley Collier, James Comtois, Emily Conbere, Migdalia Cruz, Mike Daisey, Bathsheba Doran, Michael John Garces, Jason Grote, Ashlin Halfnight, Christina Ham, Jakob Holder, J. Holtham, Kyle Jarrow, Rajiv Joseph, Sibyl Kempson, Callie Kimball, Courtney Brooke Lauria, Matthew Lopez, Qui Nguyen, Emily O’Dell, Matt Olmos, Daria Politan, Mac Rogers, Trav SD, Lloyd Suh, Adam Szymkowicz, Andrea Thome, Gary Winter, & Anna Zeigler DIRECTORS: Isaac Butler, Jay Cohen, Dominic D’Andrea, Michael Gardner, Marlo Hunter, Yana Landowne, Taibi Magar, Jennifer Ortega, Michael Silverstone, Max Williams and Jordan Young THE ONE MINUTE PLAY FESTIVAL will be presented on Saturday, December 1 at 9PM and Sunday, December 2nd at 7PM at THE BRICK THEATER, 575 Metropolitan Ave. in Williamsburg, Brooklyn. Tickets are $15 suggested donation and are available at the door only. www.monarchtheater.org www.bricktheater.com

new scene, 1st draft as always

11


(DR. X exits. The CRIMEFIGHTERS and LISA arrive at the slain couple. It is a crime scene now. They all put on rubber gloves as they enter. The dummies of the previous scene are replaced by CARSON and ED.)

SALLY
Welcome to your first crime scene.

LISA
It’s – not like I thought.

SALLY
It never is.

JAZMIN
Dr. X entered through the window as is his custom. He stood here.

NINA
I’m standing where Dr. X stood. I’m breathing the same air. It feels—I don’t know. I feel alive.

JAZMIN
The doctor is efficient. I’ll say that. Comes in. Kills ‘em. Goes out.

NINA
It makes me shiver.

SALLY
Any clues?

JAZMIN
Nothing.

LISA
(standing over the dead couple
Look at his eyelashes. He reminds me of—

JAZMIN
Who?

LISA
No one. Never mind. I shouldn’t think of it anyway.

NINA
You can’t help what you think.

LISA
Can’t I?

SALLY
Get some carpet samples.

NINA
I’ll take samples of where I’m standing.

JAZMIN
I have a sink full of dishes at home. Why do I always think of that at a crime scene?

SALLY
I always think of the Commissioner.

NINA
I think of nothing but Dr. X.

LISA
They were very much in love.

(The CRIMEFIGHTERS gather around the dead bodies.)

SALLY
They were?

JAZMIN
Were they?

LISA
The way they’re holding each other.

NINA
I don’t see it.

LISA
Look how close they were. Breathing on each other until they stopped. Oh, yeah, there is no doubt. They were very much in love.

(A flashback: The couple, ED and CARSON, come alive. CARSON in bed. ED moving around.)

CARSON
Come to bed.

ED
I’m coming.

CARSON
Did you lock the window?

ED
Yesss. I always lock the window.

CARSON
Did you lock the window tonight?

ED
I said I locked the window.

CARSON
Ok. Ok. Don’t get bent out of shape.

ED
I’m not.

CARSON
Are you sure I’m the one you want to spend the rest of your life with?

ED
I’m sure.

CARSON
Are you sure you’re sure?

ED
Yes.

CARSON
I’m sure too.

ED
Let’s go to sleep.

CARSON
Ok. Hold me.

(They hold one another.)

CARSON
Our life is good.

ED
I think so.

CARSON
Me too.

ED
You were really good at Trivial Pursuit tonight.

(But CARSON is asleep. ED closes his eyes. Light shift. They are dead again. The CRIMEFIGHTERS and LISA sigh.)

LISA
It makes you think.

SALLY and JAZMIN
Yeah.

LISA
Oh, well.

NINA
What’s wrong with me? I don’t feel anything.

SALLY
Why did I ever break it off with the Commissioner?

NINA
I think I don’t feel anything.

LISA
I think I’m going to cry.

JAZMIN
I’m going to be late to my date. But I ran out of fabric softener. Should I go get the fabric softener and be a little later and then carry it around on the date? Or should I just go without it and have clothes that aren’t as soft?

LISA
I can’t stand this.

NINA
Does Dr. X hate love? I think I hate love to. Do I? Is that possible? I am just like the Doctor, deep down or even on the surface too? I look at them and I don’t care. I am empty.

SALLY
I think I’m going to call the Commissioner and say we should give it another shot.

LISA
I got to go.

JAZMIN
Are you going?

LISA
I got to go. I can’t wait another second. I’m sorry. I have to go.

(The CRIMEFIGHTERS watch her go.)

JAZMIN
Where are the body bags? I can’t look at these anymore.

two more explanations of WGA strike

http://www.youtube.com/watch?v=PzRHlpEmr0w

http://www.youtube.com/watch?v=8a37uqd5vTw

The other side is really unsupportable, isn't it?

more on Isherwood, thanks to JJW for pointing it out

http://www.huffingtonpost.com/robbie-baitz/all-the-views-fit-to-prin_b_72637.html

open letter to the internet and those who try to push it on me

Stop making new funny/interesting/important videos available on
youtube. I can't watch them at work and I won't watch them at home.

Sincerely,
Adam

P.S. Same thing with podcasts.

Local Story by Kristen Palmer in L.A.

Tickets now available:

http://www.brownpapertickets.com/event/24219

The most important question of our times

Do you own all of my published work?

http://www.amazon.com/by-Adam-Szymkowicz/lm/R3K2ERA2M01VQ1/ref=cm_lmt_dtpa_f_1_rdssss2/105-7949491-4188433?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=listmania-center&pf_rd_r=17PM0RSTW3X5BGFXZCD2&pf_rd_t=201&pf_rd_p=253462201&pf_rd_i=0822221365

free music from genius Kyle Jarrow and his friend who I don't know

http://www.hoteluniverse.org/krakow.html

insight from Marisa

But writers today may see no benefit in continuing to fail toward success as playwrights when an easy living as a writer on a television series seems within reach. Young writers who win some acclaim for a first or second play will probably continue to head west before they have had time to develop, which means the theater is potentially losing important voices before they mature. -Charles Isherwood I read a fair number of NY Times reviews, and it's no secret to the theatre blogging community that Charles Isherwood isn't, exactly, the most supportive of critical voices in the realm of new plays and new/young playwrights. I can't defend the validity of his criticism first hand (I'm not seeing those productions), but you have to acknowledge the culpability of the NY Times of driving talented young writers into the warm and moneyed embrace of acceptance and a fat paycheck on the other coast.

blog of note from Callie

I’ve come to realize as an artist, my brain is frequently negotiating its way around impulses and ideas that are difficult to articulate, but that there is something gained in the attempt at articulation. And the more I engage publicly in discussions on the big issues, the more I am convinced that a hesitancy to and even lack of skill in contributing to these conversations is one of the main reasons women are not produced more. and But back to women playwrights in general. The hopeful thing is, there is much ground to be gained and so we can steer the discussion. We have reviewers at the New Yorker and the New York Times taking women like Theresa Rebeck to task for writing watered-down Mamet. As a woman audience member, I was struck by the deft way she threw light on the complexities of female family relationships and obligations in caring for elderly parents in MAURITIUS. Rebeck hit such perfect notes of the sacrifice and despair and fear and entitlement and resentment shared by the sisters in the play. Not one male reviewer parsed those issues out of her play.

support the Writers Guild, Sign the petition

http://www.petitiononline.com/WGA/petition.html

meme

Joshua tagged me on this: “Find a song that inspires you to write something, whether it gives you an idea for a script or just puts you into a better frame of mind. AND/OR (don’t you love choices) peek into the lyrics and find a stanza that sums up the theme of whatever script you’re working on. It’s quite uncanny how the two circumstances go together. If possible, post a video of the song to really get people into the mood. (Yep, I’m aware of the irony of using Internet clips during the pissing contest. I like irony as much as bitchiness.)” I'm going to go with what I'm writing currently (Open Heart) and the Song The Damage in your Heart by Weezer. Hear it here. One more time I have crossed the line Now you won't be mine Anymore. One more dream Vanished up in smoke Now I have no hope Anymore. Let it go The damage in your heart Let it go The damage in your heart I can't tell you how the words have made me feel I can't tell you how the words have made me feel the rest of the lyrics here. K always makes a mix cd for her cast to give them source info for the play they're working on. It's a cool practice. I think if I did that however, they may not understand why I choose the songs I choose. Of course, this one is obvious. Also, except that the play is literally about hearts, these lyrics are pretty much thematically related to every play I've ever written. Almost. or at the very least, the ones i like most. I also like Paul Simon a lot. and I've written a lot while listening to the Mighty Mighty Bosstones, especially in the first 5 years of writing. also there is this. music by isaac butler, lyrics by me.

and

Go see 1001. If you miss it, you will regret it.

stagehands strike

http://www.nytimes.com/2007/11/10/theater/10cnd-theater.html?_r=2&hp&oref=slogin&oref=slogin

new scene, first draft as always

9 (NINA and LISA scour the streets in full Crimefighter getup. Normal city noises.) LISA There aren’t any accidents. NINA What? LISA No one is shouting at me. NINA Why would they shout at you? LISA Right. I mean I guess it’s this mask. They think I’m one of you. So they look but they don’t stare. They don’t run red lights or walk into passerbys. Because I’m a known quantity now. A Crimefighter. I can protect them. NINA Yes. LISA It feels great. I feel free. No one told me being anonymous was so much fun. NINA It’s one of the secrets of being a crimefighting hero. LISA What are the other secrets? NINA Oh, you’ll learn soon enough. Lots of free drinks. Cutting in line at the movies. LISA That already happens to me. NINA Oh. LISA But now it will be because of what I do instead of what I look like. NINA Oh. LISA No more men for me. NINA No? LISA How do you do it? NINA Oh, you get used to it. LISA I mean, there have been men? NINA Oh, sure. Sure. Well, no. Not in a long time. And honestly, I don’t miss it. Or rather, the job has taken over for providing me with that excitement. And there’s nothing that beats crimefighting. I don’t care what kind of sex you’ve had. LISA I’ve had lots of kinds. NINA We all have. Well, I haven’t, but you can’t go by me. I mean actually, the thing about me is, and please don’t say anything to the others— LISA I won’t. NINA The thing is, ever since my run in with Dr. X, well, it’s all I can think about. I can’t stop thinking about the doctor. Day and night. When I’m brushing my teeth. Even when—you know. LISA Oh. NINA Dr. X is just so exciting. And wrong. So exciting and wrong. I think the other girls have an inkling. Because I—I let him get away. I didn’t mean to. I paused. If you know me, you know I’m not someone who ever pauses. I run into any situation, burning building, shark infested pool without a thought. But I saw Dr. X and I paused, to the point of stopping even. And it was not revulsion I was feeling. Well, it was, but it was mixed with something else potent. I’m not sure what. They should bottle it if they could ever find a way to collect it. They’d make millions. LISA Who? NINA Exactly. (DR. X enters here as NINA’s memory and they look at each other.) NINA Just stood there, looking at me, with a doctor’s bag and a syringe. Dr. X showed no remorse. Remorseless. Soulless maybe. And it took my breath away. I’m terrified of what might happen the next time I run into the doctor. You have to be ready at all times to kill if necessary. But when I think—I’m not sure I could do it in this case. I dread our next meeting and at the same time I look forward to it more than anything in my entire life. You know what I mean? LISA Yes.

what's going on with isaac

go here to listen to the song isaac wrote, lyrics by me.

http://parabasis.typepad.com/blog/2007/11/whats-goin-on.html

strike blog

http://unitedhollywood.blogspot.com/

scene 2, first draft as always

2

(A hospital. The CRIMEFIGHTERS become NURSES. LISA in another area being examined by PETER, a heart doctor.)

NURSE 1
Is she in there?

NURSE 2
She’s in there with him.

NURSE 3
Lucky girl.

LISA
Thank you for seeing me so soon.

PETER
It’s no problem.

LISA
I’m sure you must be very busy these days, what with the rash of heart crimes.

PETER
Lot’s of people worried about their hearts. Lot’s of people sleeping alone. People who don’t even have to sleep alone. Don’t even want to. Lots of fear.

LISA
I was scratched.

PETER
You were?

LISA
By a syringe.

PETER
So you’re concerned.

LISA
I have concerns.

PETER
Well, let’s take a listen.

NURSE 1
He listened to my heart once.

NURSE 2
He did?

NURSE 3
He didn’t.

(LISA opens her shirt. PETER takes the stethoscope and listens to her heart.)

NURSE 2
Was the stethoscope cold?

NURSE 1
Only a little.

NURSE 3
Were his hands warm?

NURSE 1
He brushed my arm with his fingertips. They were like butterflies.

NURSE 2
Did you kiss him?

NURSE 1
I was too afraid. There was his breath in my ear. Pounding in my throat. I remember, he said—

PETER
Your heart is beating fast.

LISA
Is it?

PETER
You need to relax.

NURSE 1
He listened for a long time but when he was done, he told me I could go.

NURSE 2
And you went?

NURSE 1
There was nothing else to do.

PETER
(to LISA)
You have a strong heart. There are other tests I can run if you want but from what I’ve heard your heart is strong and capable of many things.

LISA
Thank you. That’s nice to hear.

PETER
Not everyone has such a strong heart. My own heart. It was damaged once and has never quite been able to recover. It’s a muscle you know.

LISA
I know.

PETER
And it atrophies if you don’t use it. Sometimes I don’t use mine as much as I should. Yours, though. You can be as active as you want. A heart like that.

LISA
Thank you, Doctor.

PETER
Call me Peter.

LISA
Thank you, Peter. (pause) There’s something else I wanted to ask you about.

PETER
Oh.

LISA
Sorry.

PETER
No. No. You heard about my experiments. It’s hard to keep anything a secret. I tried to keep it out of the papers, but I guess in the current climate—People are afraid to sleep together even when they shut their windows and lock their doors. My artificial heart would of course protect them. We could all sleep with our lovers without fear. We wouldn’t fear to love.

LISA
You have a lover you’re afraid to love?

PETER
No, no. With this heart? No, not me.

LISA
There’s not anyone?

PETER
No, not now. Not anymore. Not anyone.

LISA
But I’m sure, a man like you—

PETER
Please. I don’t want to talk about it.

LISA
Sorry. I just thought--

PETER
You were asking about the artificial heart. I’m going to be the first test subject. I can’t do the operation myself of course. But if the heart works on me and my body doesn’t reject it. . .

LISA
But doctor, can your heart . . . I mean, the artificial heart—can—Can it love?

PETER
There’s only one way to find out.

LISA
But what if it keeps you from ever loving again?

PETER
That’s the chance I’ll have to take, for science. For the hope of mankind.

LISA
Don’t you want to love again?

PETER
Me? Oh, no. Not me.

LISA
Why not?

PETER
My heart can’t handle it.

(LISA kisses him. A sound of a heart beating fast can be heard.)

LISA
It handled that OK.

(PETER looks shocked)

NURSE 1
I could fall in love with that doctor.

NURSE 2
Me too.

NURSE 3
In another life.

PETER
Well, I think we’re done here. I have other patients. You, I’m sure have other—

LISA
Come out to dinner with me.

PETER
Well—I—I don’t normally—with patients.

LISA
Have dinner with me.

PETER
It’s not—

LISA
Come out to dinner.

PETER
OK, Yes. OK. Yes. I would love to join you for dinner.

Krugman on healthcare myths

http://www.nytimes.com/2007/11/09/opinion/09krugman.html?em&ex=1194757200&en=20ebaac94b8d4d4c&ei=5087%0A

WGA

Ken Levine on the strike:

http://kenlevine.blogspot.com/2007/11/12000-man-march-on-pico.html

give free rice

http://www.freerice.com/index.php

I got up to level 46 before falling back down

early morning

I worked some on this new play today that I was calling The Heart Stopper but now I think is called Open Heart. I like what I'm doing. I feel good about it and the writing is coming slowly which I'm actually enjoying. It's more like laying bricks than letting the play fly out of me. Food For Fish was like that a lot of the time and the play that resulted is a play I'm proud of so I hope it will be like that. Right now it feels like it will be the best thing I've ever written, although I have to admit I often feel that way at this point in the process. Otherwise, why would I continue? Two shows that I recommend: Page 73's production of Grote's 1001 Peter and Jerry by Albee at Second Stage

the problem with chuck

http://www.dailykos.com/storyonly/2007/11/6/85342/1863

the WGA and what the strike is about

http://web.mac.com/ziboskwitz/iWeb/Cooper%20Family/Home/EF3D1C1D-C652-4650-8BB1-FFC2E383EF75.html

2

After a day of watching a reading of Herbie: Poet of The Wild West and then some scenes from Open Minds, I discovered something my subconscious mind may already know. First of all, they were written 3 years apart and are very different kinds of plays but they both have a character named Herbie in them. (I also have 3 plays with characters named Bobby--3 very different Bobbys.) And the Herbies are different too. And the plays are very different. But, I wasn't aware that they had similar lines. From Herbie, a scene between him and his mother: MARY Well I guess you have to kill him, then. Who’s my soldier? HERBIE I am. MARY That’s right. Just, um…shoot him in the back, OK? Don’t let him take a shot at you. From Open Minds: MOTHER Not quite yet. Oh, you’re such a good boy. Stand up straight. Now aren’t you a smart looking boy? Who’s my soldier? HERBIE I am. MOTHER That’s right. You are, aren’t you? Now what are you going to do when people come to visit? Now in one way I have no idea where this phrase Who's my soldier came from. But also, apparently my subconscious thinks this phrase is funny. Funny enough to use twice. The readings both went well yesterday. We'll see what happens next.

click to feed rescued animals

http://www.theanimalrescuesite.com/clickToGive/home.faces?siteId=3

To Put you in the mood for my monday reading

on the humanity front

I know waterboarding is torture - because I did it myself By MALCOLM NANCE "One has to overcome basic human decency to endure causing the effects. The brutality would force you into a personal moral dilemma between humanity and hatred. It would leave you questioning the meaning of what it is to be an American. " h/t Mirrorup

in addition to that addition

Go see 1001. I saw it last night and it's fantastic!

in addition

First Flux Bar Series this Monday You are invited to the first performance of our Bar Series, a selection of short scenes from various plays that have been explored at Flux Sundays. It's a chance to see the work we are doing as well as kick back and have a drink with us. Monday, November 5, 7pm Jimmy's No 43 43 East 7th St (2nd and 3rd Ave) http://www.jimmysno43.com/ ADMISSION FREE!!! Featuring scenes from: Erin Brown's Narrator #1 Directed by Angela Astle With: Michael Davis, Kitty Lindsay, Brian Pracht, Christina Shipp August Schulenburg's Angel Juice Directed by Kelly O'Donnell With: Tom Del Pizzo, Candice Holdorf, Marnie Schulenburg, Jane Lincoln Taylor Adam Szymkowicz's Open Minds Directed by John Hurley With Jake Alexander, Tiffany Clementi, Felicia Hudson, Joe Mathers, Jason Paradine, Isaiah Tanenbaum, Cotton Wright ALSO SAVE THE DATE FOR THE FIRST IN OUR POTLUCK READING SERIES Pretty Theft By Adam Szymkowicz Sunday, December 2 FREE!!! The potluck reading series is a reading of a full-length play, where members of Flux bring their favorite dishes

MONDAY at 6

Monday, November 5, 2007, 6:00 PM Herbie: Poet of the Wild West Free reading of a play by Adam Szymkowicz Directed by Evan Cabnet. Starring Matt Stadelmann, Audrey Lynn Weston, Jeff Biehl, Heidi Armbruster, Guy Boyd, Arthur Aulisi and Barbara Pitts. at the New York Performing Arts Library at Lincoln Center. Bruno Walter Auditorium, The New York Public Library for the Performing Arts 40 Lincoln Center Plaza New York, NY 10023-7498 (use Library entrance at 111 Amsterdam Avenue, just south of 65th Street.)

Blue Box Productions presents Sticky@ Bowery Poetry Club Friday, November 2nd, 7-9 pm* all new 10-minute plays and music with cabaret star Jeffrey Marsh 308 Bowery, b/w Houston and Bleecker $8 at the door, $6 if you come by 6:30 pm to see the legendary Taylor Meade This week's line-up includes plays, performances and direction by : Ali Ayala, Ethan Baum, Sheila Callaghan, Jody Christopherson, Jennifer Elliot, Libby Emmons, Laura Heidinger, Neil Hellegers, Jeannine Jones, David Marcus, Joe McLaughlin, Kara Ayn Napolitano, Michael Niederman, Tlaloc Rivas, Stacy Rock, Ann Rooney, Jacob Saxton, Mary Sheridan, Joshua Skidmore, Karen Sours, Adam Szymkowicz, Eve Udesky, Ari Vigoda because anything that can happen can happen in a bar* we'll be Sticky every Friday in November: November 2, 9, 16, 23, 30 Check the website for full details and listings of what's up each night: http://www.blueboxproductions.net/

more on the plight of the wright

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