Showing posts with label humor. Show all posts
Showing posts with label humor. Show all posts

Tuesday, August 18, 2009

Dave Barry: a journey into my colon--and yours!

OK. You turned 50. You know you're supposed to get a colonoscopy. But you haven't. Here are your reasons:

1. You've been busy.
2. You don't have a history of cancer in your family.
3. You haven't noticed any problems.
4. You don't want a doctor to stick a tube 17,000 feet up your butt.

Let's examine these reasons one at a time. No, wait, let's not. Because you and I both know that the only real reason is No. 4. This is natural. The idea of having another human, even a medical human, becoming deeply involved in what is technically known as your 'behindular zone' gives you the creeping willies.

I know this because I am like you, except worse. I yield to nobody in the field of being a pathetic weenie medical coward. I become faint and nauseous during even very minor medical procedures, such as making an appointment by phone. It's much worse when I come into physical contact with the medical profession. More than one doctor's office has a dent in the floor caused by my forehead striking it seconds after I got a shot.

In 1997, when I turned 50, everybody told me I should get a colonoscopy. I agreed that I definitely should, but not right away. By following this policy, I reached age 55 without having had a colonoscopy. Then I did something so pathetic and embarrassing that I am frankly ashamed to tell you about it.

What happened was, a giant 40-foot replica of a human colon came to Miami Beach. Really. It's an educational exhibit called the Colossal Colon, and it was on a nationwide tour to promote awareness of colo-rectal cancer. The idea is, you crawl through the Colossal Colon, and you encounter various educational items in there, such as polyps, cancer and hemorrhoids the size of regulation volleyballs, and you go, "Whoa, I better find out if I contain any of these things," and you get a colonoscopy.

If you are as a professional humor writer, and there is a giant colon within a 200-mile radius, you are legally obligated to go see it. So I went to Miami Beach and crawled through the Colossal Colon. I wrote a column about it, making tasteless colon jokes. But I also urged everyone to get a colonoscopy. I even, when I emerged from the Colossal Colon, signed a pledge stating that I would get one. But I didn't get one. I was a fraud, a hypocrite, a liar. I was practically a member of Congress.

Five more years passed. I turned 60, and I still hadn't gotten a colonoscopy. Then, a couple of weeks ago, I got an e-mail from my brother Sam, who is 10 years younger than I am, but more mature. The email was addressed to me and my middle brother, Phil. It said:

"Dear Brothers,

"I went in for a routine colonoscopy and got the dreaded diagnosis: cancer. We're told it's early and that there is a good prognosis that they can get it all out, so, fingers crossed, knock on wood, and all that. And of course they told me to tell my siblings to get screened. I imagine you both have."

Um. Well.

First I called Sam. He was hopeful, but scared. We talked for a while, and when we hung up, I called my friend Andy Sable, a gastroenterologist, to make an appointment for a colonoscopy. A few days later, in his office, Andy showed me a color diagram of the colon, a lengthy organ that appears to go all over the place, at one point passing briefly through Minneapolis. Then Andy explained the colonoscopy procedure to me in a thorough, reassuring and patient manner. I nodded thoughtfully, but I didn't really hear anything he said, because my brain was shrieking, quote, "HE'S GOING TO STICK A TUBE 17,000 FEET UP YOUR BUTT!"

I left Andy's office with some written instructions, and a prescription for a product called 'MoviPrep,' which comes in a box large enough to hold a microwave oven. I will discuss MoviPrep in detail later; for now suffice it to say that we must never allow it to fall into the hands of America's enemies.

I spent the next several days productively sitting around being nervous. Then, on the day before my colonoscopy, I began my preparation. In accordance with my instructions, I didn't eat any solid food that day; all I had was chicken broth, which is basically water, only with less flavor. Then, in the evening, I took the MoviPrep. You mix two packets of powder together in a one-liter plastic jug, then you fill it with lukewarm water. (For those unfamiliar with the metric system, a liter is about 32 gallons.) Then you have to drink the whole jug. This takes about an hour, because MoviPrep tastes -- and here I am being kind -- like a mixture of goat spit and urinal cleanser, with just a hint of lemon.

The instructions for MoviPrep, clearly written by somebody with a great sense of humor, state that after you drink it, "a loose watery bowel movement may result." This is kind of like saying that after you jump off your roof, you may experience contact with the ground.

MoviPrep is a nuclear laxative. I don't want to be too graphic, here, but: Have you ever seen a space shuttle launch? This is pretty much the MoviPrep experience, with you as the shuttle. There are times when you wish the commode had a seat belt. You spend several hours pretty much confined to the bathroom, spurting violently. You eliminate everything. And then, when you figure you must be totally empty, you have to drink another liter of MoviPrep, at which point, as far as I can tell, your bowels travel into the future and start eliminating food that you have not even eaten yet.
After an action-packed evening, I finally got to sleep. The next morning my wife drove me to the clinic. I was very nervous. Not only was I worried about the procedure, but I had been experiencing occasional return bouts of MoviPrep spurtage. I was thinking, "What if I spurt on Andy?" How do you apologize to a friend for something like that? Flowers would not be enough.

At the clinic I had to sign many forms acknowledging that I understood and totally agreed with whatever the hell the forms said. Then they led me to a room full of other colonoscopy people, where I went inside a little curtained space and took off my clothes and put on one of those hospital garments designed by sadist perverts, the kind that, when you put it on, makes you feel even more naked than when you are actually naked.

Then a nurse named Eddie put a little needle in a vein in my left hand. Ordinarily I would have fainted, but Eddie was very good, and I was already lying down. Eddie also told me that some people put vodka in their MoviPrep. At first I was ticked off that I hadn't thought of this, but then I pondered what would happen if you got yourself too tipsy to make it to the bathroom, so you were staggering around in full Fire Hose Mode. You would have no choice but to burn your house.

When everything was ready, Eddie wheeled me into the procedure room, where Andy was waiting with a nurse and an anesthesiologist. I did not see the 17,000-foot tube, but I knew Andy had it hidden around there somewhere. I was seriously nervous at this point. Andy had me roll over on my left side, and the anesthesiologist began hooking something up to the needle in my hand. There was music playing in the room, and I realized that the song was Dancing Queen by Abba. I remarked to Andy that, of all the songs that could be playing during this particular procedure, Dancing Queen has to be the least appropriate.

"You want me to turn it up?" said Andy, from somewhere behind me.

"Ha ha," I said.

And then it was time, the moment I had been dreading for more than a decade. If you are squeamish, prepare yourself, because I am going to tell you, in explicit detail, exactly what it was like.

I have no idea. Really. I slept through it. One moment, Abba was shrieking Dancing Queen! Feel the beat from the tambourine... and the next moment, I was back in the other room, waking up in a very mellow mood. Andy was looking down at me and asking me how I felt. I felt excellent. I felt even more excellent when Andy told me that it was all over, and that my colon had passed with flying colors. I have never been prouder of an internal organ.

But my point is this: In addition to being a pathetic medical weenie, I was a complete moron. For more than a decade I avoided getting a procedure that was, essentially, nothing. There was no pain and, except for the MoviPrep, no discomfort. I was risking my life for nothing.

If my brother Sam had been as stupid as I was -- if, when he turned 50, he had ignored all the medical advice and avoided getting screened -- he still would have had cancer. He just wouldn't have known. And by the time he did know -- by the time he felt symptoms -- his situation would have been much, much more serious. But because he was a grown-up, the doctors caught the cancer early, and they operated and took it out. Sam is now recovering and eating what he describes as "really, really boring food." His prognosis is good, and everybody is optimistic, fingers crossed, knock on wood, and all that.

Which brings us to you, Mr. or Mrs. or Miss or Ms. Over-50-And-Hasn't-Had-a-Colonoscopy. Here's the deal: You either have colo-rectal cancer, or you don't. If you do, a colonoscopy will enable doctors to find it and do something about it. And if you don't have cancer, believe me, it's very reassuring to know you don't. There is no sane reason for you not to have it done.

I am so eager for you to do this that I am going to induce you with an Exclusive Limited Time Offer. If you, after reading this, get a colonoscopy, let me know by sending a self-addressed stamped envelope to Dave Barry Colonoscopy Inducement, The Miami Herald, 1 Herald Plaza, Miami, FL 33132. I will send you back a certificate, signed by me and suitable for framing if you don't mind framing a cheesy certificate, stating that you are a grown-up who got a colonoscopy. Accompanying this certificate will be a square of limited-edition custom-printed toilet paper with an image of Miss Paris Hilton on it. You may frame this also, or use it in whatever other way you deem fit.

But even if you don't want this inducement, please get a colonoscopy. If I can do it, you can do it. Don't put it off. Just do it.

Be sure to stress that you want the non-Abba version.

Colonoscopies are no joke, but these comments during the exam were quite humorous... A physician claimed that the following are actual comments made by his patients (predominately male) while he was performing their colonoscopies:

1. Take it easy, Doc. You're boldly going where no man has gone before!

2. Find Amelia Earhart yet?

3. Can you hear me NOW?

4. Are we there yet? Are we there yet? Are we there yet?

5. You know, in Arkansas , we'd now be legally married.

6. Any sign of the trapped miners, Chief?

7. You put your left hand in, you take your left hand out...

8. Hey! Now I know how a Muppet feels!

9. If your hand doesn't fit, you must quit!

10. Hey Doc, let me know if you find my dignity.

11. You used to be an executive at Enron, didn't you?

And the best one of all.
12. Could you write a note for my wife saying that my head is not up there!

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Monday, February 9, 2009

Now, That's Funny - Bye-Bye Bush

I want to emphasize the comma in the title. Like Lynne Truss' zero tolerance approach to punctuation in "Eats, Shoots & Leaves", I used to have a zero tolerance for Bush humor. I would find myself watching, for example, Stephen Colbert skewering Bush and the neo-connneries (connerie: nf. French meaning silly, stupid, rubbish, bullshit, and from the root word con meaning idiots, lousy, dumb, foolish and designating the female sex organ) at the 2006 White House Correspondant's Dinner and I would find it hilarious, but involuntary angry constrictions of my chest would always choke back the laughter. In legal terms, I guess you would call this my Executive Gag Order Humor Reflex.

But that was before Obama took office and Bush got on what many of us hoped was a helicopter to nowhere... Now, I find his buffoonery (bouffon, nm. French the clown, the imbecile, the fool) really funny. So as I sit here today, February 9, 2009, watching the aweful (as in 'inspiring awe' and disgusting) and incredible compilation of Bush gaffes from the Letterman show, and the tears stream down my cheeks, I am saying to myself Now, (comma) that's funny! with the emphasis, thanks to the comma, on the Now.

Now, I understand why clowns can be so scary and funny...

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Friday, January 30, 2009

Comic Genius

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Thursday, January 29, 2009

La bouffe vietnamienne.
On nêm où on nêm pas.

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Sunday, January 25, 2009

This is not very PC,
but you know what they say,
Once you go mac...

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Tuesday, January 20, 2009

Purplegate Superfood

Dear Friends,

Those of you who have had the opportunity to attend a Dave Matthews/Bazan/Harper/Makana/insert-crunchy-white-college-dude-guitar-player’s-name-here concert with Jesse are probably familiar with his technique of dehydrating in preparation for the big event to be sure that he doesn't have to leave the front row and make his way through throngs of L.L. Bean clad guys and girls who are also rocking out just to go to the bathroom and thereby risk losing his place and more importantly his slow head bopping groove.

Well, I realized that attending the inauguration of our 44th president in D.C., aka O-day, would represent a similar biological challenge (20 port-a-potties at a distance of 3 security checks across one and a half million people and multiplied by a small bladder, you do the math). The thought of self-catheterizing myself or having a colostomy bag break open right as Obama stepped away from the motorcade to shake my hand on national TV, made not eating or drinking for 24 hours seemed like a good option. But I didn't want to pass out from the extreme cold or long hours standing on my feet and dreaming of a new and better tomorrow, did I? So I had to eat something... but what?

A quick trip to the National Safeway (I know it's bizarre but everything in DC is the national something, I swear we even passed a building that said the National Tiddlywinks Society) and I had my answer, Odwalla Superfood: the perfect balance of juice puree, artichoke dust and thistle, with a little prairie grass thrown in for flavor that would get me through the big day without needing a restroom. I mean, hey, it's called Superfood, what could be better than that?

Well, maybe it was the weekend's indulgence in sushi, scrapple, pancakes, pizza, fajitas, a bagel with oleo, tomato soup and grilled cheese, a snack of fried chicken and half a corn dog and then dinner Monday night of caesar salad, pasta and meatballs (I passed on the balls) that did it, but I like to think that it was the Superfood, because after getting stuck in a crowd for 4 hours in what NPR, facebook groups and Youtube are calling the "Purple Tunnel of Doom" or "Purplegate", I took what can only be called a post-inaugural, celebrational...


Take care,
Kevin


--
From the Heart,

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

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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, January 12, 2005

Gong Hey Fat Choy


























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

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