Wednesday, November 5, 2008

One Child Left Behind

Dear Friends and Family,

I don’t know about you, but recently I find myself vacillating more and more between hope and depression, between a sense that we as families and friends, as a nation and as a people, that we have the power and compassion and drive to make things better. That maybe universal health care, nano and solar energy, recycling, sustainable growth and peaceful relations with our neighbors are right around the corner. And that maybe this next election will bring change we can believe in. But then I watch an hour too much of the CNN or read an article too many in the Times and things start to seem really gloomy. I think how we’ve gotten ourselves into a couple of wars, a colossal debt, a recession, how we’ve lost most of our allies, our direction as a nation, Ossama Bin Laden and our sense of responsibility for the tired, poor and huddled masses knocking on our doors. I think how we have an expensive and completely useless arsenal of nuclear bombs and continue to spend more on our military then any other nation in the world, in fact, then several of the most important ones put together and yet still have problems properly equipping and caring for the men and women who join it. Meanwhile the middle class is shrinking, fanaticism is up, tolerance is down, and oil companies are making record profits while teachers and artists are working part-time jobs to make ends meet. And when I think about all this, then I think there ain’t much hope and that this time the ‘you know what’ is really in the air and on it’s way towards the fan.

Now don’t get me wrong, like so many other Americans I have been inspired and engaged like never before by the presidential campaign. I’m proud that I live in a country where a minority or woman can run for the highest office. And I’m even more proud that someone who speaks intelligently, compassionately, thoughtfully and sometimes even inspirationally is once again who we are considering as the type of person we want to lead our country. But I’m scared, too. By the polls, by the reactions, by the lipstick news media, selfishness and consumerism that keeps everyone thinking they have to please a lowest common denominator which may or may not even exist, and even if it does doesn’t anyone believe in the power of pulling people up by giving them not what you think they want but what you think they need? And isn’t it foolish of me to think that anything will change after the election? Won’t these election promises turn out, as usual and once again, to be just that? Once shame on you, but twice shame on me, right?

So as we get into the nitty gritty of how we are actually going to do any of these great ideas, or just forget about them all and focus on having enough cash to buy a new widescreen plasma HDTV with a 100 channels of complete crap, I steel myself for a post-election let down, the slump after the bump, the purge after the surge.

In the moments when my mood and emotions aren’t screaming in my ears at the extremes of hope or depression, I do take solace in one thing. One thing that I can count on. One great relief. And that is that no matter what happens, we will no longer have a ridiculous monkey-child leading our country. So, today I raise a glass to you my dear friends and family, pointed to an uncertain future with a mixture of hope and fear, but with a loud and long sigh of relief for the thought that on November 5th, 2008 we will be a nation with “One Child Left Behind”…


-Kevin


From the Heart,

Kevin Lapin
"Appreciate beauty in all its forms."
"Get stuck in there!"

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Thursday, September 11, 2008

Front Page News, Shanghai SAS

Jesse Long is taking pictures, lots of pictures, at Shanghai American School. In fact, he just finished up at Pudong, and is now on the Puxi campus where he and his helper friend, Kevin Lapin, will remain until next Friday, the 19th. I asked Kevin what it was exactly that he did. “It’s like in the Wizard of Oz,” he said. “I’m the guy behind the curtain. I help Jesse try to get smiles out of the kids, and I look at how they’re coming out on the computer and try to pick the best shot. Sometimes I will open the photo in Photoshop to do some color corrections. I’m a master of keyboard shortcuts on the Mac. I could never do this job if I wasn’t.” Jesse is behind the camera. With 3,000 students and over 400 faculty, plus some staff pictures, and, considering that he takes 2-4 shots per subject, he figures by the time he leaves Shanghai American School on the 19th, he will have taken more than 10,000 shots—easily! Probably more.


From SAS, Jesse, who owns his business known as International Photos, will be headed for the International School of Beijing, and from there to the Middle East. He goes to these schools, including ours, at his own expense and has been doing this for six years. He says that he’s beginning to run into teachers in different locations. He may meet a former SAS teacher in Dubai, and he’s met some teachers at SAS he photographed at other schools in previous years. Jesse became an international school photographer almost accidentally. He had been in Africa taking photos, and returned to Seattle where, one evening, he was showing them to an old high school friend, Shane Oprescu. Her father, Warren Carlson, dropped by and saw his photos. He had been shooting school photos at international schools for over 30 years. He said, “I’m thinking of retiring. Want to take over my business?” Today, Shane works in a Seattle office handling the details and getting the photos to the lab and then back to the school. Jesse and Kevin will soon head north to ISB. “Yi, er, san!” They’ve got thousands of snaps before they’ll see home again.
By Timothy Merrill, Editor, ParentTalk

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Tuesday, August 19, 2008

Personal Statement

(for application to the Columbia ETP program)

I believe everyone should have access to a good education and good healthcare. Our happiness, as individuals and as communities, depends on being healthy, both physically, mentally and spiritually. Indeed, one of the reasons I want to become a nurse practitioner is because of its holistic approach to patient care; it combines the excitement and challenge of diagnosing and curing illness with the reward and contentment of educating and caring for patients as unique individuals. Attending Columbia represents the perfect step in achieving this goal of being able to care for the wellbeing of others as well as teach them to care for themselves, as the ETP program combines an intensive hands-on approach with the highest standards of education.

Although I didn’t always want to be an NP when I grew up, when I look back now it seems a natural decision. My dad, one of my greatest role models, always said that aside from his family, being a cardiologist has been the most rewarding experience of his life. I have also experienced first hand how medicine can change someone’s life, for when I was 12 years old I was diagnosed and treated for a pituitary tumor. I feel lucky and grateful to have benefited from the highest quality of health care, which ultimately helped me avoid brain surgery, avoid going blind and, most significantly at the time, break the 5’ barrier before the 10th grade. And all of that thanks to an extremely kind and understanding team of doctors and nurses.

In college, I majored in French and Education with the idea that I might become a teacher. After graduating, I lived in France on a post-graduate exchange scholarship and then to study translation and interpreting. Later, while working at Amazon.com and living in Seattle, I started doing plays and taking acting classes which led me back to Paris for graduate school in theater. It was then that I got a job working for a small medical translation agency and realized that I was interested in health care and medicine.

When I moved to New York, I began working as a medical interpreter which tied together my desire to help people with my background in French. The more I found myself working with patients, the more I wished I could offer them health care directly. I also work as a Standardized Patient, and this has showed me how interesting and challenging being able to interact with a person and take their history is, and how this is such an important diagnostic tool in the primary care physician’s arsenal. I always tell students I work with that patients are looking not just for someone who has the scientific knowledge to fix them, but that they are also looking for someone they can trust and who will care for them. Indeed, without trust, patients may not offer that clinically vital piece of information that will help make the diagnosis. I look forward myself to the wide range of individuals and issues that I will deal with as a family care NP.

Before making the decision to go back to school, I felt it was important to spend more time in the hospital and with patients—to see if nursing was truly the right path for me. So for the past few months I have been volunteering on a step-down and neurology ward at Beth Israel and in the ED and cardiac units at Columbia Presbyterian. What I have learned is that RNs work really hard and play a very important role in the quality of a patient’s stay in the hospital and that I like working in the hospital. I’ve also learned that I want more than hard work; I want the responsibility that comes with being an NP, that is to say, taking part in the diagnostic, prescriptive and educational aspects of care.

From what I can tell I would make a good nurse practitioner. I love working with people and health care connects with something in me. I have a lot of patience, energy, compassion and intelligence to offer patients. I even know what it’s like to be hospitalized in a foreign country. This type of cultural understanding as well as my language skills in French and Spanish should come in handy, as immigrant patients so often make up the underserved populations that I hope to care for.

Ten to 15 years from now, I hope to have gained enough experience and confidence to be an important member of a clinic or practice, while still spending time in a hospital setting (to stay connected). I’m also interested in teaching, and could foresee pursuing a doctoral program towards that end—as well as to gain more training and knowledge. I think that teaching is one of the best ways to really find out if you have learned or know something; as the saying goes, ‘learn one, do one, teach one.’

My rabbi, another role model in my life, once told me something when we were studying together for my bar-mitzvah. He said to me, “Kevin, you’re a smart boy, but that’s not what makes you special. You’ve got a lot of energy and a good sense of humor, but these are also not what make you special. You have a big heart, that’s what makes you special.” I’ve never forgotten that. And I believe that it’s true that the only way you can lead people is by walking the path with them, and that the only paths worth walking in life are paths with heart. These are the paths that I hope to walk as a nurse practitioner.

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Sunday, July 27, 2008

Kurt and Rebecca

From the Commitment Reading of the Pueblo Indian and a slam poem by Michael Cirelli
(arranged for Kurt and Rebecca’s wedding, July 27, 2008.)

Before we met, you and I were halves un-joined except in the wide river of our minds, where each other's distant shore, the opposite wings of a bird, the other half of a seashell, curled and stripped to fine perfection. We did not know each other then, did not know our determination to keep alive the cry of one riverbank to the other. We were apart, yet together in ignorance of one another, like two apples falling from a common tree. I knew you existed as a memory, long before you understood my desire to join my freedom to yours and yours to mine. I will remember.

Our paths collided long enough for our indecision to be swallowed up by a greater need of love. When you came to me, the sun surged towards the earth and the moon escaped from the darkness to bless the union of our two spirits, so alike that the creator designed them for life's endless dance, a circle K and R, spinning in the middle and where they join is us, because I am your Parker painter, your supplier of, and you, you are my beloved partner, keeper of my heart's odd secrets, clothed in summer blossoms so the icy hand of winter never touches us. I thank your patience. And trust our joining is like a tree to earth, a cloud to sky and even more, for richer or poor, in sickness and in health, we are the reason the world can laugh on its battlefields and rise from the ashes of its selfishness to hear me say, in this time, in this place, in this way - I loved you best of all.

From the first moment that our eyes set on each other like the dust, our hearts melted like wax that turned to vinyl and the albums turned, degrees upon degrees upon degrees. Our chests opened up like the sky playing the music of a land of showers translated into living for bread, mind became tongues as the summer melted like butter and leaves slowly roasted on trees.

Somehow we had remembered that we used to love each other, but couldn't recall where or when or why. Our hearts were like wax, and the vinyl rotated like it had never turned before till our souls spun around the sun and you became my earth. That's when we first met.

Then I walked the streets of Japan for thirty days, six hours, five-and-a-quarter minutes, it seemed like a year with new eyes swinging low trying to pick up rhymes for you on concrete and neon bustle that reminded me of you until we met again. You said, "yes," and then we found ourselves outside under a ripe moon, our candle constructed of the excess wax from my heart, exchanging wine and optimisms, but the album turned degrees, upon degrees of romanticism, I said "I guess I'll see you next lifetime," which was ironic because my lifeline was entwined with another, I used to love her, until I met you.

So I jumped in your car with P-town plates to go skiing on mountains with the thrust of plate-tectonics, and with you. Through bumps and trees, we followed each other up and down until the snow settled on our hoods. We packed lunches of bread and cheese and drank the breeze blowing off the slopes of Mt. Hood. And there was no need for a car radio, because my heart spun the wax which was the vinyl which turned those degrees times three, and this time I thought to myself, "love me, love me, say that you love me."

We made our love ceramic. It was so fragile that our heads began to spin like clay on a wheel, scriptures flipped, pieces chipped, words fell off as the album turned, throwing degrees upon themselves like neither one of us wanted to be the first to say goodbye, so we said I do. And by degrees our does become deeds where we will sign our names with greed with the excess wax from our melted hearts now tripped and tied in a frieze, and all we need is one witness, as we sign our intentions to become anew. Will you say I do?

So we can return to the same Dalles that we said "I love you" in for forty days and thirty-nine nights and it will be fire, and we’ll melt our albums back into a new heart, forget where they came from, return our records, so they can play a new composition, like a beat.

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Friday, September 21, 2007

Friends Haiku

old friends play then part
like dolphins, swoosh
so long and thanks for all the fish

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Monday, September 17, 2007

The Chinese "Eight is Enough"

Friends and Family,

I've had a change of heart. I know I recently wrote to many of you to tell you that I was giving up acting for a steady gig with Mercedes, but an offer came up that I couldn't refuse--and I'm not alone in this one. While traveling in China doing school pictures with Jesse, we were approached by one of the local student's father who is a casting agent for a local Shanghai television station. As you may know, there is a big market and fascination for western actors and western style shows here in China, and recently they have been doing a lot of remakes.

Well, Mr. Liu-Ching offered Jesse and I lead roles on a new Chinese version of the show "Eight is Enough". It's going to be called "One is Enough" and will run on Tuesday's at 8pm opposite the popular spin-off of the game show "The Price is Right" called "The Price is Cheaper".

The money was too good to turn down, and we will only have to be in Shanghai to shoot for 6 months out of the year. The show is slated to run for several seasons, but we're just taking it step-by-step for now. We're already gotten the first script and it looks pretty good. They've also worked up a poster, which you can see enclosed as a .jpg.

We'll keep you posted and send pirated DVDs or videos as as we can...

Thanks,
Kevin and Jesse


PS You'll notice from the enclosed image that Jesse will be riding "shot gun" in this show.

--
From the Heart,

Kevin Lapin
"Appreciate beauty in all its forms."
"Get stuck in there!"

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Tuesday, August 28, 2007

Zen in the Art of Mercedes Maintenance

Dear Friends and Family,

I've spoken to some of you already about this, but to others this may come as a surprise. For a while now I have been contemplating making a change, a career change. It's something that has been building for a while, and finally I made the big leap. I've decided to get leave the rat race of physical theater. I've got a great new job working for Mercedes-Benz USA. They're great cars and it's a great group of people.

Take a look at the images and it will give you an idea.

Unfortunately, I can't get you any retail discounts, but in a couple of years I will probably be able to get you some deals on service and maintenance.

Anyway, I hope you are all doing well, and I'll look forward to hearing from you.


-Kevin


--
From the Heart,

Kevin Lapin
"Appreciate mags in all their forms."
"Grease is good!"

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Thursday, April 26, 2007

Why Didn't He Tell Me (Tragedy in Albany)

“Why Didn’t He Tell Me?”

There are a lot of crazy people in this business that is ‘like no other’ and a lot of craziness to be experienced (and avoided). Here's a bit that I didn't miss. It's the story of getting cast in my first play in New York, except that it was going to be produced in Albany…

The Audition - at Barnes and Nobles, with “producer” Warren. A bohemian/grunge type with sweater and knit hat. He's filming it. I’m doing a monologue, reading sides, explaining that I’m not a trapeze artist and that I don’t sing—all the while trying to keep the volume down because, after all, it's a bookstore.

The Carrot - googling the director Ominike (Yale, USC, award at Cannes), being told that if the production went well it would be made into a film.

Sign #1 (actually sign #2 if you count the audition) – the script, picked up at a random UPS at 100-and-someodd and Broadway, written in film format and with too many scene changes for stage.

Sign #2 or #3 – the rehearsal schedule, only 5 rehearsals of two-hours each!?!

First Rehearsal – meeting the director, tight hair and empty smiles. No introductions, just an improv about a train station and terrorist bombs. Improvs, improvs, improvs, right up until the very end—even when there is still no scenery or costumes or run-throughs and it’s the day before opening…

Rehearsals – getting kicked out of rehearsal space, rehearsing in her apartment, rehearsing at a Starbucks in Port Authority (improvs, of course). What about these other important scenes, like the trapeze (and falling off of it) or killing my brother’s maid…? "How about we do another improv of the diner scene..."

Missing people – where’s the cop? Having to stand in/read for several parts at a time, because half the cast isn’t there. Still getting notes and direction even when you are just reading someone else’s part. This literally continues and even on the fateful Friday “performance” when it comes time for the girl to go to the police, there is nobody there and the girl sits alone on stage waiting. Finally, the director grabs a script from the audience and calls out the lines for the missing policeman.

A new Darlene – a new actress almost every rehearsal for Darlene, including Jennifer the yoga teacher who nearly had a nervous breakdown about needing to do some Microsoft organizing and virus protection.

Albany – the gray and depressing state capital. Getting picked up at the bus station in an old Honda with junk in it: Warren’s welding equipment, old plastic bottles, tapes, cigarettes. Warren starting to drive crazier and crazier and always talking on the phone. Seeing his apartment, dark and with his bartender girlfriend sleeping in the next room. A mountain of Guinness bottles in the corner. He asks if we’re hungry and whether we want subs or pizza. He comes back with a package of bologna, bagged lettuce, mayonnaise and hot dog buns. Bon appétit!

The Theater – driving along a strip with car dealerships, discount grocery stores, motels and then the theater/instrument store/singing lessons/gymnastics lessons. The guy staring at the TV while waiting for his next singing/karaoke lesson to arrive (watching the Wizard of Oz, sometimes just a blank screen).

Outnumbered – arriving on Wednesday, two days before opening, and meeting the 10 student hair and make-up girls and their teacher from the local professional school who have volunteered to work on the show. We are outnumbered 3-to-1 at this first meeting… “uh where’s the trapeze and the set that should be on stage?”

Community theater – the amateurs arrive at night after work and after school. They love the elaborate make-up and have never been in a play before in their life. Gilles, who is so nervous he stutters his lines (like ‘Shakespeare in Love’ producer character). He can’t quite jump on his cue to rush up and ask us questions as a reporter, we keep leaving the stage before he makes his move. The two kids, one is ADD and too honest--“Gee you’re not very good at that trapeze (or singing)” The other is a little Rushmore-PoinDexter. He’s a future stage manager, complete with glasses and clip board. I catch him spray painting a Starbucks coffee cup bright orange that he’s first covered with masking tape. He’s spraying it right over the prop and make-up table (what props there were!). He says its for the Paris picnic basket—one of the few props that exist, a small basket with three plastic apples. He wants to add the bright orange coffee-cup-thing to the basket to help fill it out. I gently dissuade him. The other guy, who is a little weird, and who is making name tags for our cubbyholes or asking the director if he can do this little gesture with his line, this is in the middle of the complete chaos and approaching train-wreck of opening night. He has no idea that there is no possible way that the show can go on. When it comes time, he is standing in for the surgeon (if there ever was someone cast for the part). Alex has to grab his hand onstage and pull it towards my face so we can pretend he is starting the surgery and the scene can end. Seconds before, I saw the kid preparing to move a mattress across the stage, presumably to better store it stage-right and presumably unaware that we were still performing or that intermission was over… Another woman, a real sad story, is playing Fortaleeza the nurse maid. The woman has been living in Albany (as if that isn’t bad enough) for the last few years since her husband died. She is a single mother and can’t afford a baby-sitter. This show means a lot to her and she has had to resort to bringing her daughter to the theater during rehearsals, which end up going until like 3am and Fortaleeza hasn’t even gotten to do her scenes. At times, she is so overcome with emotion (?) that she has to take a break and sit down. I really feel bad for her when the show doesn’t go on.

Revolution #1 – the day before opening, we finally insist that we go scene by scene and see what scenery exists and how one scene will lead from one to the next, rather than do another improv. This takes about 8 hours and it becomes apparent that there is no plan for the staging or the scenography, nor the costuming or props. Thursday night, our dress rehearsal lasts about 5 hours, it’s the first time that all the scenes are ever “run” back-to-back. There are a few set pieces and props, the wooden cut-out car, for example. It’s about four panels and 10’ long and is painted as a 20’s car (the show is set in the 50’s). It takes three or four people about three minutes to drag it on stage and set it up. The car scene only lasts about 20 seconds. I have the only line of dialogue. “Hey we can give you ride home if you want. I live just down the street from you at 21 Rivercrest,” or something important like that.

Accommodations – after the nightmare dress rehearsal, it appears that not everybody has a place to sleep. We’ve been served a hotpot full of meatballs and hot dog buns for dinner (about 5 hours prior). Alex is missing, she is supposedly getting a ride from Ned, the guy who made the masks. Christian is getting ready to bed down in the theater. Mike ends up at Ginger’s house, who owns the theater, where he is offered an old blanket and couch (there are clearly several guest rooms that are not being used)—he finally goes to a motel down the road. We arrive at our house to find the keys don’t work. Warren tries to call his friend, but it’s like 2 or 3 in the morning. Alex is still missing, Warren tells us that Ned is a born-again, so no worries. At least she might have a place to sleep I think as we turn around to join Christian and the rats at the theater. A minute later, we get through to the owner of our house, so we turn around. Alex calls and begs us not to leave her and to wait up for her. Apparently, Ned wanted to show her more than just a few local sights and has offered that they should get a hotel room. Did I mention Alex is 18? Alex, who is a senior at a professional arts school in New York is a great kid, by the way, she is now playing like 7 different characters.

The local Divo – the child star/singer who is in all the unions and regularly checks in with his agent stops by. He rehearses one scene with his incredible camp and vibrato, then fakes a call with his agent about non-unions rules and whatnot to get the hell out of the train which is clearly heading for a big wreck. Maybe he is the only sensible one?

The Trapeze – It is Thursday evening when the gym teacher, who also has a full-time job, finally is able to set up the trapeze. The ceiling of the theater is one of those false hanging ceilings made up of speckled white rectangles of Styrofoam that you see in most office buildings. He has removed 1 panel and hung a trapeze from the rafter above. There is now a white office ceiling with one panel missing and a trapeze, a bit of insulation and a bit of electrical cord hanging out. The trapeze is about 5’8” off the floor, or as one cast member described it, something his hamster could jump off of without hurting itself (remember, I am supposed not only to do a high-flying trapeze scene, but also a scene where I fall from it and crush my face beyond recognition). In a moment of humility, I realize that even despite the limited range of motion and height of the trapeze, I am not even strong enough to perform a simple mount and twirl… and time is ticking (tomorrow is opening night)… During Friday’s “performance”, the trapeze becomes detached from the wall and is swinging freely in the middle of the stage during our Paris street and picnic scenes. Then, during the tense, I just killed my brother’s maid scene and am face to mask/face with my brother who I haven’t seen for 15 years, the little ADD girl decides to come on stage and try to reconnect the trapeze to the wall. Unfortunately, she isn’t quite tall enough to reach the hook and the clown/comedic set-up is complete.

Revolution #2 – the café. We wake up Friday realizing that the theater fairies have not descended from the sky to save this production and that there is no way in hell we can open that night. The New York cast calls a meeting with the Director and the Owner (hosted by Warren, the “producer” at a nearby cafe). Ominike comes in with a slightly droopy ‘Forest Whitaker’ with glasses look-a-like. He keeps whispering into her ear before anybody speaks. Finally, someone asks who he is and what he’s doing at our meeting. “I’m a US citizen,” he replies. They say that he has no business being there and he gets up and tells them to “Fuck-you”. He then tells us that this is a “Lynch mob”. Ominike manages to calm him down then explains that she should have introduced him sooner, “This is my fiancé,” she says. “No, I’m your husband,” he quickly interjects. Bizarre. The conversation continues. We explain that there is no way you can do a show and not have a plan for sets, props, costumes etc. The conversation slips to the more tangible, the terrible accommodations and lack of food. Things get heated again and the bull-dog gets in Warren’s face and tells him to “Fuck off”. Warren warns him that the police station is just around the corner. To this he says, “I designed the goddamn police station.” Ominike has to take him outside. The owner, Ginger, a kindly 80-year-old woman whose had a stroke, explains that this was her dead mother’s story and that she asked Ominike to adapt and direct it. From the beginning, she had made it clear that she didn’t have the budget for New York actors etc. etc. She was supposed to be in Florida, but found out only recently (yesterday?) how disastrous the situation was. She tells us she can’t afford to pay us, but if we “go on with the show” like “any professional would do” that she will do her best and send us $100 or split the box-office with us. Ginger used to be a powder-puff stock car racer and professional drummer… We discuss and negotiate and finally agree to do the show on Saturday and Sunday if proper food and accommodations are provided and if the show that evening, Friday, is cancelled. We also make it clear that some things need to change, organized etc. for the play. During this very intense meeting, one of the actors, Isabelle a Spanish woman, goes to the bathroom. We are in a local café and there are patrons who have been watching/listening to everything. One of the women is clearly interested and concerned by the situation and asks Isabelle what she thinks we will decide and what if anything she has learned from the experience?

Warren – is becoming more and more belligerent and wants to have a drink at every occasion. Didn’t I see an AA book at his apartment. Apparently he’s fallen off the wagon almost as fast as our Divo got off of the speeding train. He’s going on long tirades about Ominike the director and Ginger the owner who wouldn’t give him a budget. To his credit, he has spent the day dumpster diving for props and calling friends to see if Christian can crash at their house instead of the theater. Finally, he comes crashing in after Friday’s crazy “rehearsal/second-run-through/cancelled performance”. Granted we still haven’t been fed properly and it’s like 1am, but we are calmly doing notes from the run—the only thing resembling a normal theatrical experience thus far. He bursts in and starts yelling, “This is crazy. This is crazy. This is nuts. I’m pulling the plug. No more, this is not possible. It’s too much. They’re going to eat now!”

Dénouement – after the Friday “show”, which was actually fun for me despite the continued chaos of missing actors, props, mixed up scenes, singing numbers (did I mention that we went ahead with the angst-ridden and musical moments where my character sings out his despair at being alone and kicked out of the house or having been disfigured), dangling trapeze, etc., any remaining curiosity or attachment keeping us in Albany has disappeared. Almost everyone wants to go home, some feel that we have been lied to (there were a few people in the audience) and that nothing has changed artistically (no surprise) or in terms of food and accommodations. Nonetheless, Ginger has said she wants to buy us dinner and will meet us a some restaurant. Some of the cast flat out refuse to eat with Ominike or Ginger. And as the nice guy and de facto porte-parole of the group, it falls to me to call Ginger and explain to her why we won’t be joining her at the restaurant. As we eat wings and drink beer at a local bar, Warren continues to rage how Ominike and Ginger don’t deserve us. Apparently he wants us to walk out as well, and at this point he is more or less preaching to the choir. Everyone but Michael and myself seem resolved to return to New York. It falls to me, of course, to call Ginger in the morning as we are trying to round everyone up and get to the bus station for the 11am express to Manhattan. All my clothes and bags are in Warren’s car, having preferred to get back early and safely rather than wait for Warren and his increasingly out of control driving. We are sleep deprived and I am wearing the same clothes as the night before, minus my socks, which are now gross. Thinking I’ve dialed Warren, I quickly explain that we are heading to the bus station and can he pick us up and help us get our stuff. Unfortunately, it’s Ginger on the other line and I find myself trying to quickly and politely explain why everyone has decided to leave again... On the bus ride home we realize what an amazing story we've just survived and decide we will try and make a film out of it.

What's the term for a picture, within a picture, within a picture, a palimpsest? I'm hoping that our film about the play isn't doomed to turn into some sort of clownish palimpsest of disaster...

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Wednesday, February 7, 2007

Mad Maths - Press and Reviews

A wacky, absurd and lyrical presentation on that most hilarious of subjects: mathematics!


An exponential success (over 300 performances and counting!) in schools, theaters, festivals and even several closets across France, “Mad Maths” has been curing audiences of their mathematitis since 2003!

Mr. X and Mr. Y, a duo of seriously screwy professors, rigorously explain to you their erudite theories on zero, infinity, PVC pipes and the importance of the zebra in numeration.

A show for the math traumatized, flunk-outs and fanatics…

“Mission accomplished for “Mad Maths”, an unpretentious and screwball UFO of a show with a contagious good mood: to get you to laugh intelligently by exploiting to the nth degree all the mathematical possibilities of a science little reputed for its hilarious functions.”

“This duo demonstrates that our system of numbering is more than anything a cultural one. Translating any number, even negative, into animal noises. Revealing a richness to the mathematical language that even Raymond Devos, Vincent Roca or Monty Python couldn’t deny. All that with a rigor which is as strict as it is hilarious.”

“We’re betting that the originality, humor and even the poetry of their show will reconcile more than one person with this science that has suddenly become fun.”
--May 20, 2005 edition of ‘Le Parisien’ (one of the main Paris daily papers)

“An original and intelligent play… and funny to boot, from which you leave convinced that math can be funny!”
--from the monthly scientific magazine ‘Tangente’

“A successful marriage carried off by two masterful actors who embark us into their world: mathematics.”
--website of the Paris public school system (l'Académie de Paris)

“A show that is both whacky and well constructed which proves that laughter can be an outlet and component of the pleasure of learning math.”
--Annie Cérésuela, cultural attaché of the Créteil educational authority (Action Culturelle du Rectorat de Créteil)

“You succeeding in mixing the magic and poetry of theater with the rigor and precision of mathematics.”
--J.D. Brulois, Assistant Principal of the P. Doumer high-school in Le Perreux sur Marne

“In the guise of Mr. X and Mr. Y, two straight-laced mathematicians who might have been sniffing some equations before getting on stage, this duo, founders of the company Sous un autre Angle, will have you reviewing the history of numeration and will introduce you to the poetry of curves. Through demonstrations which seem completely absurd, yet which remain completely logical, sound effects and gesticulations evoking the pain of the dunce faced with a sine wave, or scenes which underline the importance of numbers in everyday conversations.

“Overflowing with humor, inventive, surprising and intelligent, this show doesn’t forget to play with the audience, stand-up style. All for the purpose of convincing you that math can be a fun and even moving subject.”
--Fabien Maréchal – May 10, 2005 - Annu: Art; Arts, artistes et actualité (webzine)

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Thursday, September 21, 2006

Climbing Huang Shan

Megan and I have just spent 4 days in Huang Shan, which is a small city in central China near a famous mountain of the same name--one of the seven mountain pilgrimage sites that Chinese, if they’re lucky, visit in their lifetime.

We arrived late and caught a cab directly to our hotel. Apparently here in Huang Shan--like in the capital--the taxi fleet has recently been overhauled; our cab is one of the new omnipresent brown and yellow Korean models that is reliably metered and air-conditioned. I guess we have the upcoming Olympics and the wonders of a centrally directed government to thank for this. (Last year we were told that the government was cracking down on honking and spitting, this year we are told that they seeded rain in Beijing for over 20 days in July to help clear up the pollution in preparation for an Olympic committee visit. Indeed, when we arrive in Beijing in mid-August we are treated--a first--to several days of clearish-blue sky. Of course, the rain merely pushes the pollution into the ground and after three weeks in Beijing, balanced by 4 days around Huang Shan mountain and 4 days in Tianjin, the 5th most polluted city in the world, I will be dried out, puffed-up and congested. Nothing like a 13-hour plane ride to push you over the edge, right?) For now, though, we have arrived at our hotel pre-reserved for us by a travel agent in New Zealand. As you do in the global village...

The next morning we awake to another great “Continental” breakfast. Of course you have to remember which continent we are on. In China, breakfast can look a lot like other meals: wontons, meat or vegetable filled buns and black vinegar, fried noodles, greens etc. There are a few additional items that make breakfast unique. They are: warm soy milk, congee (rice is to congee as oats are to oatmeal) and hard boiled eggs--which are browner in color and taste a lot gamier (not chickens? or not a product of industrial processing and bleaching?).

After breakfast, we catch a cab to the bus station. When we get in, our young and hip-hop listening cabbie honks through the usual pedestrians, cyclists and--this is relatively new--electric moped commuters. With a show of Western amity, he cranks up the hip-hop music (it’s 7:30 in the morning!) and turns to smile at us and give us the thumbs-up in the back. He also takes the opportunity to check Megan out--whose big, blue eyes and bust attract a lot of frank, as opposed to leery, stares here in China.

En route, our cabbie convinces us to let him take us all the way to the mountain instead of just the bus depot. This is done through several mimed gestures and a series of price negotiations carried out on a pad of hotel notepaper that we pass back and forth. There appears to be some question about whether we want mountain/destination number one or two which never gets resolved, as hand-gesturing and grunting is rather limited at coaxing out this type of subtlety in communication. We’ve found that a pad of paper or a calculator--even a cell phone keypad--is ideal for negotiations as the Chinese have their own hand and finger gestures for numbers which are as hard for us to figure out as our system of holding up fingers for each place holder (first the tens, then ones) is to them. For some reason our cabbie won’t write on the notepaper, no matter how I try to indicate that there are many pages of the stuff and you can just rip one off and start on another, preferring instead to write everything on the cardboard backing of the notepad.

Our cabbie, in true foreign-cab-driver-style, drives like a madman, passing two and three cars at a time regardless of visibility, the existence of guard rails and/or oncoming traffic, and soon enough we arrive at the gates of the mountain. There is literally a big, red wooden Chinese arch-gate at the main entrance.

After paying the entrance fee, which is 200 yuan or RMB for me (about $25) and 100 for Megan (she is still using her International Student Identification Card which says she is 26), we consult--for the umpteenth time--the three pages which we have torn out of our guidebook to save on weight, and which are our only, however meager, source of information about Huang Shan--the mountain and town. We decide to take the shorter 7km steps Eastern route up the mountain, reserving the harder 15km Western route for the way down and the cable cars whisking bus loads of Chinese and Korean tour groups up and down both sides of the mountain for the weak. And without so much as a deep knee bend (or a decent supply of food and water), we are off and climbing an endless line of stone stairs, surrounded by a forest of bamboo, then trees and then, finally, steep mountain peaks.

Megan has her small black umbrella out to protect her fair skin from the sun and is calling out the names of plants as we walk. This is the same ubiquitous umbrella that she carries with her, rain or shine, which makes her--with her sun glasses and scarf--look like Marilyn Monroe on vacation in Ethiopia, the Sierra Nevadas and, now, Huang Shan. Apart from the umbrella, our three now tired guidebook pages, a couple of bottles of water, four snickers bars, a tin of wasabi-covered peas and a bun from the airplane, we are fairly unprepared for this hike. I’m wearing casual shoes and will learn later that besides the sweat soaked t-shirt on my back and my cargo pants all I had packed was a torn and hand-cut American flag tank-top and a pair of lacrosse shorts. Megan is wearing her MBTs and a black corduroy skirt. I guess we’ve been in France long enough to dull our west coast REI equipped-to-climb-Everest-even-if-we-are-taking-a-long-weekend-in-Milan reflexes.

Lucky for us the weather is 80 degrees and overcast rather than raining hard or blaring sun as it could have been. But it is humid, so although we make it to the top in only about three or four hours, we are definitely sweaty. Walking up--step, by stone step--is extremely fatiguing, but we decide that it is probably easier on the legs and ankles, if not knees, than a sloped dirt trail. At the top, the warm, misty and overcast weather, near perfect for hiking, obscures most of the incredible panoramas and makes even capturing the peaks we can see near impossible without a better lens and tripod. We are not terribly bothered, for now at any rate, as our main concern is finding someone to point us in the direction of our hotel. It turns out that the summit is more like several ridge trails and peaks, rather than one, so it is not clear which way we need to go. Though our guidebook pages and map do contain place names in Chinese as well as in transliteration, the map and place names do not seem to correspond to the Huang Shan and trail maps we are seeing in front of us. (In China, it’s best to have everything written down in Chinese characters if you want to get around. Since the language is highly tonal, even repeating a street or hotel name to a cab driver or passerby can produce haphazard results. I guess it’s lucky Megan and I went to that “mime” school in Paris.)

We eventually make our way, even more tired and sweaty, to our hotel and check-in. After a quick shower and change into my lacrosse shorts and muscle shirt pajamas-come-casual-attire, it’s about 4pm. We decide to head directly to the hotel restaurant for a late lunch. Besides the omnipresent snack stands along the trail offering cucumbers, Chinese sausage-on-a-stick, water, coke and the like, the only other alternative is the Friendship store at the hotel. We figure we’ll buy some stuff from there to improvise a ramen dinner or something. Cultural note: not too long ago foreigners to the “Middle Kingdom” were not aloud to go just anywhere or buy whatever they wanted, lest they poison the communist comrades in the street with their capitalist ways and seditious democratic ideas. Instead, they were given a special currency and invited to shop at designated “friendship stores” and lodge at “friendship hotels”. The term “friendship store” is typical in its Lost in Translation bubbly, happy Asian style. All over the place are signs for parks and such with names like, “Park for harmonious living with Nature park”.

The hotel restaurant--one of three--is more overrated, than overpriced. Megan and I are more than willing to pay $8 for the meat or vegetable stuffed buns with black vinegar that usually cost between $0.50-$1.00, however, for we had seen how most of the supplies get to the top. And it’s not in the cable car. It’s guys with a yoke on their back and another for balance and leverage carrying up loads on foot, one step at a time. We saw sacks of food and rice and even buckets with water and live fish going up, as well as laundry and garbage going down. And, apparently, this back and leg breaking work costs less (charges less?) than the cable car, which I can tell you was about $10 for a passenger ride up.

So, we are in the middle of placing our order when a cockroach (okay, not as big as the one that I took a picture of on the trail, but still pretty big) calmly begins making his way around the edge of the table. Just as calmly, and following my eyes follow its progress, our waitress takes a napkin from the Lazy Susan in the middle of the table and balls up our unwanted dinner guest in her hand.

There isn’t much to do at the peak, the main attraction being the great views still shrouded in a misty grayness and the electric sunrises still over 12 hours away, so Megan and I settle in to some deck chairs to watch bus-loads of Chinese tourists following tour guides with headset microphones and flags. There is also a basketball hoop which is presumably the employees only recreation. I tell myself that if my legs weren’t so tired, I’d show them what it really means to push the pumpkin (not in my central Chinese mountain shrine, boo-yah!).

More than other groups of tourists or people, the Chinese make a lot of noise. Between the talking and hacking (remember that spitting, although now fined in many places, was traditionally considered a way of getting rid of bad throat spirits) and picture-taking hubbub, it’s a real tintamarre. This probably explains while all the tour guides need amplification. I like to correlate this cultural trait to the population size. Like they say about growing up in a large family, you learn to speak up if you want to be heard. And hey, the Inuits aren’t known as a loud people, are they?

One of the traditions of Huang Shan is for lovers to engrave a padlock with their names and then attach the locks to anything that is, well, chained down. And indeed, there are hundreds of padlocks hanging from the guard rails of every viewing site. So many, that the chains and bars are completely covered with them and they continue hanging the locks from each other. It looks like dangly mats of metallic wooly mammoth hair.

When we go to bed--it's only like 8pm--Megan and I disagree about what time to set the alarm clock for in order to catch the sunrise. Megan says 7am should be about right. I’m not sure whether this is wishful thinking or some sort of inference from what the light looks like when she usually wakes up at around 10 or 11 (am). I propose 5am. After a bit of negotiating, we settle on 6am. This, of course, is a great example of how compromising can be a zero-sum exercise, because not only will we miss the sunrise but we will also lose an hour of sleep.

In the end, it doesn’t make much of a difference, because the sun only comes out for the briefest of moments the next morning. Indeed, between 7:07-7:09 the sun rises from one set of clouds, illuminating the mountain top to the tune of a digital picture snapping applause, then promptly climbs back behind the clouds and humid mist from whence it came. (As I read this aloud to Megan, she points out that this means she was technically right about when to wake up.)

We walk around to a couple of the lookout points and add our canon clicks to this matinal mountain-tourist concert, before stocking up on supplies, checking out and heading off down the mountain. Today, with only Korean peanut crackers (yuck) and Chinese mooncakes (double-yuck) for sustenance we are going to descend the 15km Western trail.

Our legs are still a little soar and weak from yesterday’s exertions, as we follow a ridge trail for about 6km. Along the way, we get to see most of the famous vistas, rock formations and ancient double-trunked lovers trees that Huang Shan is surely known for. When you only have two pages in a guidebook that covers all of China, details like this are often omitted. The map, however, does indicate that we should continue to follow this ridge to get to the head of the Western steps.

After about 45 minutes of ridge line, the trail heads downhill, step by step. We quickly decide that going down the stone stairs is at least as tiring as going up. We go downhill for about 3km, and our thighs and knees begin shaking and trembling after the about .5km. It’s about 10:30 in the morning when we arrive at the crossroads. Now, in addition to being weak in the knees, we are sweaty and hungry.

We rest and snack for a few minutes, then begin looking around for the Western steps. I am figuring that we have already knocked off 3 or 4 of the touted 15km. The English location names and directions on our guidebook map--once again--do not correspond to the names and directions we are seeing on the trail maps, so we ask for directions from one of the ubiquitous park employees who go around with what look like really large chopsticks picking up litter and emptying the even more ubiquitous stone garbage boxes. One might hope that with a garbage bin every 15 or 20 yards along the trail, people wouldn’t litter. But that would be wrong, at least not here in central China. Of course, maybe there is a correlation to the number of people that you see picking up trash and your incentive to carry that snickers wrapper another 5 or 10 yards to the nearest garbage bin.

But I digress, and that’s probably because the answer we are given is so distasteful that even now I am trying to avoid relating it. When we show the park employee the Chinese characters for “Western Trail” in our guidebook, he points back up the path we just came down. My first reaction--one of base and survival instinct--is that this Chinese guy must not have understood. Or maybe he doesn’t know how to read. Or maybe he is trying to play a trick on the foreigners. Anything, basically, but the fact that it might be true. However, soon enough it becomes apparent that, indeed, errare humanum est. And that in this case, the humans in error--and now despair--are us.

Now we are faced with a decision: either hike back up 3km, find where we missed the turn off for the Western Trail and then hike down 15km; or continue on in this direction for several kilometers and take the cable car down. I’m not really sure how the next bit happens, but after agreeing that we don’t think we can make it--not on day old legs and a dwindling reserve of Korean crackers--Megan and I shoulder our backpacks and head back up the hill.

One of the things that keeps us going over the next several sweaty and shaky-legged hours is the thought of how good it’s gonna feel to dip into the natural hot springs that our guidebook says are waiting for us at the bottom. In fact, it is probably this same sulfuric vision that charmed us into going back up the trail to find the Western steps in the first place.

Hours and rocky ridges and steep staircases and thousands of stone steps later, we reach the bottom. We even decide to walk the extra couple kilometers from the gate to the parking lot and bus stop, rather than wait or pay for the shuttle. After all that, we find that the hot springs are closed. They are being renovated, probably for the darn Olympics, into some sort of big hotel hot spring and spa complex. Although, I have to say that by the time we get there it doesn’t much matter. I am just ready to get out of there and get back to our hotel in Huang Shan where I can take a shower, eat a decent (Chinese) meal and lay down.

Although we don’t do the hot springs, that evening Megan and I get 45 minute foot massages when we got back to town. Chinese massages are excellent and very cheap, but I can tell you that they are not recommended after a two-day hike when you’re muscles are already tender and sore. I was slapping the side of the massage table and giggling uncontrollably (it was either giggle or scream like a little girl) the whole time. The two masseuses seemed to think I was pretty funny. I just thought it was painful.

The final note on this story is that we spent the next day discovering Huang Shan, which mostly involved huddling in a Chinese restaurant for hours, waiting for some people to come in and order something so that we could point to it while staying out of the rain, thanking the lord it hadn’t rained on the hike, and planning out the theater workshops that we would give when we got back to Beijing.

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Sunday, September 17, 2006

Best Man Speech for Jesse and Rebekah's Wedding

On behalf of everyone here I’d like to thank Jesse and Rebekah for bringing us together to celebrate with them on this beautiful occasion.


Now I was told that I had to keep this to under 45 minutes, so I’m going to get right to the point.

Rebekah, I’m pretty sure I’m not the only one who feels this way, but do you realize that you have just legally agreed and bound yourself to put up with Jesse and his shennanigans in a long term and committed way, till death do you part. No, really, Rebekah, I hope you know what you are doing. We don’t all necessarily understand why, but “Thank you!”

I’ve known Jesse just about all my life, almost as long as I can remember, and several times I would prefer to forget, so I know what I’m talking about when I say, Rebekah, I hope you know what you are doing.

Now unfortunately, the problem is that most of the embarrassing stories I’d like to tell you about Jesse, incriminate me just as much as him, so I can only hope that you know what you are doing.

What I can tell you about Jesse is that he rolls through life collecting friends and adventures like dirty laundry collects around his room--laundry that doesn't always belong to him (when we lived together in Fremont, he used to slip his dirty laundry into my basket hoping I’d wash it for him. Now that’s what I call a free-loader). And even though Jesse was known throughout high-school as the mooch, he is one of the most generous people I know. Jesse is a rogue and a lover with touches of genius.

He is one of the last great explorer spirits. He has a great sense of direction, adventure and luck. He is mythically optimistic, to the point of bending the truth. And he’s a good tipper.

Jesse's the kind of friend that you never leave, not even when you're a thousand miles away. You can not hear from him for six months. Then he'll show up on your door step out of the blue, give you some of the best advice of your life over a beer then suggest opening a store based on bulk peanut butter or smoked salmon flavored deodorant.

And it's like you never were apart.

When I asked Jesse how he felt about marrying Rebekah, Jesse said, “It's like going all-in pre-flop with a good hand. Who knows what could happen on the turn or the river, but you're happy now and you know it's going to be an exciting ride so you're ready to get stuck in there. What could be better than that?”

Jesse is a great teacher and guide to man, child and dog. In fact, you can pretty well understand who Jesse is when you know that for a long time he had a book in his bathroom called, “There Are No Bad Dogs.”

I guess that about sums Jesse up.

Rebekah, I hope you know what you are doing, because even if you don’t, I do, you’re choosing to spend your life with the best friend any man, woman or dog could ever ask for.

So knowing all that I know about Jesse (and quite a bit of stuff I wish I didn’t), I can say that I have absolutely no reservations in raising a glass, and inviting you to do the same to toast Jesse Haggar Long and Rebekah Lynn Long:

As Jack Erskin used to say, “May the road rise up to meet you, and may the wind be always at your back”. L’chaim, take care and get stuck in there!!!

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Monday, August 14, 2006

Nutmeat: A Burlesque Fairytale

With each new flop, incompetent puppeteer Ramon Martinez pushes his family closer to starvation. The battle between quixotic idealism and the reality of failure mounts, as frustrated wife Mimi resorts to knitting dinner and their adolescent son Martín seeks solace in an anatomically correct Barbary organ...


This physical comedy from French-American troupe Sous Un Autre Angle is quite charming in a sad, slightly grotesque way, and so far has been my favorite Fringe show. Written by Megan Campisi with the three main actors, it tells the story of Ramon Martinez, a puppeteer not really worthy of the title, and his wife and son who are cowed and starving due to his insistence on continuing with the family profession which isn’t earning anything. He tries to stage fairytales, but something always goes wrong to ruin the show, and it’s quickly clear that the Martinez’ own story is the real fairytale – of the dark, anxious Grimm Brothers sort (though O. Henry’s semi-uplifting “Gift of the Magi” takes a bow too). It’s painful to listen to Caroline Reck play the wife through an ill-fitting pair of fake bad teeth, the songs of the android-like Barbary organ that the son falls in love with are headache-inducing, and at times the slapstick is a little too slow-paced to be pulled off. But the company does so much with minimal set and props, and they strive and sorrow so winningly, that it’s hard not to be drawn to all of the characters, even the imperious Ramon. Nutmeat’s mixture of silly and dark jokes amuses but also cuts to the quick at times, a combination that makes both seem more real and makes the show as a whole rather artfully engaging.
(At Access Theater, 380 Broadway; http://gothamist.com/archives/arts_and_events/)

--

Nutmeat refers to the sweet salty fatty goodness that drives us all to crack, chew, and rip our way through nutshells. And the nutmeat that awaits you in this 55-minute nutshell is the sheer pleasure of watching actors' imaginations at work. Though these pleasures aren't quite enough to hold this flimsily constructed show together, audiences should still catch this rare opportunity to see an NYC performance created by the always playful and often breathtaking alums of the highly distinctive physical theatre school Ecole Jacques Lecoq.

The tale, scripted by writer/director Megan Campisi and told by the players from Sous Un Autre Angle ("from a different angle"), concerns a family of impoverished puppeteers (hysterically pronounced "pooh-pah-teers" by the family's patriarch Ramon Martinez). Father Ramon builds puppets and, with son Martin, performs fairy tales which, without fail, end in disaster: tangled marionettes, torn costumes, and raging infernos, to name a few. Mother Mimi knits the family's woolen attire and there's also a barbary organ (played by Caroline Reck), "carved" in the likeness of Mimi, who belts out her own versions of (un)forgettable classics like "Total Eclipse of the Heart." Martin is in love with the mechanical chanteuse and the Oedipal implications are orgasmically sung out by the organ as Martin coitally "cleans her pipes." When the Martinez family's dinners devolve from pretzels to paper potatoes to yarn, Mimi and Ramon make a fairly grim—or Grimm; this is a billed as a fairy tale, after all—decision which I'll leave as a surprise, but all wraps up rather happily by show's end.

So, that's the plot in a nutshell, as it were, but unfortunately, it's neither engaging enough nor the relationships satisfying enough to make for hearty theatrical fare. But then there's the meat! Delights abound in the form of a virtuosic mime sequence, an outrageously clever puppet show performed by human marionettes, a butcher-paper set (credited, along with all of the production elements, to the ensemble) which the actors "change" with a sharpie, a charming stick puppet journey...the list goes on. The audience gasped and giggled at these theatrical treasures, and the glimpse into this collective's unconscious is well worth the price of admission.

At times, however, the ensemble falls victim to its fictional family's foibles, mostly in the form of continuity gaps: If they're so hungry, why do they crush stray pretzels (curiously packaged in a Smartfood popcorn bag) underfoot? If Mimi desperately needs wool to keep food on the table, why is a long piece of yarn forgotten on the floor? And if the barbary organ is made entirely of wood, why aren't her movements more consistently, well, wooden?

The ensemble expresses an endearing and palpable pleasure in performing its creation. Boomie Aglietti is quite a bit of fun as a proud Spaniard in the tradition of The Princess Bride's Inigo Montoya, and Max Dana is sweet as the mostly mute Martin. Marc Boucai and Lisa Frank make delicious cameos as the utterly adorable marionettes, and Campisi and Reck ably play Mimi and her wooden likeness, respectively (though one wishes that Mimi's false teeth did not muffle her voice so much).

As Ramon confesses, "Not every story has a nutmeat." While you might leave Nutmeat longing for substance, this ensemble's playful diversions certainly gave me quite a bit to chew on."
Copyright ©2006 The New York Theatre Experience, Inc. All rights reserved.
-http://www.nytheatre.com/nytheatre/prnn/187.htm

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Saturday, October 22, 2005

The Kingdom of Dates


As you fly into Saudi (the Kingdome of) airspace, the flight attendants come through the cabin clearing all signs of alcohol. Then they distribute your landing card, where you have to identify your religion. Apparently, Christian and Muslim are the only acceptable responses.

When I came here with Jesse five years ago, I was surprised to find myself not wanting to write Christian on the little yellow card. As you may know I'm not a “big jew”, though as a Kohen (a priest from the tribe of Levi and a direct descendant of the Biblical Aaron) on both my mother and father’s side I could be called, if you were Hawaiian or my mother, a “big kahuna”. Nevertheless I was in a bit of a dilemma; something about knowing that Jews are not allowed in the country, I guess, even if I didn’t feel personally offended. I thought about leaving the question blank or writing Buddhist, but in the end decided it wasn't worth the hassle. You've got to pick your battles, right?

Inspite of, or because of, being conscious of not giving myself away, I found myself coming out with Yiddish words in random conversations, the types of Yiddish phrases that I don’t normally even use. I would be visiting a teacher’s house and admiring all the different decorations that they had acquired from Indonesia and Africa and say something about how I loved all their tchatchkes, or I would describe the usual food stain on Jesse’s chin and shirt as a bit of schmutze. We also had a funny moment when a teacher was talking about a race called the Hash and Jesse asked him whether he had some. Silence.

This time around I am prepared, at least for the landing card and long lines at customs, but sure enough as I'm filling it out I realize that the book I am using as a support, the one book I'm bringing into the country, is a Primo Levi book called “The Periodic Table”. Gulp. And as I'm reading the first few chapters I realize that it's not just a book by a celebrated Jewish holocaust author, it's his memoirs and the first few chapters are filled with anecdotes about his crazy Jewish-Piedmontese ancestors and all their funny sayings and quirks. In French this is called an acte-manqué, the Freudian slip of your actions/intentions. Oh, I wonder why I would have done that...

We started hanging out with a really cool teaching couple, the Gallaghers. The first thing they asked us when we walked in the door of their suburban house (suburban except for the compound walls, bomb proof security gates and Saudi desert beyond) was “white or brown”? This referred to the color of moonshine we wanted. The brown is the same distilled white alcohol that has been soaked in Jack Daniels bbq wood chips. It actually tastes pretty good. It's funny seeing grown adults discuss their “connection” meaning getting some smuggled hops to make beer in their house or a new batch of white.

Later in the week we go for a drive into Khobar (the city near the Aramco oil compound). There was a bombed out building where they had chased some Al-Queda, which they only refer to as deviants, then got in a stand-off and blew them up.

We learn there is no dancing in the Kingdom, or that’s not quite true, there may be dance places we are told, but women are not allowed. While it is not uncommon to see two men holding hands in public, public displays of affection between husbands and wives is frowned upon, between unmarried couples unheard of. Even the weddings are celebrated separately by the men and women. It’s one of the few times outside of the house that the women are able to dress in their jewels, western clothes and lingerie. The combination of this religiously repressive and gender segregated society leads to a certain amount of homoerotic and homosexual behavior among the men (and camels?) and apparently when you mix in a lack of sex education in schools the result is that it is not uncommon for women on their wedding night to be taken to the ER because they have been sodomized.

Women are also not allowed to drive, or only if they get a royal decree. And when his aforementioned royalness died recently all the state and oil employees got a raise or a bonus of one year's salary. Thanks to oil revenues, Saudi standards of living are extremely high. Manual labor has to be imported from Pakistan or India. I got the sense that Saudis sort of disdain this type of work and believe that they are above it.

People are quite friendly to us. There are a lot of security checks and although it is super strict it doesn't seem like suicidal fundamentalist crazy, though I guess they just send those types to Pakistan and/or fund them. And of course the oil continues to flow like ambrosia from the heavens at about 95 cents a gallon…

We meet another couple called the Snakenburgers. Both of them are gym teachers from someplace in the Midwest. I think because they spend all day yelling across gymnasiums their voices are a combination of loud and hoarse, even in small rooms, and this adds to their hard-core-Harley-driving-leather-wearing-beer-drinking mystique. We go over to their place for cocktails and a poker game. Snake, as even his wife calls him, tells us to remember to bring our swim trunks. “We like to party,” he tells us.

He’s right. They, too, immediately offer us glasses of brown or white, and then the homemade beer is pulled out of the fridge from behind the wet bar which has been built into their living room. Snake is, no surprise, a fairly aggressive poker player. He goes big and rarely goes home. He also likes to be in charge of rules and etiquette. At one point, he kind of starts barking at this neighbor who is a secretary at the embassy or something for making an inappropriate bet or maybe she went out of turn. It’s her first time playing and she breaks down crying. Snake doesn’t appear abashed.

At the next break in the action, Snake says, “follow me” and leads Jesse and I to his garage where he shows us his and his wife’s Harleys (the description above wasn’t just for effect). He explains that they even started the Saudi Arabian Harley club or something. Then he fires one up. Again. He’s revving it louder and louder and with the garage door closed it’s hits a deafening roar. All the while he’s grinning, slapping us on the back and explaining how he and his wife like to go to Bahrain (which he draws out into a Bah-rain) on the weekends to party at the yacht club where they are members. They don’t own a boat, but enjoy the privileges.

Back inside the game continues and pretty soon a woman arrives and joins the game. She is playing completely wild while continually laughing and chatting away about anything and everything. It’s hard to decide whether she is drunk and has no idea how to play poker or she is working us. She will call a raise and then turn over a small or middle pair, and the next hand win big without apparently knowing that she has the nuts. The next thing you know, she is standing up, waving an arm in the air like a rodeo rider and grabbing her crotch to emphasize a point. What point exactly, I can’t remember. Maybe it was just shit talking, which between her and Snake there is no lack of, in quantity or volume.

The party breaks up and Snake tells us to put on our trunks while he sets up the music. He drags two huge speakers out to the backyard where there is a small swimming pool. Now the classic rock (I remember a lot of Eagles) is booming out over the swimming pool and down half the block. Did I mention it’s a school night?

If we were wondering what kind of partying Snake and his wife liked to do, now was the moment of truth. We came out the sliding door to the wave of music and to the site of both Snake and his bobbing in the pool with big cups of moonshine beer in their hands, you know those plastic cups that you can put in the freezer to keep your beer extra cool on a sunny day or Saudi night…

I remember feeling nervous. I wanted to hide behind a fern like Ben Stiller in “Meet The Fockers”. Pretty soon though, Jesse and I are bobbing in the pool as well. We are kind of facing each other talking and I know Jesse is thinking that this is about one of the craziest situations we’ve ever gotten ourselves into (and Jesse’s been around the block, in fact the equator, once or twice too). Somehow it comes out that Snake was a collegiate wrestler for one of the big Midwest wrestling schools like Iowa and he is explaining to us how he mastered the arm drag, had taken it to new heights, past the technical, made it into an art form. We make the mistake of telling him that we wrestled in high-school and now Snake wants to demonstrate his stuff. Jesse kindly volunteers me and next thing I know I am being arm-dragged through and around the pool. Ground, water, sky, ground, water, sky. “What do you think of that?”

Jesse keeps talking about, “next year in the Kingdom...” and I have to say I don’t know at this point whether it is a threat or a promise.

Welcome to Saudi. The Desert. A kingdom of dates, but not dating. It's kind of like what Vegas would be like if it were run by Mormons.

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Friday, July 1, 2005

Brementown

"Brementown" is an adult and children’s paradise (for ages 7 to 77) which combines the magic of fairytales with the dynamic synergy of sound, shadow and object puppetry. Our story starts with a normal living room where the everyday objects we know so well transform into the characters of the story: a bellows becomes the head of an out-of-breath and aging donkey and the old tomes from the library shelf create a tall-tale-telling rooster literally filled with stories... The wonder and magic of the performance style will please the young while the deeper human themes brought out by our production will engage the more mature. Plus, "Brementown" leaves text behind and lets the virtuosity of the puppets tell the story for themselves, creating a truly international theater experience!

More at www.kevinlapin.com

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Wednesday, April 20, 2005

The Cradle and Crush of Humanity

My friends,

I recently returned from a trip to Ethiopia (the word trip somehow seems more appropriate than vacation). Some of you have been eagerly waiting for details or photos of our time in the "cradle of humanity", and I apologize for the delay, but it has been hard to sit down and write something.

Contrary to my previous trip around the Middle East and Africa, I have not felt the urge to write witty travelogues or goofy stories. Don't get me wrong, it was a lot fun, an amazing experience, but very intense and also somehow very elusive. Hard to chew up and spit out what you can't swallow, I guess, but here goes…

As I think about the trip, all the people we met and the injera we ingested, all the beautiful places and things we saw and all the ugly things we didn't want to see but needed to, the miles we drove and the showers we didn't take and the way time often seemed to float and drift like an afternoon nap, I think about catching and singing the sun in its flight with Jesse "hold-em" Long, getting to know Rebekah "café-con-leche" Fletcher, watching Trika "sparkling rain" Harm Zum Sprekel effortlessly making friends and, of course, spending every second possible with Megan "bad ass" Campisi, and when I try and think about all of this now, sitting here on the border of the 19th and 20th arrondissements in Paris, something about the whole experience is hard to grasp, hard to define. Somehow too personal or too grand for the simple recounting of.

You see, you have this idea about what your Africa experience will be, but like a zen koan it eschews you. I for example had this idea about being able to observe these tribes that we were going to visit during out trip around the south, ideas about observing their 'otherness', their 'purity', or something like that. Observe as in calmly, from a distance.

In the capital, Addis Ababa, you're fine, because regardless of how awkward or different it is, it's still a city and so you can understand how or why people and things are the way they are. If you've got money you can get around, go out to bars, restaurants, or even Salsa classes at the Bulgarian Embassy. There are just enough idiosyncrasies to remind you that you are in a foreign land without making you feel lost. For example, besides the food and language there is the time which is measured with a 12-hour day starting just after daybreak at 1-o'clock (7am our time) and ending at dusk at 12-o'clock (6pm our time) and the calendar, based on the Julian system, which is about 7.5 years behind our Western Gregorian calendar.

But then you leave the city and find yourself in the heart of the Rift Valley. You step out of your 4x4 Land Cruiser in your first local village, and Whabbam it hits you. You are immediately surrounded, overwhelmed, lost. You thought you came to observe and look at these remote cultures, but you quickly realize that it's you who are being observed, you are the spectacle. Everyone, especially the kids, wants to hold your hand and show you something, they are asking for caramellos (candy) or they want you to buy a picture or beads, look at their goat, their hut, their wound, their baby. You feel like a movie star, everyone is watching you or wants to talk to you, just to say hello.

You have to know what you want, otherwise you will spend your whole visit to a village saying no thanks or haggling over a price. You have trouble seeing or focusing on the experience because there are so many kids and people around you, in your space. You don't realize it yet, but the experience you came for is right there in front of you, in fact the experience is pulling on your shirt, is smiling for a photo and asking you, "hey mister, 1 Highland" (Ethiopian brand of mineral water, the empty plastic bottles are useful and desired containers) or "please, I am student 1 pen".

You can't be afraid of reaching out and touching the experience, being touched, and as hard as you are reaching for that quintessential "African experience" or even that "deeper, more real thing", the more you find yourself back-peddling, taking a stance, playing a role, rationalizing, distancing yourself, thinking about what kind of story this might make, getting claustrophobic, hot, hypochondriac (it's terrible to find yourself worrying about diseases every time a little boy or girl holds your hand) or you just space out which is one of the mind's best defenses against this unknown and uncomfortableness.

More than once I made the mistake of offering something (a candy or Highland bottle) to too large a group of kids and had to watch as kids trampled and fought with each other over it, crying and screaming. This reminded me of a scene from a Primo Levi book where he witnessed a son strangle to death his own father in a blind struggle for a piece of bread that someone had tossed into their train wagon bound for Auschwitz.

But don't worry; it always comes back to you.

People are struggling or perhaps just plain living without any of the comforts and luxuries, like electricity and clean water, that you can't imagine living without, and they are more visibly happy and alive than most people you see at home. You find yourself feeling guilty, lucky, but wondering if you come from such a lucky country, why do people at home seem so much less happy and alive than these people? Then you question whether you are really helping or only making people dependent on begging by giving out that 1 bihr. You ask yourself how much can you give and is that enough? Are you supposed to just give everything away? If you don't give something, does that mean you are giving nothing? And what about teaching a man to fish, isn't that better than charity?

And so on and so forth you spin and spin the wheels until, selfishly, you feel a little defensive about being so lucky, maybe justified, angry even. Then you feel at home again, because you're thinking about you and not it or them or the little boy with black, dusty buns holding his or her hand out to you or maybe just sitting there with conjunctivitis clouded eyes. It’s safer thinking about you and what you are feeling, but is that the experience you were looking for?

It's not an exhibit.

It seems a little obvious, but you have to realize that there is a difference between what you are doing and visiting a museum in order to get passed that desire to "observe" and "study". You have to accept that by going you are contributing to the contamination of these tribes' culture and way of life, even though that is what you have traveled so far to see and experience. Which is growth and which is contamination? It's like a quantum system you can't observe it without influencing it.

I tried to short-circuit some of these mercantile and colonial mind-traps by juggling for people, but my (Western) idea of what that meant would often get in the way. It took me a while, for example, to realize that juggling doesn't necessarily mean sitting quietly and watching/appreciating my performance. I had to make it clear that these colorful balls weren't meant as gifts and weren't filled with food or beads so they shouldn't be grabbed out of my hands and torn open. And why shouldn't they think this? Most of the other stuff I was pulling out of my pockets were gifts.

Once I could get going, the kids were generally excited to watch and would even give me a ball back if I dropped one, but they were just as likely to keep inching forward wanting to touch or examine the balls. One time in the main village of Omorate some kids ran off and disappeared with my juggling balls. After explaining that I wanted the balls back and offering a small reward (1 ball, 1 caramello), I got all but one of them back. This was about half-way through our trip through the south and I was starting to feel a little used and tired.

Finally, we had to leave and I explained where our campground was and offered a reward of a few bihr if someone brought the final ball back. I had forgot that our campground was about 60 km back down the road near a smaller village called Turmi.

I was completely surprised when that night two of the older boys showed up at the campsite with the last juggling ball. It had been opened and sewn back together again, but it was there. The boys had paid 10 bihr each (which is like the equivalent of several days work) to hitch a ride on a transport truck to get there and had no way of getting back until the next day. Of course I gave them enough money to pay for their trip and a place to stay the night, but I was really touched by how far they had gone to return the ball. It was sort of a turning/breakthrough point for me.

After that I think I kind of loosened up and started having more fun. On our last visit, with the Mursi tribe known for their body painting, lip plates and aggressivity (the guidebooks warn you to watch your socks and the guides repacked our trucks so there was nothing on the outside) we ended up spending an hour or two with them. Afterwards our main guide/driver and friend, Germa, told us that most of his trips only spend about 10 minutes with the Mursi. I ended up playing catch/juggle with a couple of men and women mixed together, was able to joke around, ask questions and even didn't mind the woman who put the lip plate in my hand right away and then came back every 5 minutes to tell me I had to pay her 5 bihr for it. When I finally accepted and paid her, she immediately palmed a bihr and counted back to me that I had only paid her 4 bihr. I just laughed and shook my finger at her.

The times I felt the clearest about visiting these tribes, that is to say the most helpful, was when we were giving out the boxes of medicine and anti-fungal cream we brought along. It definitely seemed like a better thing than giving out candy or money. And I don't really like to buy stuff that I'm not going to use, so apart from the few souvenirs and beads for Megan I purchased, I wasn't doing a lot of "supporting the local economy". Aside from digging a well or something, giving out medicine seemed like a pretty good thing.

But still, I have to say that I think this ends up being another, perhaps more defensible stance, that you take to, to avoid being touched by the experience. It's not an equal form of interaction. Because however helpful what you're giving is, you stay in a power structure of I have, I know and I am giving to you. It's a simple relationship, we know its roles and how we are supposed to act in it so we don't have to struggle with this other more obvious thing: cultures and human beings who are very different and yet very much like you.

In the end, I had to give up or at least put aside a lot of my questions about "helping" or "hurting" and the ideas I had about what my African experience would be like. When I finally did that with the Mursi tribe, I realized that I had a lot of fun. I met them where they were at, not where I wanted or imagined them to be, and if that meant that I ended up haggling about a lip plate in the middle of playing catch with some people, then that was okay too.

I would say I learned that If you push through the differences to the similarities (or vice versa) and aren't afraid of getting dirty or a little malaria or yellow fever or diptheria, then Ethiopia's rewards are worth it.

Egziyaber istelign (may the Lord bless and give to you)
Beh-teh-leh-ku Ewedehalehu (I love you big)

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Wednesday, January 12, 2005

Gong Hey Fat Choy


























see all the Silent Night greeting cards at www.kevinlapin.com

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