Last week was an amazing theatre week. Wednesday night I attended “On Beckett” at the Kirk Douglas Theatre, starring the incandescent Bill Irwin, sharing his life-long love of and relationship with Samuel Beckett’s texts. Sitting in the center of the Kirk Douglas Theatre before the show, uncannily close to where I sat for opening night of Endgame, I cracked open my program to discover the Dramaturgical pages filled with pictures of Beckett performers, including my darling Jimmie, in the ashcan next to Charlotte Rae’s, circa 2016. (Scroll through to page 4/8 to see the page of which I speak. ) I continued to think throughout the ensuing evening how much Jimmie would have enjoyed this production.
Irwin is a master, his affinity with the distinctly Irish voice of Samuel Beckett so clear; his training as a clown made Beckett’s humority (do you like my new word?) powerful and immediate. Irwin removes all distance between himself and us with his personal narrative through the work. The fact that he shared texts most of us probably weren’t familiar with was also a bonus. The not-so-nutty professor, complete with gag podium.
Thursday evening, Sarah Jones was in the house, performing Sell/Buy/Date at USC as part of Visions and Voices in the Bing Theatre, packed to the rafters with appreciative students and faculty. Her play, which had appeared a little over a year ago at the Geffen Playhouse, is a complex jewel. Avoiding spoiler alerts, let’s just say her framing device is brilliant; positioning herself in a time frame about thirty years hence allowed her to skewer our behaviors and sharply direct our attention to the topic of sexual exploitation. On Sunday, the front page of the New York Times was a chilling reminder of how this show, originally performed in 2016, is maybe even more relevant today. Framing is everything. I told my freshmen seminar students that this is why the theatre has the power to change society.
Last Friday, I took the Dash bus to USC from my DTLA home, went to the Transportation office to turn in my parking pass in exchange for the EZ-Metro Pass. The pass allows me to take the Bus, Metro and Dash to and from work, something that I’ve not done in recent years because of my caregiver need to be able to get home quickly. This is a big step, given the fact that we’re heading into “winter” and there are, God willing, bound to be rainy days and late nights after tech where I’d probably appreciate the comfort of my private car. But the $110 parking vs. the $40 EZ-Pass is compelling, as is the lightening of my carbon footprint. And I can still listen to my favorite podcasts and spend time thinking and decompressing from work before I get home, regardless of the hour. I spent the first few days feeling a little dependent on forces not aligned with my fervent desire to get home right after work, until last night, at 10:49PM, I walked up to the bus stop at Jefferson and Figueroa, under Felix’s watchful eye, pulled up the timetable for the 81 bus to discover it only runs one bus per hour… but due to arrive in about 1 minute! Which it did. I got onto the bus, found a seat, and was home by 11:05, feeling oddly privileged.
You see, it’s all in the framing. I’ve decided this old house needs to be reframed, and I’ve begun the work. I still have the car sitting at home. If my legs give out from walking the 11,000 steps I’ve proclaimed I want to do each day then I can always get my parking pass back. But on the eve of Free Ride Day on LA Metro (Oct. 2), I’m happy it’s not just a one day choice, but feels like a shift in my lifestyle.
Saturday, I attended the life celebration of one of the former deans of the School of Dramatic Arts at USC, Robert Scales. It was a moving tribute to a man who as many people noted, would have hated the attention. Speaker after speaker talked about what Bob had done for them, either through introducing them to someone who could help them, or by helping them himself. His acts of kindness or opportunity or financial support were laid bare for all of us to see, yet again, reinforcing his legacy. I’ve been thinking a lot about who memorials are for and they’re a chance for us to take notice of each other and the impact we can have on others’ lives.
I’d spent Thursday running around in our new van, picking up loaner ghost lights to decorate the Bing to celebrate Bob, who’d made the witty little lamps as a hobby. In my travels, I got to visit one of Bob’s Los Angeles homes, the 24th Street Theatre, where he had been a constant support to that theatre. You can read more about Bob here through the words of Jay McAdams, one of the theatre’s Artistic Directors. Jay handed me two boxes of the whimsical lamps to use at the Bing. Here are a few pictures of some of the celebrants at Saturday’s event. Unfortunately, I didn’t take any pictures of the ghost lights.
I just want to take a moment to shout out to our amazing Theatre Management staff, CB Borger, Chris Paci, and Joe Shea, who gracefully shuffled the week’s events into an already loaded deck. At the time, we had Men on Boats in tech, and our upcoming productions of Amsterdam and Cider House Rules, Parts 1 and 2 waiting for their attentions for hangs and focuses. And yet they powered through, making the School look great as well as our guests, Sarah Jones and the spirit of Bob Scales.
It’s been a busy week and no signs of getting less so in the coming weeks. I feel lucky to have had such wonderful support in this difficult transitional year. Don’t know where I’m transitioning to, but I feel the psychic and emotional shift from looking backwards to looking forward. A few weeks ago, I removed the slim silver bracelet depicted below from my wrist because it no longer seemed a funny and encouraging exhortation but instead a petulant wail of sadness I like to think belies my natural optimism about the future.
It’s all about the framing.