In the meantime, I’ve been hard at work on my new play for middle school students – And Then, She Picks Up the Sword – in which a prince and princess do not want to get married, and subsequently run off to the woods. I adore this Renaissance pastoral painting – as the boy with flowers in his hair teases the young maiden, she looks away (at the word “sword,” because I’m cheeky that way).
We took tropes from Shakepeare’s comedies and used them, making a play that both parodies and deploys these elements…
Directed by the Austin Chronicle’s 2017 Director of the Year (and a dear friend) Rudy Ramirez, Knitted is a re-imagination of Pinocchio, in which Geppettois a gay man who makes a puppet after a one-night stand, which subsequently comes alive. I’m hoping to turn this one into a full-length play…
A couple announcements are coming soon… Nothing earth shattering, but things that are delightful.
My favorite words to write are the dedication. I leave this to last.
My second-to-last favorite words are, “End-of-Play.”
This is when I get to become a human again.
Prior to these words, I am a strange creature. Unshaven. Sleep-deprived. Wandering from coffee shop to coffee shop, spending far too much money on cookies and sandwiches to bribe myself into staying there.
My spring middle school show has been written. It’s an adaptation of a set. A fabulous student designed this forest-filled set that we’re building with a bundle of junior high students. I spent weeks making story with them. They wanted a play where a princess falls in love with a princess. I looked at the set, and I thought about Midsummer Night’s Dream and the Shakespeare comedies… and I set to work.
This will be more environmental. The first scene – a prologue, really – set in a wedding chapel, that will be the Skybridge lunchroom. A reluctant prince and princess are supposed to get married, and then they each flee the wedding to the forest, which is what our theatre will become, and our audience will enter.
Funny thing. When you take a Shakespearian set of tropes – the idea of people running off to the woods – you start to see how the pieces worked. If the Mechanicals from Midsummer at all reflect the process old Willy went through when he built his plays, then my working with a bunch of teenagers is remarkably similar. A couple years ago, when we were in the early stages of the Romeo & Juliet adaptation, I remember thinking about how random the plots to WS’s comedies are. Whereas the tragedies often have stories built like a barn, the comedies meander. As I wrote this one, I realized why and how – you put people in forest and they don’t have a plot or project, then things just happen…
I penned Knitted for the annual Out-of-Ink ten-minute play festival at the Hyde Park Theatre. Sponsored by ScriptWorks, this festival previously premiered the ten-minute of Small Steps and The Vanishing Rose Trick.
In Knitted, Piper Gepperson isn’t thinking about fatherhood when he turns underwear leftover from a one-night-stand into a puppet that comes to life…
This is my queer adaptation of Pinocchio. And it’s probably the next full length that I’m going to tackle.