I’ve got a real important job in a large office building

20060825-Lyssandra

A few braggish items, and an upcoming show. First, Ambassador’s Day got picked up at the 2006 Mill Valley Film Festival. This is actually kind of a big deal, as a bunch of movie-makers got their break here. More info on show times when I get them. Second, Romance in D just won a 2006 Silicon Valley Theatre Award for Standout Comedy Production. Thanks, Susannah!

Those of you who live near San Francisco: come see me at the Plush Room as I play strings for Lyssandra Cox. I’m working with piano god Dwight Okamura on the music. Shows are September 11 and 18 at 8 p.m. Even though it’s Monday night, tickets for the unwashed masses are $20, but I might be able to sneak you in for love.

She’s posing for consumer products now and then

Inverness, California. We’re at Manka’s Inverness Lodge, in the master cabin. Fill lights glaze the ceiling in a warm brown glow, and an epic blaze shouts at us from the ornate fireplace. The bathroom is next door, replete with cuddly towels and lavender-chamomile soaps. Through the door, we can see the claw-footed bathtub, filled with professionally frothy suds. Folks from marketing huddle around it, debating lighting angles. “She’s holding the champagne,” says a marketroid. “She’s holding the champagne and sitting here in the tub. It’s informal. Can’t look posed. Gotta have a mood. Gotta be real. Can you make those bubbles a little lower? Where’s our talent?”

Lolly nervously looks at the bubbles through the doorway. She shifts a bit in the makeup chair. Her half-blonde hair cascades in ideal waves around her face. She’s thin and gorgeous.

Aurore has laid out an array of powders, bases, brushes, salves, creams, towels, and papers on the oak desk. Aurore dapples bits of foundation and color around Lolly’s eyes. Aurore has a Left-Bank accent and an unassuming demeanor, with imperfect skin and big moo-cow brown eyes. She learned her craft on the Paris runways.

Aurore dotted Lolly and stood back. “It is nice like that, yes? No?”

Lolly peered into a compact. “My eyes. I think you’ve made them pop too much. I look white.”

I picked the pecans off a huge bear claw, dipped them in my coffee.

Aurore fluttered. “Oh I am so sorry, my. Again?”

Ten minutes later, more powder, more base. Lolly checks the mirror again. “Um. You see, if you look here, under my eyes. You’re trying. I know you’re trying. Can you see what I’m talking about?”

Aurore twitches. “Oh my. Yes. We can most definitely.”

I overhear an argument around the claw-footed bathtub. “Because, goddammit! If we do the shot with all four of ’em toasting, it’ll be just like every other goddamn champagne advertisement out there! Been done a thousand goddamn times! We need to stand out! And I hired you to be creative! To think out of the box!”

An hour passes. Aurore makes up Lolly four more times. I keep quiet.

A tuft of brown hair has fallen out of Aurore’s tight twist, and she is sweating. Lolly twists in the makeup chair. In the bathroom someone barks about market segmentation and the thirty-something psychographic.

Aurore blinks at Lolly and brushes her hair out of her eyes. “Perhaps, this is good? Perhaps I have done another mistake? Is this what you want?” Aurore flashes a pleading look at me.

Lolly’s face is a thick haze of peach and iridescent glaze. A fermata of concern is perched on the center of Lolly’s forehead. She looks at me fearfully and asks, “How do I look?”

“Honestly?” I ask. Lolly nods.

I peg her dead-on with look number 17 (masterful diabolical confidence) and I say:

“You. Are. Fucking. Gorgeous.”

Lolly gives me a broad, true smile. She undoes her robe and marches directly into the bathroom. Every single man on the shoot follows her into the bathroom.

Every single man except me, that is. I take Aurore outside and play some Kyo on guitar with her.

I’m a model, you know what I mean

From: Andrea
To: John

Congratulations – you’ve been selected! I left a voice mail on your cell/ work #s. Please give me a call so we can confirm the shoot and wardrobe details. Here’s the shoot breakdown.

DATELINE

The action takes place after Thanksgiving, the first weekend in December. Winter?s first snow fell a couple of days ago but it has melted away.

THE SETTING

A secluded Old New England or North West Coast cabin in the mountains near the coast, not too far from a charming small town.

THE PLAYERS

Mark is a 38-year-old V.P. in a computer software firm. Getting out of town and spending time at this cabin is something he looks forward to. He plans the weekend. He organizes the activities, brings the toys and loosely functions as the master of ceremonies.

Lolly is Mark’s 33-year-old wife. She is a buyer at a house wares boutique, a clever cook, and a great hostess. She and Mark are ?soul mates?. They make a great team. They have a fun-loving, attentive, very, very well behaved dog (Echo).

John works with Mark. He?s a little younger but they share similar interests. He?s been on weekend getaways with them before and is quick to pitch in and take part.

Laurie is John’s main squeeze. She manages a successful community theater.

The objective of this photo shoot is to visually tell the story of Mark and Lolly?s and John and Laurie’s weekend getaway. The primary strategic takeaway is “fun“. Having a good time is the essence of the weekend. Freixenet Cordon Negro Brut and the champagne experience is a vital part of the fun.

It is important to note that while “fun” is the strategic goal, achieving a sense of genuine realism is critical to this production. Real people having a good time in a believable natural way will serve our purpose better than contrivance. Credibility is the key.

In order to establish a credible storyline for our photo essay the following Action Sequences have been established. They are a linear chain of events that correspond to our established settings and locations.

Wed, Aug 2nd

7:30 am Meeting at Inverness Valley Inn — Room #8 (behind main office)
– 13275 Sir Francis Drake Blvd, Inverness (415)669-7250
– Actors change into correct wardrobe
– Hair/makeup styling

8:15 – 8:45 Carpool & drive to Limantour beach
– Pier shots on way to beach

8:45 – 11 Beach shots (weather/fog dependent)
– 2 couples walking along beach with one dog on leash
– 1 woman running with Dog

11-11:30 Drive back to Inverness

11:30 – 12:30 Lunch break Busy Bee coffee shop
– 12301 Sir Francis Drake Blvd, Inverness (415-663-9496

12:30 – 3 Inverness town shots
– Busy Bee coffee shop
– Walking next to antique store/ post office/ mural ? Inverness
– Misc town shots dependent on lighting

3 pm Actors check into Inverness Valley Inn
– Break for actors, & Freixenet clients
– Bob, Andrea & Bryan set up lighting Manka’s

5:00 – 6:30 Dinner at Vladimir?s
– (downtown Inverness – 12785 Sir Francis Drake Blvd — 415-669-1021)

6:30 -7 pm Drive to Limantour beach

7 – 9:30 pm Beach bonfire shot

Thurs, Aug 3rd

6:15 am Meet Room #8 ? Inverness Valley Inn (room behind main office)
– 13275 Sir Francis Drake Blvd, Inverness (415)669-7250
– Coffee/ pasteries

6:30 – 7 Drive to Limantour beach

7 – 9 Beach shots (weather/fog dependent)
– Clamming (first light, latern)
– Back ?up shots from previous day (weather dependent)

9 – 9:30 Drive back to Inverness Valley Inn
– Change wardrobe for indoor scenes, check out of motel
– Hair/make up stylist meets actors in room #8

10 – 11:30 Unloading car shots
– Unloading car shot
– Lights on in Fisherman?s cabin in background

11:30 – 12:30 Lunch
– Fisherman?s cabin deck, catered from deli

12:30 – 6:30 Interior Fisherman?s cabin shots
– Clawfoot tub — mimosa’s
o Lolly alone with bubbles holding mimosa
o Lolly in tub, Mark in bathrobe giving her a foot or neck massage, etc
– Fireplace
o Making old fashioned popcorn
o John playing classic wooden guitar
o Scattergories game
– Product shots
o Glasses full & empty
o Bottle shot with glasses

7pm Dinner at Mankas
– Actors officially finished with shoot. Everyone meet for celebration dinner.

A bottle of red, a bottle of white

Chapel Hill, North Carolina. Thursday night at Bogart’s American Grill. The dance floor is starting to get crowded. I slide up to the bar, flag the bartender, and grab a martini. Four belles, tan and smiling, grin into a digital camera and take pictures of themselves.

“C’mere, gimme ‘at camera and y’all get together,” I say.

They cuddle up and I snap some shots. One of them points the camera at me. I make a face and she snaps a picture, and she screams with laughter. “Look!” she giggles. “Look how funny you look raht there!”

“You think I look funny?” I say. “Well, take a look at this!” I grab a menu off the bar. “There. That’s my picture at the top of the menu.”

The girls inspect the menu. “No way,” says one confidently. “That’s not you.”

“Yeah,” I say, nodding. “That’s me raht there. Did the photo shoot. In California.”

“No, that guy duddn’t look like you at all,” says the brunette in the red dress.

“If that’s really you, how come ya have to pay fy’own drinks?” says the redhead.

“Well, um, they already paid for my dinner…” I say meekly.

“You look really old in this photo,” says the brunette. “Ahya really that old?”

I mumble something, but I don’t remember what. Their eyes glaze, and I become invisible to them. I pound the martini and try to steal the menu, but the bouncer takes it back at the door.

When my life’s got me down I wanna hear that high lonesome sound

San Francisco to Los Angeles International. I blew a few frequent flier miles and put myself in first class. It was ten a.m. but the stewardesses were handing out glasses of champagne. I took one.

Saint Albans to Sissonville, West Virginia. My parents drove us in the Ford Escort, a very small white car. It burned large quantities of oil, such that puffs of acrid white clouds huffed from it like a smokescreen. I remember my father?s thick, gym-teacher hands on the wheel of the car.

I picked up the Mustang convertible at LAX. My customer asked me to drive two hours south of Los Angeles to meet him.

Our house is three bedrooms for my mother, father and us four children. Dad built a bed for me by attaching some two-by-fours to the ceiling with lag bolts. He bolted a slab of particle board to the two-by-fours and laid a mattress on top. I slept there for six years. Our back yard had a leaky septic tank. Once it overflowed and filled the back yard with raw sewage. Behind the back yard was a forgotten dump. I remember taking a slingshot into the dump and firing rocks at empty baby food jars on an old rusted refrigerator. I did it enough to get good at it. Once I cut my finger on the glass.

The security camera inspected my car and the massive gate swung open. With one finger I finessed the Mustang through the manicured streets. I drove past houses the size of city apartment complexes. Over the hill, the Pacific Ocean scintillated like the eyes of God. I drove past three women and two girls in the complex. Every one of the girls and women had breast implants. The mansion at the end of the road was the largest in the complex.

All the kids played Little League ball. There was a concession stand. Two makeshift shutters covered the windows of the concession stand, hinged and padlocked against the screams of the summer crickets. It opened only when one of the grown-ups brought ice. The drink of choice was something called Round the World, which consisted of putting the cup of soda on the left fountain, and sloshing it past all the 7-Up Pepsi Orange Lime ingredients, until you had this funky orange-brown witches’ brew.

He opened the front door of the mansion, called me by my first name. Oak, stained glass, vaulted ceilings, extremely rare video games. He asked me if I had brought swim trunks. His swimming pool overlooked the ocean. I guessed five million in the property, but did not ask.

The bleachers at Sissonville High School were typically strewn with trash. The concession stand had a standing deal with the kids: they would give you a trash bag, and if you brought it back full of trash, they would give you a twenty-five cent cup of soda. I opened a verbal account with the concession stand. In a few hours you could collect several bags of trash.

He tapped on one of his four keyboards, talked at length, showed me prototypes. I took notes, made a spreadsheet, discussed, rebutted. He listened, smiled, patted me on the back.

Two bags of trash equals fifty cents, which was enough for a slice of microwaved, square, pre-fabricated pizza. The pizza was oily, with little flecks of hamburger or sausage. There was always plenty of trash around, so there was always plenty of pizza. I remember picking up trash and listening to the music coming over the loudspeakers, from the AM radio. It was bluegrass country, simple and hot and deep, songs about love and death and God. It always seemed to me to be about a place that never really existed, a place within the heart, a dream that you half-remembered upon waking, in sweet agony because you couldn?t remember clearly the faces you?d seen.

With one finger on the wheel I finessed the Mustang around the jogging blonde actresses. They swiveled and flashed perfect teeth at me. In a few hours, I cleared over four thousand dollars.

And you try to remember who you have been. You try to be real. You try to be yourself. But sometimes you don’t know what real is, and you can’t remember who you are.

I put on my sunglasses and plugged in the satellite radio. I cranked Cherryholmes, Chet Atkins, Flatt and Scruggs, songs about love and death and God. With the top down, I bolted eighty miles per hour up the Pacific Coast Highway, past the juice joints and the stucco malls, the sunset red and hot blue on the deadly beautiful ocean, and I did my best to remember.

Und der Haifisch, der hat Zahne

Saturday Night Live is exactly one pasteurized-process joke, repeated past the point of Tedium, around the Cape of Repetitive Humor, and back into Tedium; MAD TV is neurotic, racist, soul-deadening white noise; The Daily Show is Harvard Lampoon ivory-tower liberalism by the numbers; and the only really funny show to appear on television in the past fifteen years is Wonder Showzen. It summons the ghosts of Ernie Kovacs, Monty Python, Jim Henson and Allen Funt to piss an absurd toxicomic brew that is vastly more potent than anything else on TV right now. Do not watch it, under any circumstances.

And the best we can do is hope a bluebird will sing his song, as we stumble along

You and I live in a golden and fine and lucky age of new musical theater. In the past four years, there have been a pile of witty, hip new entries in the field: Avenue Q, Bat Boy, Urinetown, The 25th Annual Putnam County Spelling Bee, Wicked, and most recently, The Drowsy Chaperone. My CD finally came in, and I’m in love — The Drowsy Chaperone does everything that Frank Loesser or Oscar Hammerstein or Richard Rogers ever did. It’s an exquisite bit of fluff that knows its sources better than the sources know themselves.

The current trend toward metatheatricality bodes well for The Death of Ayn Rand.

It’s gone and you can tell that one goodbye

Date: Wednesday, From: Robert
I’m directing Hermit Bird at Virago Theatre Co‘s Reading series on Saturday July 8th. I’m looking at several Actors and will let you know when I have a firmer idea. I’m looking for a companion piece to fill out the evening and will update you when we’ve made a selection.

Date: Thursday, From: John Byrd
About how long ideally? Any particular casting requirements? I have a couple funny one-acts that may work as an opening…1

Date: Friday, From: Robert
Probably in the 60 minute range. Hermit looks like it will run about 20 and a nice evening is 90 minutes total. That gives audience some time after wards to discuss and socialize. Laura may have had to move pieces around to get a fit with schedules. I’m looking at Hermit Bird as an open and another piece as the second. I’ve been thinking comedy, but I’m open.

Date: Saturday, From: John Byrd
I do have exactly such a play2 ? I have an absurdist comedy called The Death of Ayn Rand which would work against Hermit Bird like lemon against chicken. The Death of Ayn Rand is still in the development stage3, and it could really use this type of staged read. May I send you the script for your review?

Date: Sunday, From: Robert
Let me know if you have something that will fit.

Date: Monday, From: John Byrd
Enclosed are pointers to my spanking new one-act play4, The Death of Ayn Rand. This play will go well as a second part to an evening of staged reading, against The Hermit Bird. The Death of Ayn Rand is an absurdist comedy.5 It details the final minutes of life of the objectivist philosopher who wrote Atlas Shrugged.6 It will provide actors the chance to stretch, be funny, and say something significant, all at the same time.7

Date: Tuesday, From: Robert
I read your script last night. It’s great, you have a wonderful use of language and I love how you play with the structure of the piece in such a creative way. So we would like to use “The Death of Ayn Rand” as the second piece of the evening on July 8th. Let me know your thoughts and I will let you know when we have a cast and can put together a schedule.

Date: Wednesday, From: John Byrd
Great! I look forward to working with you.8


1 I have some half-baked concepts that I haven’t actually committed to paper yet.
2 I do have exactly such an idea for a play.
3 All I need to do is write the fucking thing.
4 Enclosed are thirty-five pages of unproduceable stream-of-consciousness bat shit.
5 It makes no sense because I pulled an all-nighter to yank it out of my ass for you.
6 I couldn?t be bothered to do any research that didn?t come from Google, so most of my facts are probably wrong.
7 It will provide actors the chance to correct my numerous typographical errors.
8 Are you nuts?!