Monologue Monday

Monologue Monday: Vicky from Cinema Limbo by Wade Bradford

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Audio here.

Hello everyone and welcome back for a brand-new Monologue Monday! Today’s author is Wade Bradford. A bit about Wade in his own words (taken from his site):

Wade Bradford was born and raised in the often wet and sometimes windy state of Washington. At the age of 19, Wade fell in love with a girl who lived out-of-state, so he moved to the often sunny and sometimes shaky state of California.

He earned a Masters in Literature from CSUN. Wade currently teaches English at Moorpark College. In 2011, his first picture book, Why Do I Have to Make My Bed?(edited by Red Fox Literary agent Abigail Samoun) was published by Tricycle Press/Random House. In a starred review, Publishers Weekly said of the book: “This book deserves a place on the shelves next to the Magic School Bus series.”

He’s also published several other books and has written quite a few plays, some of which are available royalty-free, including Cinema Limbo. This play takes place in a movie box office on December 24th and veers from getting-to-know-you to kissing within 10 minutes. The full play is available here.

Here is Vicky’s monologue:

VICKY: Well, you have to understand. I’m the kind of girl who takes pity on poor pathetic geeks who have never kissed a girl. Let’s just say that I like someone who is easily trainable – someone who will truly appreciate me. It’s sad, I know. But hey, I’ll take an ego boost wherever I can get it. Unfortunately, these adorably nerdy boyfriends get boring after a while. I mean, I can only listen to their computer games and mathematic equations for so long. Of course, Stuart’s different in a lot ways. He’s terrible at math, for one. And he’s pretty clueless about technology. But he’s a comic book sort of geek. And a hopeless romantic. He’s pre-occupied with holding my hand. Everywhere we go, he wants to hold hands. Even when we’re driving. And he’s got this new pastime. He keeps saying “I love you.” It was so sweet and wonderful the first time he said it. I almost cried, and I’m not the kind of girl who cries easily. But by the end of the week, he must have said “I love you” about five hundred times. And then he starts adding pet names. “I love you, honey bunch.” “I love you sweet-heart.” “I love you my little smoochy-woochy-coochi-koo.” I don’t even know what that last one means. It’s like he’s speaking in some brand-new, love-infected language. Who would have thought romance could be so boring?

You can also find  it here. For a same-sex audio version of the full play, click here.

There’s flexibility in how one can play this. Is Vicky more of an ingénue who fears committed relationships and does this to escape them? Or is she some femme fatale preying upon naïve and desperate guys? Is she simply coquettish? Or none of the above? Is this character an archetype or a person? Let’s see:

A

 

B

 

C

 

D

 

E

 

F

 

G

 

H

 

I

 

J

 

K

 

L

 

M

 

N

 

Well, I hope you enjoyed this monologue. You can check out Mr. Bradford’s blog here.

Also, this blog is full of unknown playwrights,  Monologue Mondays, and Theatre Horror Stories. Have a good one!

Current Playwrights, Female Playwrights

Megan Ann Jacobs

Editor’s note: This post was written by our guest blogger, playwright Steven G. Martin

In this post, we profile Indianapolis-based playwright Megan Ann Jacobs!

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Our playwriting hero, Megan Ann Jacobs! 

According to her website, Megan is “a quirky, nerdy, optimistic story-teller, always on the hunt for a new creative outlet.” She works is the property manager of the upcoming project in Indianapolis, which she calls “a truly legendary undertaking taking place in the former Coke-a-Cola bottling factory.”

We’ll be looking at one of Megan’s plays, “aMUSEd,” which was produced at the Indy Fringe Festival.

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A pretty cool poster.

Scene: A quaint New York City apartment

Time: Present

An older woman named Anita is asleep at her typewriter. Sebastian, a man in his 20s, wakes her. She is upset at her lack of progress in writing a book, while he is more upset that she is in poor health. They both know she will die soon, and the book will go unfinished. Anita encourages Sebastian to move on.

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Nate Press and Madeline Bunke in aMUSEd.

ANITA

You are now and will forever be my muse. But I can’t always be your instrument. I need you to promise me you will not let our story die. It’s the best one yet.

SEBASTIAN

Exactly, it’s the best one. I thought it for you, not someone else.

ANITA

Then keep thinking it for me. And when you are done, look for me on the pages. I promise you I will be there. Please, find this girl and finish our tale. Promise me.

SEBASTIAN

(It takes great strength, but he concedes.) I promise.

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Thomas Sebald and Anastasia Wild in aMUSEd.

And just like that, Megan catapults the audience into a world where Greek mythology is very much alive and literal, and modern-day authors reap the benefit.

A young lawyer named Nikki rents Anita’s former apartment, which several people believe to be haunted. She meets Sebastian, who insists she leave – guess who’s been doing the haunting to scare away the previous tenants? Nikki calls the police, but no good comes of it. Sebastian tells Nikki that he is a muse. He plans to get her to leave the apartment, just like he forced out the others who came after Anita.

Nikki’s problems don’t stop with Sebastian, either. She recently called off her wedding with Ryan and has moved out of the apartment they had lived in. The relationship is on hold, although Ryan supports Nikki … but then Sebastian interferes. Through a series of text messages and phone calls, Tyler – the apartment building’s landlord – is caught by Ryan in Nikki’s apartment while Nikki herself is in a bathrobe.

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Madeline Bunke.

RYAN

Who was that?

NIKKI

My landlord.

RYAN

Why was he here?

NIKKI

I honestly don’t know how it happened.

RYAN

Why was he holding you…in your robe?

NIKKI

He was crying, and he just sort of grabbed me. The robe was just an unfortunate circumstance.

RYAN

You made your landlord cry?

NIKKI

No, no! I was helping him get over his ex.

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Josh Scheibe and Madeline Bunke.

RYAN

Helping him how?

SEBASTIAN

Yes, helping him how?

NIKKI

I know it looks bad, but come on. You can’t really think-

RYAN

Well…

Ryan is almost assuaged, and he and Nikki begin to make out, which insults Sebastian. Sebastian threatens to hurt Ryan, which causes Nikki to call out Sebastian’s name and … well, more complications ensue. Ryan leaves Nikki in her apartment, not quite as supportive.

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Jane Preston & Thomas Sebald

Nikki breaks down and accuses Sebastian of making life even more difficult after the recent death of her twin sister.

NIKKI

Some people believe twins have a special bond, and, at least for us, that was true. Year after year my sister and I would make these crazy plans to move out together, go to college, and find our respective prince charmings. We understood each other in a way that didn’t require words. She knew all my secrets and I knew all her dreams. Then we grew up. Ryan proposed to me. I was going to be moving out right after the wedding. Susan was my maid of honor. But two days before the wedding, I was getting ready for bed when she called out to me: “Nikki.” It was the one word she could say perfectly. “Nikki,” she called. I got out of bed and walked over to her. She pushed herself up and kissed my forehead. It must have taken everything she had to do that. I told her I loved her too. Then I went to sleep…just like that…It was as if she knew this was goodbye. When I woke up she was gone.

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Thomas Sebald.

SEBASTIAN

Nikki, I’m sorry. It’s never easy-

NIKKI

And do you know what the worst part was? I slept through the night. I didn’t wake up in a hot sweat. I didn’t have a nightmare. There was no cold chill. I kept sleeping. It wasn’t until I went to wake her the next morning that I knew. I was so close. Maybe if I would have woken up, I could have done something.

But Sebastian understands loss, too, after being a muse for dozens of artists throughout the world.

SEBASTIAN

Losing someone is awful enough, trust me, you don’t want a pestilent timer ticking in your ear,

reminding you of what little time you have left with the ones you love.

NIKKI

Nobody knows how much time you have left.

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Thomas Sebald. 

SEBASTIAN

I do! Do you want to know the real reason the muses left this world? It was because they could not stand the pain of losing companion after companion. For years and years they harbored this pain, but eventually they could not bear it anymore. I was the only one stupid enough to take one of their roles. They warned me not to go, but I didn’t listen. I wanted to share my stories. So, I came up with a plan. I begged the gods for a tool, something that would spare me the pain of the other muses. Chronos was the only one to step forward, and he presented me with this watch. It would attach to the life of my instrument, and it would tell me how long they had. I would stay with my companion until my watch told me that they had ten years left. Then I would leave. No exceptions. But it still hurt. It put a timer on everything and everyone. But at least I didn’t have to watch anyone die.

 

Nikki and Sebastian fight about who has had it worse, but Anita’s ghost appears during the aftermath. She points out to Sebastian that Nikki has the drive and intelligence to be a writer. Sebastian agrees that he probably is meant to be Nikki’s muse, and he attempts a reconciliation by threatening to tell her how long she has left to live.

Nikki writes a draft to the ending of the book, which she finds therapeutic as it allows her to let go of the past. She questions whether Sebastian’s watch robs him of the future and the time he spends with the artists he inspires. 

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Melissa Wild and Allen Pujankauski.

SEBASTIAN

I need it though. Otherwise, I won’t know when to leave.

NIKKI

Exactly, you won’t know.

SEBASTIAN

But I have a rule-

NIKKI

Since when do you care about rules? And don’t forget, you made an exception.

SEBASTIAN

And I paid the price!

NIKKI

But you have some great memories from those years, don’t you?

SEBASTIAN

Of course.

NIKKI

Would you trade those for anything?

SEBASTIAN

Not a thing.

NIKKI

Then what are you waiting for, Sebastian? Break the watch and embrace the fact, that for once, you won’t define the life of those you love in minutes and hours. You can start defining them in memories. And we can start right now, together.

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Anastasia Wild, Allen Pujanauski and Thomas Sebald

SEBASTIAN

Together?

NIKKI

If you do it, I will help you. We can finish this book together. Our first memory in the now. Come on, Sebastian, break the watch.

Sebastian stares at his watch. He slowly takes it off his wrist. With one last encouraging look from Nikki he grabs the frying pan and smashes the watch. He stands almost shell-shocked.

NIKKI

Well, how do you feel?

SEBASTIAN

I’m still here…so Chronos cannot be too livid with me. I feel…good…great, possibly even-

NIKKI

Grand?

SEBASTIAN

Let’s not get sappy.

There’s no time to get sappy. Sebastian dislikes the draft because Nikki has killed Mr. Sparkles, the family pet, thinking “it was a good symbol for change.” Although they disagree on that point, they realize how the draft of the novel will end, and both are happy.

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Lori Morse and Josh Scheibe

There are further complications as Sebastian tries to fix the rift between Nikki and Ryan. But through some well-placed phone calls – including 9-1-1 – all the love stories end well, including the one between Tyler and Officer Kasey.

RYAN

Does this mean we can finally set a new date for our wedding?

NIKKI

How about today?

RYAN

What?

NIKKI

Yeah! We can go to the court house right now! We already have everything we need, what are we waiting for?

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Olivia Gonzales and Nate Press.

RYAN

Are you serious?

NIKKI

Definitely.

 

RYAN

I’ll have to check my calendar, but I think I can squeeze that in.

SEBASTIAN

A wedding! Tonight!? But that gives me almost no time to think up a toast!

Sebastian runs to the desk and starts writing desperately on a piece of paper.

RYAN

Does that mean you are going to move in with me?

NIKKI

I’ll move in tonight!

SEBASTIAN

And we’re moving?!

Sebastian runs into the room and grabs a suitcase and starts packing his books.

RYAN

We are finally moving forward again. Are you sure you are okay? I don’t want to rush you. Your sister-

NIKKI

Couldn’t be more proud. You were right, Ryan. Moving on doesn’t mean moving away from her. She moves with me.

Which nicely sums up “aMUSEd” and its main theme: Things change. Nothing is forever, but nothing is entirely lost.

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Thomas Sebald, Allen Pujanauski and Melissa Wild. 

1) How did you start playwriting?

Writing and theatre have always been two cornerstones in my life. However, it wasn’t until college that I moved to combine the two and create a play. I didn’t go out to write a play, rather, an idea struck me as I looked a picture…the story that came to mind was begging to be told on the stage. I don’t think I had much choice in the mater.

2) What are your influences?

This is quite the question, as I believe influence is found everywhere. It’s in the people I know. I’m consistently inspired by moments, memories, loves, work, struggle, fear- everything can be an influencer if you are prepared to listen. I do make a conscious effort to surround myself with art of many types, as this has helped me expand my horizons and perspective.

3) What is your most memorable production and why?

In one of the last performances of the world premiere of “aMUSEd,” after the first act, there was a power outage. Two of the actors were bound for Chicago after the final weekend, so rescheduling was not an option. So for the second half, they performed in candlelight in the intimate venue. Lucky for me, there happens to be a huge storm in the show at that point. (What are the odds!) The landlord even comes up to check on the outlets, so, the actors ad-libbed a bit as needed and the show continued! Truly was the most interesting combination of incredibly horrid luck and divine intervention.

4) What is your least memorable production and why?

Perhaps, it’s simply because I’ve only had a handful of productions of my work, but they are all memorable to me in some shape and form. It does get a bit monotonous after you’ve seen it 6+ times in a matter of two weeks, but I think one of the beauties of live theatre is that every show is nuanced with differences.  As an actor, director, and playwright, this is one of the most incredible things to witness.

5) What are your writing habits like?

I try to write at least a little bit a week, even if that means editing pieces. The more theatre I see, the more inspired I am to write. I’m hesitant to call any of the ways I write ‘habits,’ because I feel consistency is something I lack. Some days I stare at the screen for hours and fail to produce a page, other days I knock out a first draft in one sitting, and there is, of course, the times my laptop never even opens despite my good intentions, because I can’t get my eyes off of my current Netflix guilty pleasure. I have found that I work better when I have a deadline, so classes, readings, and submission opportunities act as a huge motivator for me.

6) What advice do you have for new playwrights?

Get your butt in the chair. The chair is at it’s most intimidating when you are first starting your piece. It stares at you, mocking you. The only way to silence it is to take it’s *insert accurate adjective for our own chair here* form and sit upon it. Even writing poorly for an hour is better than not writing at all. I think we are so conditioned to be afraid of failure and we worry that we will ruin the peaceful whiteness of the blank page with our words. Ultimately, any words, even ones that you lament about later and revise, make that paper more interesting than it was before. There are no perfect plays. There are no perfect playwrights. In fact, the only thing successful playwrights have in common is the mountain of ‘failure’ that now is the foundation of the mountain where they sit.

7) Who are some other writers you feel should get more attention?

I’ve recently had the pleasure of coordinating a table reading for Marcia Eppich-Harris. While she is still developing her first piece for the stage, that’s a name you will want to look out for, as she has talent.

8) What are the common themes in your work?

I am consistently drawn to the dramatic-comedy, where I can explore a heavy-theme (such as loss in “aMUSEd”), while still bringing the audience laugher. Other than that though, I’d say mental struggles such as anxiety, trauma, and depression always seem to find a way into my writing. Human behavior is complicated and each person is motivated by a brain full of individual experiences and complex chemical reactions and not enough people are willing to tackle those intimate issues and vulnerabilities.

9) What is one thing you wished you knew now, that you didn’t know starting out?

That once a play has a production, the options for submitting it into competitions is all but eliminated. That was one thing I regretted about the immediate success of “aMUSEd” and its ability to see the stage. I am still honored and would not take those productions back for anything, but I do wish that I would have submitted to contests before accepting production contracts. Now it is stuck in the limbo of being too accredited for contest entries and not accredited enough to get through to gain agents/publication/or most opportunities at a regional theatre.

10) Can you please tell us about Indy Fringe?

Indy Fringe is a 15-year-old organization that focuses on providing opportunities for artists of all kinds to perform or see their work performed. It has several festivals throughout the year, the most popular being the Indy Fringe Festival, which is a reasonable pay-to-play uncensored opportunity to get your work performed. It’s a fun-filled 10-day festival that draws attention from across the country. During the rest of the year, Indy Fringe provides a location at a reasonable price to work on your pieces and host performances. It also makes it its mission to bring in traveling acts to further raise the artistic credibility of Indianapolis.

11) What’s a question you’d like to be asked? Go ahead and answer that question. 

How could you get in touch with me? You can find out more about me and my shows at www.meganjacobstheatre.com. There is even a place where you can contact me directly!

Link Dump

aMUSEd

Wisconsin audition notice

Milwaukee production

Milwaukee review

Review of another Milwaukee production

Another Milwaukee review

Indy production

Indy

DivaFest in Indy

Review of the play

Dinner show near Sheboygan

A really interesting review

Coping with Autumn

Staged reading

Staged reading 2

 

The Playwright

Her IMDB page

Her personal/professional website

Her demo reel

Her New Play Exchange profile

Thanks again to Steven G. Martin for this guest post. 

Posters/Wednesday Link Dump

Wednesday Link Dump

Howdy. It’s Christmas and I’m half-dead from the flu, but the show MUST go on. This week’s link dump is brought to you by theatre posters of Aphra Behn plays.

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The Rover, somewhere in Canada.
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Here is a play ABOUT Aphra Behn and Nell Gwyn. If you’re gonna be a female playwright, you may as well be a libertine.
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The Emperor of the Moon (in Miami)
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Toronto. The Rover.
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That time Aphra Behn went on Indiegogo.
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2019 must’ve been The Rover’s year.In a hidden room.

 

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The Rover

So I’m super-duper sick. There are plenty more Behn osters out there, but this week you’ll have to find them yourselves. So sick.

Playwright Chiara Atik really likes TripAdvisor

The year 2011 argues for minimalism in set design

Playwright Frank Wedekind got in trouble a lot

The Fall of the House of Usher play cut the story’s twists  ¯¯\_(ツ)_/¯¯

The Building Blocks of Consent

Groundhog Day, the Musical is a thing

The Broadway costumes of Sutton Foster

A play about indoor soccer

Some info about Aphra Behn

More Aphra Behn

Even more about Behn

UK theatres still suck at female playwrights getting produced

Sexism in theatre

15 female playwrights you should know

The lot for female playwrights worsens

Polish playwriting knocks the directors down a notch or two

An Experimental Production of Stanisław Wyspiański’s Daniel

Polish plays on the British stage

Contemporary Rwandan theatre

Burundi: Theatre & Reconciliation

Traditional Thai performing arts

Keeping traditional theatre alive in Sierra Leone

A theatre started by Sierra Leoneans in DC

Theatre in Sierra Leone in 1980

Liberia gets a private theatre

A Tongan theatre group

A young Tongan playwright doing well

Tartuffe goes to LA

African Americans on Broadway

The father of Chicano theatre

The rise and fall of Dadaism

And in this week’s foreign cover version…here are Indonesians Sandra Sanger, Marini and the Steps with Angel of the Morning…

 

 

Posters/Wednesday Link Dump

Wednesday Link Dump

Hello everyone! This week’s link dump features reviews of various stage incarnations of Dickens’ A Christmas Carol. It is brought to you by posters of the same.

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Scary AF in Texas
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Dallas is still creepy…
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Still in Texas
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When AutozoZone sponsors your Xmas play
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Winston-Salem
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At Milagro…
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Cleveland.
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Kingston, Ontario

On Broadway

Magic at the Old Vic

New Brunswick

A first-timer reviews an Austin production

With a twist

Meanwhile in DC

An immersive carol

The immersive dinner theatre version

Green Bay

In the LBC

Set in the 1940s

Haunting and immersive in Masssachusetts

In Sacramento

The hip-hop version

Gilbert & Sullivan Christmas Carol in Hawaii

A Christmas Carol – CANCELLED

Orson Welles’ Christmas Carol

A Cape Town Carol

Dickens’ great-great-great grand-daughter talks Xmas Carol

Surviving seven different LA productions of the show

A super mega-racist Christmas Carol in Utah

A one man Carol

Meanwhile in San Diego

In Dorset…

This New Mexico production closed 2 weeks before Xmas. Scrooges…

An Adobe Christmas Carol

A limp Christmas Carol

Satire in SD

In Maryland

A Xmas Cuento Remix gets a mixed review

Same play, different town

And that wraps up our roundup of reviews of A Christmas Carol. And for this week’s edition of nihilistic Christmas covers, here’s The Manhatten Love Suicides with Grandma Got Run Over by a Reindeer:

 

 

Posters/Wednesday Link Dump

Wednesday Link Dump

Hello world and welcome back to Unknown Playwrights and the Wednesday Link Dump!

This week’s link dump is brought to you by posters of Don Zolidis‘ hilarious comedy Game of Tiaras.

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From Wyoming.

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Nifty little poster set from Houston.
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In Georgia. The kind of poster you just wanna stand next to and get your picture taken.
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The Czech Republic.

 

Actors in Utah show walk after alleged sexist and racist behavior (with an AWESOME photo of the set vandalism)

The same basic story, except at a theatre blog and they scratched out the naughty word

Aristotle and his elements

How to get drama students to answer questions in class. Good luck!

Western meets Bollywood (only in Auckland)

James McAvoy in Cyrano de Bergerac

A play with a cast of 800

A visit to London’s Cervates Theatre

The relevence of a play from 415 BC.

You gotta do your research

When a negative review helps you.

A playwright confronts her childhood and visits The Drama Bookshop.

Apparently there’s a play entitled Seven Methods of Killing Kylie Jenner

When theatremakers get pregnant.

When pop culture becomes high art.

Mozart by way of Cape Town

Pushing the boundaries of the craft in Johannesburg

Why TV is so much more worse than theatre.

The Digital Yiddish Theatre Project is as awesome as it sounds

When you get an Indonesian play named after Satan.

Translating October Fūrin

Translating Western plays for a japanese audience

Tales of the theatre surtitler

Meanwhile in 2014: Should surtitles go?

Exploring theatre translation in Argentina

Breaking into theatre translation

Welcome to the Welsh theatre translation app

Theatre, translation and internships

Catalan drama in translation

The great Don Zolidis tells us the essentials of teaching playwriting

Interview with playwright Sandy Asher

And that’s it for this week’s link dump. In this week’s edition of Korean oldies, here’s a fun version of Washington Square:

 

 

 

Monologue Monday

Monologue Monday: It Came from Texas by Josh Weckesser

Howdy and welcome back to Unknown Playwrights and Monologue Monday!

This is our second monologue from Josh Weckesser. The previous one is here.

This monologue is from a one-act play entitled It Came from Texas. The summary comes straight from the playwright’s site:

SUMMARY:

It Came From Texas is the story of a monster that rampages the country side, eating all in it’s path. This intrepid group of gamblers take refuge in a basement, where they do their best to ignore the world. This succeeds only in so much as the Hate Music will allow, not to mention the Female Overmind. A sci-fi fantasy western with a twist (NOTE: The previous statement is false). Really, it’s about a bunch of people pissing a day away, languishing in each other in the way that only a group of people that knows each other too well can languish.

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Best $4.99 you’ll ever spend!

The monologue itself features neurotic Tim dealing with a super-clingy Beth, who still loves her ex, Jonas.

You can find the monologue on the author’s site.

For more about Mr. Weckesser, please check out our other monologue from him.

A

 

B

 

These are two very different takes on the same material. Hopefully we’ll see more folks using this one.

Thanks!

Posters/Wednesday Link Dump

Wednesday Link Dump

Welcome back to Unknown Playwrights. This week’s all-Brecht link dump is brought to you by posters for Bertolt Brecht’s play Mother Courage and her Children.

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Aussie production, 1992. Did you know Eric Bentley is still alive???
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Polish production, 1968.
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A Mexican production.
Mother Courage poster
Scottish production. A lot of posters use the wagon motif.
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East German production, 1981.
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Brazil, 2014. Still with the wagon. 
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New Zealand, ’14. It’s like that Obama poster and the poster for Private Benjamin had a baby. With Patton watching.
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She’s angry because she’s in Kokkola, Finland.
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Indonesian adaptation from 2013.

 

 

A little bit about Brecht

Shakespeare, Brecht and Galileo

Learning from Bertolt Brecht

Brecht: Contradictions as a Method

Bertolt Brecht: A Literary Life

The theatre according to Brecht

Tales of Mr. Keuner by…Bertolt Brecht

Bertolt Brecht’s plays

The Quest for Bertolt Brecht (I hope it’s epic!)

Baal in New York (hehe)

Kushner translates Brecht

Brecht’s Antigone

Some of his unfinished works.

His literary devices.

There is an International Brecht Society.It has a blog.

In Auckland.

Brecht in Practice

Yeah, I wish high schools would produce Mother Courage, too.

Making the familiar strange

Mother Courage in Cairo

The Caucasian Chalk Circle in LA

A very unusual Brecht-inspired art project in Augsburg.

Lynn Nottage’s adaptation of Mother Courage

Christmas 2014 offered a Bertolt Brecht doll.

Seems they don’t have it now, but maybe if you ask nicely…

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That time Frida Kahlo wrote down the German lyrics to Brecht’s Mack the Knife. It seems the image of Kahlo’s diary is gone, so here it is:

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Kahlo’s diary. 

Speaking of diaries, American playwright David Hansen shares an old journal entry regarding a Brecht play.

Possibly the most arrogant director ever stages a terrible preview for Mother Courage.

BTW, the Guardian’s drama blog was smoking Prozac back in May 2008:

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Don’t bash BrechtWhy Brecht is best and Time for curtain to fall on Brecht all appeared with 8 days of each other. Weird.

That time a high school theatre in Namibia performed Brecht.

And now it’s music time…

German actress-singer with Mackie Messer from 1963:

 

Indonesian singer Ermy Kulit with Mack the Knife:

 

American operatic soprano Angel Blue sings Surabaya Johnny.

 

That’s it for now.