The Mask Project

As the reality of our statewide stay at home order began to sink in, coinciding with a weekend of no zoom meetings, I’d started to get kind of squirrelly. I can only speak for myself of course, because I’ve been contained at home since last Friday afternoon after a derring-do run to campus to put together kits for our production staff to take home so that they could begin making masks for Doctors.

The idea emerged in an email thread in the Production Managers Forum, a group from whom I’ve taken enormous solace from in the last several weeks, as my thirty five years of professional practice have been upended by the COVID-19 health pandemic. On March 12th, our school shuttered their remaining productions on the same day that Broadway went dark and so did Center Theatre Group.

On Friday, March 20th, the idea began to be discussed, and links to how to make masks started circulating. Like crocus buds peeking up through the snow, a sense of hope began to germinate. Here was a way to help. Our staff members have skills that could be used, but we needed to move fast. Pending decisions about closing the campus to non-essential personnel were on the horizon. After hatching a plan, I realized at 2:30PM during the Emergency Operations Committee meeting that we would need to execute it before 5:00PM. I texted my colleagues, Hannah, our props manager, and Charlotte, our Costume Shop Supervisor. Hannah planned to pull bins from the Shrine props storage that we could fill with supplies from the Costume Shop, consisting of:

  • 1 Bernina sewing machine
  • scissors
  • 10 yds of medium weight muslin
  • cotton fabric for the outside of the masks
  • 1/4″ elastic
  • pattern for the masks
  • clear ruler
  • Bobbins and thread

I arrived at about 2:45PM, parking on Vermont Blvd., feeling a little like I was in the Resistance. I walked onto campus and to our office where I met Hannah, who had already collected the bins and was spraying clorox on them and drying them with paper towels. I helped her, then rode on the back of the cart (practicing social distancing) to the Costume shop, where we met Charlotte, who was pulling the fabric and elastic out.

We measured and cut the muslin, then Charlotte overlocked the edges so that when it is washed to remove the sizing, it would hold its shape. Hannah was measuring the elastic across her body using the span of her arms to compile 90 ft for each kit. We were rough measuring and moving as fast as we could to get the kits packed and loaded into the Scene Dock Theatre, accessible to all the staff who were planning to come get their kits before the close of business. I plopped instruction manuals into each bin for the machines and patterns for the masks themselves.

As we loaded the boxes onto the cart, then into the Scene Dock, the skeletal scenery left from the aborted load in for Fuente Ovejuna, shined under the ghost light, the sole source in the room. Fortunately, I was able to find a home for the boxes and boxes of Girl Scout cookies which had been upstairs in our office and which we’d left quite abruptly the previous Friday, Friday the 13th. I tucked a box into each of the kits we made. Hannah delivered some of the kits to staff members on her way home, and our newest staff member, Donavan, planned to come pick up his and fellow ATD Michael’s kits by the end of the day.

In about two hours, we’d equipped our staff to do the sewing from their homes, to help to make a positive influence on our city and community. It felt good to be out doing good. The staff of the Production area in the School of Dramatic Arts are not the only Trojans out helping.

We’re entering the second week of production of the Masks. we’ve had multiple meetings where the staff members traded tips on techniques, altered methods as the patterns they’d been using changed due to feedback from hospitals to the Covid Rangers, our source of the patterns. Charlotte and her daughter made some very useful videos about production which were enormously useful to those with less sewing experience. Life continues to bustle in our own living rooms and kitchens, in spite of our empty theatres that sit waiting for our return. I’m really proud of our Trojans helping Trojans.

IMG_6315
Hannah Burnham, Props Supervisor, models one of her constructions.

The Interrupted Stage

Today I opened the blinds to my bedroom not just to bring in the day’s light, nor to watch the dirty gray cotton-batting clouds migrate up and down the piece of the Los Angeles skyline I can see outside my windows, but to see the world. To remind myself that it is there, full of others who may also feel the crushing claustrophobic solitude I’m feeling. This morning I was supposed to go on a whale watch. Instead I rose early to WhatsApp chat with my college buddies, Bob and Susan; somehow our usual telephonic technical snafu and 60-year-old-communal-wattle-check was even more comforting than usual. In the meantime, I’m satisfying myself with looking at the pictures on my niece Martha’s FB page. She is finishing up a whale watching trip down in Mexico right now. Thank you, Martha, for sharing your live experience with those of us who were unable to go in person.

I’m not exactly completely isolated. It was just last night that my friend Rob and I went out to eat at El Cholo and to commiserate about the current events. The restaurant was predictably more empty than full, but there was a large and loud group of women in the corner celebrating someone’s birthday. The rise and fall of their voices and laughter buoyed us all in the restaurant. After dinner Rob walked me to the front door of my building before heading to his own about two blocks away. As we stood in front of the building awkwardly jabbing our elbows at each other, a young, lithe blond in jeans and a jaunty black beret walked by and said, “Just hug already and be done with it.” We all laughed, and I retired into my building.

I think this weekend’s practice isolation has left in its wake the heavy realization that I am widowed. Fifteen months later than the event itself. A bit slow, I know. I’ve found myself thinking many times this past week how happy I am that Jimmie is missing this dark chapter in world history. With the busyness and business of closing out the week and the school for spring break, I was still amidst my colleagues; the full reality of bearing this isolation alone finally hit me today. I’m aware that this paragraph will cue my sensible fisherman brother Duck to make a wellness/sanity check. I can hear his gravelly voice now.

Sis, you all right? You wrote some crazy shit in that blog of yours.

Yes, Duck, I’m fine.

I think my family thinks this blog thing is a little nuts on a good day, but in times that invite darker self-scrutiny, I know they worry. I slept two delicious hours this afternoon, facing the lighted windows and when I woke, I rushed to my computer to capture this realization.

Somewhere outside, in the middle of South Park, I can hear big band music. They’re playing “All of You.” It calls to mind our counterparts in Italy, whose masked figures gravitate to their street-facing windows as they sing their Italian national anthem to each other above the deserted streets. The videos my friend Caro has sent from her quarantine near Venice have cracked me up. I am so grateful to her.

When I awoke this afternoon, I looked out the window and saw a lone figure seated outside his apartment on his balcony. Was he nude? It was just the kind of physical demonstration of lonely exhibitionism we might expect in these strange times. Don’t worry, I’m not going to “frighten the horses,” that way, but his startling pale caucasian form alone on the balcony witnessing the world spoke volumes.

Today, a video made back in June of 2016 by Mitchell Rose resurfaced on Facebook. It features a group of 42 choreographers utilizing the technology and collaboration we still have at our fingertips. This magnificent video shatters the myth that isolation must breed creative stagnation. Young artists and theatre academics, please take note.

For now, I’m marveling at the magic of the Big Band music wherever it’s coming from, as I watch the American flag wave across the way. Just made a batch of New York Times Pecan and Cranberry Couscous.That’s what I see during this Interrupted Stage. What do you see?

RIP Lynn Cohen

I’ve had the privilege through the yeoman actor who was my husband to meet so many talented actors. We lost one of them yesterday, dear Lynn Cohen. I met Lynn back in the mid 1980s when I married James Greene and inherited his friends, who were a spectacular group of people. Lynn and Ron were among my favorites. I remember visiting them in their upper West Side apartment which had a kitchen large enough to dine in. I remember many dinners there; Lynn was a phenomenal cook. An intimate dinner with Lynn and Ron, Marsha Mason and Brian Murray before I appreciated the rarified theatrical aristocracy with whom I was dining. Lynn and Ron were warm and Midwestern, products of their Kansas City, Missouri past. They loved to laugh, and often invited Jimmie to regale them with his stories, asking for them by punch line, and then laughing with rigorous, infectious enjoyment. I attended my first seders at Lynn and Ron’s, sitting next to Steven Hack, who was, at the time, performing in Cats at the Wintergarden Theatre and who had been a student of Lynn’s long before. Later, when Jimmie and I moved to Los Angeles, Steven remained in our lives, a member of the same company of actors that Jimmie belonged to, Interact. It was Steven who’s call punctuated a Friday morning meeting with the terrible news.

We’d last seen Lynn and Ron in summer of 2016, when, after our annual trip to the Cape, we ventured down to New York City for a visit with my Dad and his wife, and my talented Aunt Irene and her husband. We stayed at the Algonquin, one of our favorite spots, and only briefly met with Lynn and Ron in the lobby for lunch. Lynn and Ron had become increasingly busy with their acting careers. Lynn was humble about her successes in major films and television roles, speaking instead about the times when she and Ron were able to do things together on stage. They frequented the Cape May Playhouse on the Jersey Shore, and according to this article, were honored there in 2010.

I remember at that last meeting at the Algonquin, Lynn expressed a wistful desire to go on a cruise. I offered to get the cruise brochures and let them know when I found one, but alas, Jimmie’s health was not up to such an adventure, and I’m still receiving those cruise brochures occasionally. I can’t imagine a couple I’d rather have gone on a cruise with than Lynn and Ron.

Lynn and Ron didn’t frequently get to Los Angeles, nor did we get to New York that often, but when we did we’d bond over a good meal somewhere with them and sometimes others, like our dinner at LA Live a few years ago, populated by many friends of Lynn’s from all periods of her life. We stuffed ourselves into a booth at one of the restaurants long-since expired at LA Live. Our server coincidentally, was one of the graduate students from the MFA Program at USC, and I think we asked her to snap the picture below.

L. to R. Els, Jimmie, Clare O’Callaghan, Jay Willick, Lynn, Steven Hack, Ron Cohen

For the gourmand that she was, Lynn was a hoot to eat out with. She had a meticulous diet that she followed scrupulously, and waiters would do poodle turns as she ordered in her universally charming way. There was no request that was unrequited. Probably by anyone, waiters or otherwise. She was a siren, generous with her attention, and loving with her friendship.

Ironically, I don’t think I ever got to see Lynn on stage. She and Jimmie had done a play years before we met, the name of which escapes me, but they became fast friends. I feel so fortunate to have had Lynn in my life, however briefly.

I realize with each person who slips away (and couldn’t we take a pause, by the way?) how precious our interchanges are. How important the time we spend together is. That same 2006 trip to New York for Jimmie’s 80th birthday, we gathered in Bryant Park with friends Bob and Mitchell, Lee and Susan, and while we were there huddled around the table in the cold, the most miraculous sight unfolded as a flash mob of unruly Santas suddenly invaded the park cementing in our minds and hearts the events of that day.

RIP, Lynnie. I know that you and Jimmie are having wonderful meals together in heaven.

Putting It Out There To The World

This living business is sometimes pretty daunting. I can cope with the whole get up, wash my face to face the world, step onto the bus and ride to work, engage with my colleagues and students, laugh a little, cry a little routine part. That I’ve mastered quite well. I can even fit in a few external tasks, like rolling over an IRA (to see if there’s anything under there), or sending a book back that I borrowed, or returning the white pair of sailor capri pants I ordered that arrived and looked as ridiculous as you might have expected they would. What was I thinking? But all that seems pretty manageable.

What’s more elusive is formulating the next steps in living. You know, simple things, like whether you want to start dating again. I mean, how do you even begin to think about something so foreign? It’s about as imaginable as my getting up and disco dancing again. Or wearing sailor pants at 60. You start, I guess, naturally, perusing through your mental rolodex of all your male friends:

Married, married, gay; gay?, damaged, completely celibate, out of my league, way too sensible… you get the drill. It’s daunting. And who even uses a rolodex anymore. Makes you feel like a damn dinosaur.

You toy with a new affectation that you are a freelance writer. You open an UpWork account to try to field writing jobs because a friend told you they do that and it pays well. I guess it’s like joining a dating website (no, no, no). At least the writing part is something you can enjoy in your newly minted solitude. Like a skilled needleworker, you can retire to your living room after work and tat tat tat away on your computer conjuring images of checks rolling in from an unmarked escrow account. Ahhh, speaking about fantasizing…

I’ve been reading a lot lately. Books about the upward powerful current of optimism I aspire to. I shared with my students the other morning an article by Jane Brody from the New York Times Science section how optimists have been proven to be 50% (women) to 70%(men) more likely to live to the age of 85. I polled the class using the statements late in the article with a show of hands to gauge how they looked at the world. I’m happy to report that there were many more rose-colored glasses wearers in the class than not. By the way, if I could write one tenth as well as Jane Brody, I’d be able to die (after 85) and happy.

In this phase of my life, I’m pushing through the uncertainty, grasping at things that look appealing to me, without really knowing how to trust whether they are truly what I want, or just a means of rebuffing grief. And, yes, I did intend the double meaning of rebuffing – shining it up to admire my heroic features in it, while simultaneously holding it at arm’s length so I can avoid it at all costs. I don’t know how to describe this phase I’m in, really, though I am committed to trying to. Forging ahead through it.

You know, life is really good. I had a splendid birthday trip to New York, with an escape to the Lake House, and a reunion dinner with about a quarter of the Tutorial. I’m so aware of the precious and refined oxygen of a room filled with good friends who are inquisitive and curious about the world and each other. It’s heady stuff.

Flowers from my dear friend Jackie, whom I had coffee on Saturday morning in NYC.

This week has been a reminder of why we should so value our loved ones, with the fragility of life as evidenced in the loss of Kobe Bryant and eight others. Tonight, I got off the bus near the Staples Center, where people have been gathering to pay tribute for days since the news of his and his daughter’s untimely death. I saw an endless parade of city buses, whose display panels on the front flickered back and forth between their route number and RIP KOBE in respectful fonts. The Wilshire Grand Building at 7th and Figueroa sports a huge LED image of a purple 24 on a field of gold. At the corner of Olympic and Figueroa, vendors are selling life-sized photos of Kobe and t-shirts, capitalizing on our nostalgia.

So what’s with the picture of the man on the bench? The other night, I was coming home from tech rehearsals for A Midsummer Night’s Dream. I grabbed the 204 bus up Vermont, exited at Olympic, and was cutting through the parking lot to wait for the 728 bus. As I passed behind the bench where a man sat, hands folded patiently on top of his cane, he uttered a quiet exhalation of breath that sounded so much like Jimmie I had to scurry past to get a discreet look at him. I took the photo surreptitiously, his pose, his cane, his cap causing my own quiet gasp; I was suddenly subsumed by a torrent of emotion for the loss of partnership, of friendship, of my other half. When you lose your partner, you are rendered from your heart. Even now, fourteen months after the event, something as tiny as an exhalation of a stranger’s breath can sucker punch you.

But I’m working to stay alert for signs from the world that I’m still viable and will move into the rest of the year with hope and transparency. And maybe a little bit of freelance writing to keep me amused.

The Lake House

I couldn’t imagine anyone I’d rather spend my 60th Birthday with than my friend Bob. Well, any living anyone. Arguably our friend Susan, but she was happily ensconced in CapeTown and a three day weekend wasn’t practical from that distance. I jumped on a plane Friday morning, my birthday itself, and spent the day in transit, via Denver and some seasonably tricky winds, landing finally at La Guardia Airport, well on its way to being “the New LGA.” At one point, a flight attendant leaned over in the dark conspiratorially, and said, “Happy Birthday! Would you like a drink to celebrate?” Little did she know how fraught a question that might be for the not-so-newly-sober, but I said, no, thank you and went on reading. I landed at 11:53PM, with a scant seven minutes of my fifties remaining, grabbed my luggage and began the long trek down the sidewalk outside the baggage claim area, lined with the huge yellow columns proclaiming TAXI with arrows pointing forward. I think I turned sixty somewhere on that walk to the Shuttle Bus to the Taxi stand, in total disorientation and confusion; I’m sure this isn’t indicative of the state of my sixties to come but was appropriate for the transitional moment itself.

I bet you’re wondering why you are on a bus right now….

So began the announcement that played to pacify us during the five minute drive to the Taxi Stand, and indeed it did, as they described the future beauty and ease of our taxi rides into Manhattan. Smart marketing, I’d say.

It’s been about 4 years since I was in Manhattan, June of 2016, the last time after my husband’s and my last trip to Chatham, when we came down to New York to visit a gallery where my Aunt Irene’s work was being exhibited. Jimmie and I stayed at the Algonquin, and had a great time, aside from our very difficult experience seeing The Humans, and I took this shot of Jimmie in front of the Broadhurst Theatre, the site of his first Broadway show, Romeo and Juliet, in 1951, starring Olivia DeHavilland.

We visited The Met Museum, had dinner at the Algonquin Round Table, though we were only about 2/3s a table worth of brilliance and wit, and had an amazing family visit there.

This trip, however, was about celebrating a benchmark age, as well as spending time with Bob who has recently lost his partner. It wasn’t about getting notches in my theatre attendance belt, though that time will come again, but about visiting Bob and their son Nathan. If I’m entirely honest, I also had a secret agenda, to see the lake house. I’d forgotten that January 18th was Mitchell’s birthday – he’d have been seventy, and so I realized I was definitely meant to be there to mark that moment, too. As anyone who’s lost their partner knows, first birthdays after loss are emotionally fraught, both for the quick and the dead.

Bob was receptive to our driving north to the Lake House, and so we got in the car, with a fuzzy flannel blanket very similar to the ones that I’d draped over my knees at the hockey rinks as a hockey parent. Bob opened the front door of the car to let a very excited Springer spaniel, Layla, up onto my lap, where she sat for the next hour or so, in various paroxysms of excitement, agitation, and passivity. She was extremely attentive to all the turnoffs, watching as Bob’s steady hand hit the turning signal, squeaking excitedly as we turned onto the Taconic Parkway, where she began to do full on girations in a standing position on my lap. Bob helped push her into the back seat.

I wasn’t aware that was an option, I intoned drolly.

The snow had begun to fall in Manhattan as we were leaving the city, cascading in big fluffy flakes, doing their best to stick to the road and forests that lined the Taconic. Finally we arrived, and the beauty of the spot took my breath away. The lake house was the love child of Bob and Mitchell, and everything about it speaks to the strength of their partnership and their teamwork. I’d been familiar with the virtual version of the house through our frequent What’sApp video chats, but the huge windows, elevated and overlooking the lake was a perspective that I’d not appreciated for its actual power or beauty.

Now, as I sit at the desk overlooking the water, trees swaying gently in the afternoon breeze, snow atop the overturned canoe and dinghy down by the water’s edge, I can’t imagine a more perfect place to be, to live, to write. I’ve watched throughout the last hour the open water on the lake closing under a meniscus of nascent ice until there was just about a foot left. Earlier this morning, two of Bob’s neighbors breezed in at about 8:00AM, with a freshly made almond paste stollen, and we sat and sipped coffee companionably before beginning their ritual walk with Layla in the lead, around the lake. I had a true appreciation for the danger of the ice, since over the flaky sweet buttered pastry and hot, strong coffee, Ruth had shared her story about falling through the ice one Monday morning in another January, while snowshoeing across the lake. She’d been out on the lake the day before, with all her children, and the local ice fishermen. Monday, it was she alone on the ice. I marveled at how calm she remained through what must have been a terrifying experience. She dropped her ski poles under the water, pushed her snow shoes up onto the ice, then, channeling a recent National Geo show she’d seen about how seals came up from the ice pushing forward with their flippers until their bellies were up on the ice, slid out of the water onto the ice, continuing on her belly to the lakeside where she grabbed at the reeds to pull herself up onto the land. A neighbor, who happened to be a first responder and had fortunately seen her fall into the water arrived, shoved her into his brand new truck ignoring her consternation about getting his new truck wet. He drove her home, dropped her in her clothes into the shower for an hour, standing guard outside, then helped into her bed where he covered her with blankets and she shivered for the next 10 hours. Needless to say, she doesn’t snowshoe on the ice anymore.

Now, as I watch the slow encroachment of the thicker ice into the open water, I have a new appreciation for the perils of country living. I’m no less envious about the view from these windows, however, and the promise of natural beauty to guide one’s mindfulness and appreciation for the natural world as well as one’s creative endeavors.

Our morning walk around the lake, a perfect three-mile junket, was still and cold, but at a pace which belied the slushy conditions of the road. Layla did a good nine miles to our three, dashing about like a mad person after squirrels, other dogs, and just bounding with joy through the woods around us. Eventually, we dropped off Bob’s neighbor at her house, basically about half-way around the lake, then continued on, taking some as-of-yet-untrod paths through the snowy woods to avoid the local highway. We arrived back at the house with a fresh appetite which another piece of stollen quickly satisfied.

Yesterday, we paid homage to Mitchell by coming to the lake, Bob’s building a hearty fire in the stove, then making venison chili, a tradition of theirs with the largesse of their neighbors to the north. Bob had brought with us his Japanese daruma doll; the mystery of which’s eyes had become filled in remains, but the quicker you burn the doll and buy the new one, the quicker you are on your way to fulfilling your dreams. I think of this one’s import as the cleansing of our losses and renewal of our lives. Perhaps it means there’s a lake house in my future.

FBKBWB Gifu, Japan. 17th Jan, 2016. A Buddhist monk throws a Daruma doll into the fire during Daruma Kuyo, a doll burning ceremony at Dairyu Temple in Gifu, Japan. People buy the dolls, which are thought to bring good luck, at the start of the year, and burn ones from the previous year. 10,000 dolls are burned during the ceremony. Credit: Ben Weller/AFLO/Alamy Live News

Phoenix Rising

When last we left Nana, she had boarded the big green bus run by the South Tahoe Airporter and was speeding her way up from the lake’s edge to Reno, to fly to Washington, D.C., where she would visit her father and stepmother for the New Year’s celebration.

Freshly showered, latest Grisham book in hand, I boarded the first of two flights from Reno to D.C., enjoyed reading a bit, something which had eluded me for the past week. I relaxed into my seat on the United Flight to Los Angeles, which is only an hour, and best intentions falling aside like the book into the crevice of the seat, I immediately dozed off into intermittent sleep. I had promised myself that I’d finish my blog in L.A. while waiting for the red-eye to DC, but found I was quite content instead reading my book and relaxing in the crowded anterooms in LAX. I boarded the 10:45PM Sunday night departure with other bleary-eyed travelers, all of us anticipating a solid 5 hours and 10 minutes of sleep. At least I was, sure that with no nurseling or tot to worry about, I’d soon be out. The flight was full, and all seats and overhead bins bursting with folks heading to the nation’s capital.

The following morning, after a pricey cab to the Northwest district, I arrived at the home of my stepmother and my dad. I entered the cozy foyer, and immediately sat down to have breakfast with them, as though I’d never left since my last visit in July. They have an orderly life, attended by a loyal staff who’ve been with them for about thirty years. There is hardly a metaphoric point further flung from Tahoe than here. Complete tranquility and care for the next four days, which I was very much looking forward to.

I’d finished the Grisham (highly recommend it, too – The Guardians) – and eagerly launched into Ann Patchett’s The Dutch House, a novel I’d heard people raving about for weeks. Within the first 121 pages, I was struck by a quote which underscored the topic of uncertainty about the future that my coach and I’ve been discussing of late:

There are a few times in life when you leap up and the past that you’d been standing on falls away behind you, and the future you mean to land on is not in place, and for a moment you’re suspended, knowing nothing and no one, not even yourself.

Ann Patchett, The Dutch House

I stopped and read the quote a second time, a third time, a fourth. It had fallen almost like a love letter out of a long unopened book, and I settled into my chair to consider the happenstance of reading such a missive at this time. Just my recent two weeks of travel, visiting my son and his family for Christmas, and now my Dad and his wife for New Year’s is completely foreign to me. Traveling alone is simple, unencumbered. I would always have preferred the encumbrance of my darling husband, but I now embraced the efficacy of traveling alone.

Over summer, I’d signed up for TSA Check, and this was the first trip I’d successfully used it on. If you can call successful being stopped with a half full water bottle at the checkpoint, which I vociferously denied having, then being escorted around and coming through again for two agents to scrutinize the screen and discover a very sharp work-knife in your purse successful. I do, considering they could have done a full cavity search at that point, and they didn’t.

The five days in D.C. was lovely. I’d told my Dad I didn’t want him to fill up the time with activities, that I knew I’d be exhausted and would just like to hang out, and he followed my wishes. Aside from the three squares we all had together each day, we did a few errands together; I accompanied him to get out some stitches at the dermatologist’s office, marveling at how he knew everyone’s name in the office and used it, causing broad smiles to come over each staff member’s face. Unbiased of course, I’d say my dad is a charming guy, and it was great to see he hasn’t lost his touch with people. He has an uncanny ability to meet someone and to know their life story within fifteen minutes, then to hold onto that story like a pit bull with a rubber toy. This is probably a function of his having been a charitable foundation grantor for years; that work is about making relationships with people and determining if what they do or want to do with your foundation’s money is within the guidelines of that foundation’s mission. He’s never lost that flair for finding out what makes people tick. I’ve always admired it in him.

We took a trip to PetSmart, all three of us, to select two new finches for Sally’s indoor aviary. The zebra finch and society finch hopped about trying to evade capture by the young woman at PetSmart, but when they were inducted into their new home, a good 10x larger than their cage at the store, they tweeted happily and flitted about the aviary with joy.

I took two rambling hikes in Rock Creek Park, the first, where I felt accompanied by my dear friend Susie at my side as I walked through the well-marked trails, slipping on the leaves occasionally in my inappropriate hiking shoes, red leather Clark’s moccasins. On the New Year’s Eve day hike I took, I resolved to do fifty hikes in 2020, so unfortunately couldn’t count that day’s hike, but it felt good to get out and move my legs after a few days of complete lassitude.

On the second day of the new year, my dear friend Liz came up from Annapolis to visit me at the house. Liz and I have known each other since we were about seven and eight, respectively, and lived about .08 mile from each other in Greensburg, PA. Our escapades were too many to recount, but included much creative “free play” on the acreage of her family’s home, flinging Barbies into the tiered ponds to “swim,” serving and drinking tea in the tiny log cabin playhouse, picking so many beans from her father’s vast garden that I once thought when I went to sleep, I would see only beans in my dreams. Like Patchett’s Dutch House, Liz’s family’s house in Greensburg had an almost mythic status for me which stuck with me for years, and I would visit its magical spaces in my dreams throughout my twenties, and even occasionally in my thirties.

Academically, I followed Liz from the Valley School of Ligonier, to St. Paul’s School, but diverged as she went on to Stanford and then back to Pitt to get her medical degree. She’s been practicing Emergency Medicine for thirty years, and that was one of the things we kept marveling at during our spectacular visit – how we’d gotten to be in the sixth decade of our lives in the blink of an eye. Both with families, and grown children, successful in our fields, far away from the little midwestern town where we’d percolated as children.

What’s wonderful about staying connected with a childhood friend is the dissipation of time that happens when you reunite. You’ve come a huge distance, with full lives lived between the 53 years between the time you met and now, but it’s all telescoped into a comfortable understanding of who you are together and apart. There’s no need to try to impress; she knew you when you were nine and stupid enough to slam the door of the pool house, inciting the wasps behind the hex sign on the door to chase you around the pool and back in again to sting you both multiple times before you both realized you should jump into the pool. You’ve attended her wedding, and she’s watched from afar your husband’s life celebration. You’ve both been working mothers and wives, with busy careers and family life. You’ve harbored hopes and dreams for your partner and your children, postponing conscious self care so that at 60 it is an entirely new topic to discuss. And you do discuss that topic with ferocity like how you chatted at night trying to fall asleep during that thunderstorm, lightening and thunder ricochetting off the ceiling, as it split a tree just down the hill from Liz’s bedroom. Fears about real and imagined boogiemen have populated our conversations and letters for over fifty years. How is that possible?

The image that I’ve been thinking of recently is the Phoenix.

…a unique bird that lived for five or six centuries in the Arabian desert, after this time burning itself on a funeral pyre and rising from the ashes with renewed youth to live through another cycle.

a person or thing regarded as uniquely remarkable in some respect.

The conflagration of the past two years or so is more or less out, smoldering a bit but effectively over. Charred, a bit wounded, I nevertheless feel the upward draft of the fire’s residual flare. Feet charred, I feel willing to rise above the wreckage to fly, like Sally’s finches, to discover new relationships, to listen to the air currents, open my flaps, as it were, to explore who the new me is.

In this next decade of discovery I’m suspended in the golden amber of past discoveries, magical spaces, and the fealty of noble friendships past and present.

Dear 2020, help me to recognize the opportunities as I encounter them to become uniquely remarkable in some respect, and to recognize and perhaps create the thresholds of inspiring new spaces that beckon me to creative inspiration.

Early Christmas Present

This Christmas I’ve done better than last, when I had no heart for shopping, for thinking of others. Last year, I licked my widowly wounds, spending the holiday in Seattle with Chris and his family at her Dad’s place. I remember feeling both there, and not – feeling as my friend Bob recently called it, “ashy.” The state of knowing that you inhabit your body but don’t quite know how to make the limbs move, or how to move with intention because you’re without a partner to fuss over, to find the perfect present for, to strive to make the holiday special for. This year, I combined cleaning out the storage unit with bringing the tree supplies up really early – a week before Thanksgiving. I put the tree up, and turned it on, and it hasn’t been turned off yet. No worries – it’s rabidly artificial- not even attempting to look like a natural tree. Yes, it has the familiar conic shape, it’s green, but there the similarity ends. It has sixteen settings of LED lights, the last of which is the one I like – amber static lights. I think there’s probably a karaoke plug-in for the tree if I hadn’t thrown out the manual. Yesterday I mailed all the packages to my Tahoe family members so that I can breeze in Sunday with just my makeup kit like a glamorous Hollywood starlet from the 1950s.

Keeping a journal has been helpful in getting my feet back under me this year. My formerly tamed stationery fetish recently raised it’s ugly head, and as though on cue, my ex-neighbor, Chewy gifted me with a small bucketload of Paper Source journals, of many sizes, all entwined with flowers, a pack of floral pencils and a pen to match last week when we went to see Jitney at the Mark Taper Forum. The journal entry from that night records the richness of our outing, from discovering we were sitting behind Al Pacino and in front of Stephen Tobolowski and wife, Anne Hearn. We ran into many SDA colleagues, and set designer Joe Celli and that was all in the front of house before the play began. On top of those happy reunions, seeing Ruben Santiago Hudson’s muscular production of Wilson’s 1970s Pittsburgh was so satisfying. I know the play well, but from behind the scenes. I ASMed the last time Jitney played at the Taper, directed by Marion McClinton and starring Carl Lumbly (Booster) Shabaka Henley (Doub), Russell Hornsby (Youngblood) and Willis Burks II (Shealy). One of my jobs off stage right was to apply a spot of blood on the cheek of Stephen Henderson’s Turnbo when he ran out the door after being slugged by Youngblood, and then returned with his gun waving it like a mad man. I was so pleased to see Anthony Chisholm reprising the role of Fielding – having his gravelly-throated way with the sartorial sot – the man’s a comic genius. When he tells Becker’s son, Booster, newly returned from twenty years in prison about his wife (22 years gone), he made me laugh and cry again within a span of two minutes.

FIELDING

You got to have somebody you can count on you know. Now my wife . . . we been separated for twenty-two years now . . . but I ain’t never loved nobody the way I loved that woman. You know what I mean?
BOOSTER
Yeah, I know.
FIELDING

She the only thing in the world that I got. I had a dream once. It just touched me so. I was climbing this ladder. It was a solid gold ladder and I was climbing up into heaven. I get to the top of the ladder and I can see all the saints sitting around . . . and I could see her too . . . sitting there in her place in glory. Just as I reached the top my hand started to slip and I called out for help. All them saints and angels . . . St. Peter and everybody . . . they just sat there and looked at me. She was the only one who left her seat in glory and tried to help me to keep from falling back down that ladder. I ain’t never forgot that. When I woke up . . . tears was all over my face, just running all down in my ears and I laid there and cried like a baby . . . cause that meant so much to me. To find out after all these years, that she still loved me.

August Wilson, Jitney, Act I, Sc. 3

So, like I said, I’m filling my days with spectacular events rather than things. I visited at the Posthumous Party for Eddie Jones on Saturday, reconnecting with so many of our old friends from Interact Theatre Company. Tonight I participated in an active shooter drill at USC. My theatre training gets me all the plummy roles – I got to make the first call kicking off the drill, and the primo seat in front of the Campus Center to watch the drill unfold. Better than Christmas shopping, I quipped, down in the ballroom as we awaited instructions.

Busy is better than not busy. In moments like my bus ride home tonight, Carla Bonoff blasting in my ears, reading a book on Leadership, pausing to think about my upcoming Christmas travel, I recognize that I’m jamming it all in to a gaping hole of loss. As a friend recently posted “I need to slow down.” Just a few days until the Winter Recess begins for real and then we can all slow down.

Tonight, after coming home and making a quick dinner, I opened the mail. Not to get too revelatory, but the thing is that when one of two partners passes away, lets just say that the other one is sometimes left with the short end of the financial stick. So I’ve been focussing on events rather than things, too, because funds are more limited this year. In fact, as I sat there eating my dinner, I was strategizing about how to come up with the gift for our building staff at the my condo. I kept opening the mail, reading and enjoying cards from friends, then came upon the familiar SAG-AFTRA residuals envelope. I opened it and out fell a statement for Patch Adams and Seabiscuit and a check for $1,209.63. Gulp. Pause.

The thing about Seabiscuit is that Jimmie ended up on the cutting room floor. You millenials may not know that quaint expression but it harkens back to a time when films were shot on celluloid, which had to be physically cut during editing, and actors would bemoan the fact that their parts of the film would fall in thick tresses onto the floor of the editing room and they wouldn’t end up being in the movie. In fact, now I remember going to the screening of Seabiscuit, all dressed up, hanging like a starlet on Jimmie’s arm, only to realize as the final credits rolled (Jimmie’s amongst them) that we hadn’t seen him at all. We then skulked out of the theatre after we realized he hadn’t survived the editor’s shears. But, good news! I remember from Saturday’s reel of Eddie is that he had a big role in that one, so I hope his widow Anita gets a lovely check this week, too. Anyway, the long and short of it was that I burst into tears when I opened the check, my heart racing, “tears was all over my face, running all down in my ears…to find out after all these years that he still loved me.”

So that was my early Christmas present, and the proof that getting out and about is the best antidote to loss. Thanks, Jimmie, for looking out for me while I learn to look out for myself.

Oh, and I apologize for the tease of a photo. Maybe more on that another day.

Amsterdam and Venice – Canals, Water under the Bridges and Tiny Steps

I drove my friend Caro to the airport where I bade her goodbye as she went off on the next leg of her trip to Sidney, Australia. We’d had an amazing five days visiting; the last two, she’d accompanied me twice to campus, where she observed a production meeting Monday evening, a quick dinner in the Tutor Student Center courtyard, then a workshop on Post-Dramatic Theatre with our Israeli guest director of Amsterdam, Lilach Dekel-Avneri.

Caro lives in Venice, Italy, where I visited her and her husband, Alberto, for about five days this summer. Over those days, she patiently helped me to reconstruct my geographic synapses of a city that I had known well enough to make it home late at night intoxicated, but which thirty-three years later, greeted me as a bewildering maze of indiscriminate streets and courtyards. The canals teamed with water buses and ambulances as we strode around, crossing the arching bridges to stop at shops and galleries sampling the fruits of the Venice Biennale. One of our favorite stops had been at the Lithuanian Pavilion, where we voyeuristically drank in the performance of the actors romping on the faux beach while singing the modern opera about life’s vicissitudes in a warehouse near the Arsenale.

And we laughed. We laughed about the silly things, Caro’s bright Australian accent piercing through the afternoons and evenings. I marveled at how she’s managed to keep her youthful sense of humor and life appreciation even as she’s matured into a wise, insightful woman. When I left them in Venice, we made tentative plans for her to stop in Los Angeles on her way to Australia to see their daughter.

Between then and now, classes resumed, the seven undergraduate plays were cast and rehearsals began, designers collaborated, directors directed, and we already have closed one of the shows and opened the second. The fall has been a blur of activity, and the impending anniversary of my husband’s death has begun to rattle my cage.

The other night, the night of October 3rd, I had a dream, where Jimmie and I were traveling. We were at the airport, which was clean and modern, white shining subway tile in a hallway leading to the bathrooms. Jimmie emerged from the bathroom, standing tall, no walker or scooter, shock of neatly combed white hair. I walked to his side and we began walking, but I couldn’t keep up with him and said, “Hey, I can’t keep up with you. You’re walking too fast.” He turned, and with the twinkle in his eye I always loved, he said, “I owe it all to you.” And with that, he was gone. It was only later when reviewing some photos and some writing I’d done that I realized October 3rd had been a momentous day for us. Nearly 28 years before, it had been the day we had the call from our adoption social worker, with the news about our soon-to-be son. Also, last year, Chris had been visiting us and I’d snapped this picture at home, before our last dinner out together before Jimmie’s rapid decline. October 3rd had returned to remind me of its power and the power of our love for each other. Later that morning, poor Chris called me to say hi, and I blubbered for about ten minutes.

It was in this emotional period, when I picked Caro up at the airport on Friday afternoon, the beginning of the only weekend of the semester when I didn’t have a tech rehearsal. I marveled at how we’d somehow scheduled her visit for a pocket of my life when I could pull in my PM shingle and just play for three days. We’d opened Amsterdam just the night before, and I was giddy about getting to spend time showing her around my city.

From Amsterdam. Photo by Craig Schwartz

Amsterdam has been an unfettered learning experience in mounting a non-hierarchical production. Working with Lilach has been challenging, and exciting and instructive as to how to create a play and environments through the sheer creative drive of a team. You should try to get over to USC to see it this weekend. It plays three more times this weekend. It closes Sunday 10/20.

Friday, after kidnapping Caro from the airport and driving her to Malibu, we had dinner at Gladstone’s, sitting outside, smelling the seasonal fragrance of the local fires, and watching the blood-red sun sink into the Pacific Ocean as we waited for our dessert and coffee to arrive.

There’s truth to the idea that the friends you make in your twenties are the ones you keep closest. As we looked out over the sand, I reminded Caro of the silly game we used to play at the beach at the Lido – find your physical twin. I remember my eternal body dysmorphia and how I always selected someone who looked well…. hmmm… sort of like I look today. Not as we looked then, svelte, and carefree and…twenty-two. I feel so fortunate to have managed to keep my friends close at hand.

Tonight, as I sorted through some of Jimmie’s residuals, finally made out in my name after almost a year of back and forth with the lovely folks at SAG-AFTRA, I thought about my new competencies. I’ve learned out to grieve as I need to, to pull it together when life calls for that. I know how to weigh the value of time spent with dear friends versus an extra hour of preparation for work. I’ve learned how to calendar my time to do the things that matter to me, and to keep committing to the forward actions that will make my future. I’m learning that I can be quite satisfied with a fried egg for dinner and I don’t need to beat myself up for not cooking. Or cleaning, or tidying the pile of mail before I sit down to write. When someone says they’re coming to stay, I don’t need to launch into a worry-fest about how I’ll manage house guests in the busy days of November, including November 9th, the anniversary day. Instead, I’ll think about how wonderful it will be to be surrounded by family at that time, fantasize that they might have dinner on the table when I come home, then proceed to take it one day at a time rather than drifting into a miasma of martyrdom.

I’ve spoken to several students this week who suffer from depression, anxiety and OCD. And the cold or the flu that’s going around relentlessly. I want to tell them it will be okay. Emotions are emotions. They won’t kill you. You have the power to control them. And even if you can’t for a moment, this too shall pass. That’s what they made Kleenex for. Lord knows I’ve developed a competency with Kleenex this year.

This fall, I have an amazing class of GESM 111G students. We’re learning how to read plays together, how to look at plays, how to sit and experience each dramatic outing and then come together and share our more and less favorite parts. They’re so enthusiastic and willing to share. I tortured them with an exercise this week. I’d had them do the Creative Autobiography from Twyla Tharp’s terrific book, The Creative Habit weeks ago, then carried around their little bits of heart in my bag for weeks until I finally read them. Each of them shared their creative successes and failures and aspirations with me. Across the board they all want to make a unique contribution in their field that helps people. So I thought that was worthy of some torture. I had them write what they thought that unique thing might look like, and after several iterations of sharing their ideas with each other in small groups, I wrote on the board what the tiny steps that they could take to get moving toward the goal would be. (Can you tell I’m working with a life coach and trying to emulate her? Good guess.)

Amsterdam, Venice, friendship, creativity, supporting each other. These are the tiny steps that make a life. In the end, it’s all water under the bridge.

From Amsterdam. photo by Craig Schwartz

Stage Managers and Scary Things

There’ve been several times as a stage manager, when I received invitations to do jobs that scared me. Scared me for different reasons, but mostly due to my normal fear of the unknown. And yet every job is unknown, because stage management is virtually 100% freelance gigs. Sometimes, though you are still working contract to contract, you get lucky enough to have an artistic home, as I did for several years several times in Los Angeles over the twenty-five years that I freelanced.

I spent four years at the Geffen Playhouse and the same at Center Theatre Group. I grew to love each of the staffs of those theaters, as well as the many actors, directors and designers with whom I collaborated on dozens of shows.

I’ll always associate becoming a mother with the Los Angeles Theatre Center, where I was stage managing Reza Abdoh’s Bogeyman, when the call came from our social worker at the Department of Children’s Services that they had a toddler for us to fost/adopt. My colleagues, led by the ASM, Sandy Cleary, hosted the baby shower. Even considering the complexity of the show I was doing at the time, suddenly becoming a mother of a two year old used many more brain cells and was more physically challenging.

Four years at the Pasadena Playhouse. My crew and I grew so accustomed to being at the theatre, so at home there that once we walked to the nearby Target on a two show day and bought Little Debbie’s cakes, and Twinkies, then retired to the office during the dinner break and practically made ourselves sick and giddy and ridiculous there on the floor between the stained couch and the desk. I’ll always associate Tin Pan Alley Rag with losing my Mom. In the stage management office off upstage right, I took a call one night just before half-hour from Jimmie, who was holding down the caretaker fort with my mom as she progressed through the final weeks of her life. Metastatic lung cancer, proof of which manifested itself in several very surreal episodes.

Hi, Els, can you talk? Your mother would like to speak with you. (some rustling as the phone is passed to her)

Hello, Elsbeth? (breathing heavily, and sounding frantic)

Yes, hi, Mom, how are you? What’s going on?

Elsbeth! You need to call the UN immediately. They need you to negotiate. I just heard it on McNeill-Lehrer.

Well, uh, Mom, I’m pretty sure the UN will be fine without my negotiating skills… Besides, we’re at half hour.

What a brat I was.

Stage/Production Managers have extraordinary skills of compartmentalization. It’s what made it possible for me last year to organize the home care for my husband, then go to work and focus on details that the job demanded. The occupational hazard of Stage Management is megalomania – we begin to believe that we’re the only one who can do the job. I only have one regret about last fall. That I didn’t walk away from work to be at home before it became acutely necessary for me to be there. Take away this.

Yes, the show will go on, but it can go on without you when your life calls you urgently to live it.

Opening night, she came to the theatre to watch the play with Jimmie, and afterwards, at the opening night party, clad in a new Missoni floor length gown, she mingled alongside me, with the cast and crew. I introduced her to the actor who played the lead character, Ira Gershwin. It was a day or two after the fashion designer Gianni Versace had been murdered in Florida. Ever the reporter, Mom looked at my lead actor, turned to me and hissed, “He’s the one who killed Versace!”

No, Mom, I promise you, it wasn’t David. He’s been in tech and dress rehearsals for more than a week. He wouldn’t have had time to get back and forth to Florida between rehearsals.

I am fortunate to have spent my entire life (so far) working in the theatre – a life in the theatre is a life well spent. I’ve had the opportunity to share important life markers: falling in love, marriage, parenthood, illness and even death with other theatre artists who understood how to work and live with intimacy, depth and candor. All while doing work on stage which illuminates many of those same life markers.

Sometimes a job will come along that shakes you out of your artistic home. Calls upon you to maybe move household, or take a big step back or a huge step forward. An invitation to go to Sicily to Stage Manage for Robert Wilson; or to go to Montana for the summer with the Alpine Theatre Project; or to apply for the job as Production Manager at USC School of Theatre.

Your inner scaredy-cat says

“What? Go to Italy and work with international artists? My language skills aren’t strong enough!”

“What? Move to Montana for the summer? What if my family doesn’t want to come?”

“What? Production Manage? I don’t know how to do that?”

But your strong center and your hunger for new and interesting collaborations calms down the fearful voice and says, “You lived for a year in Italy and will regain fluency and for crying out loud, it’s Robert Wilson!”

“Maybe that’s just what you need to go to Montana to shake things up. Plus you can hike and get out of the city. Your family can come join you there for vacation.”

Or maybe you are just lucky enough, as I have been, to have friends who encourage you to try something new when you are at an emotional or professional crossroads. Like the Production Management opportunity. “Els, you’ll know how to do it. It’s just like stage management but on steroids.”

And so you take the steps forward to meet the challenge. To do the work. To build the life.

I’ve shared that the loss of my husband last fall was a devastating blow. Even now, nine months later, I still tear up and some days feel unmoored, untethered from the very life we had worked so hard to build. How fortunate I am to have a strong artistic family and friends that have gathered around me in my time of need.

I haven’t felt like writing lately. I’ve been hunkered down in my post apocalyptic emotional bunker, occasionally poking my head up like those adorable prairie dogs at the zoo. I’m on watch for the next tragedy. Grief is distracting. More distracting than anything I’ve ever experienced.

In stage management a project starts and it ends. There are frequently good days and bad day no matter how illustrious a project it is. There’s a thing nothing short of magic that happens in a rehearsal room as the alchemy of playwright, director and actors is forged through the vehicle of a new and exciting script. Life’s the same as that. Except it’s a devised work. No script. You’re the producer who brings all the facets together to create your own magical alchemy. If you take the chances, the risks, to step outside the normal boundaries of your existence, you meet new people, form new experiences, participate in new adventures. And yes, it’s frequently scary, but usually okay or way better than okay in the end.

All the good days, all the bad, the pain, the heartache, the joy you feel through every phase of your life makes you who you are. You are strong and vibrant and capable. You may not be able to write about something important every day, but if you pay attention to the call, you may find pop out of your prairie hole and find something to keep you entertained and alive.

Lessons in Narcissism and Recovery

An American living in our times would be forgiven for diverting their gaze from narcissism as an odious and rampant practice of the higher reaches of our society. I remember one of my husband’s favorite stories was from when he’d shot the film Doc in Almeria, Spain back in 1971. He’d been on location for several weeks, and after recounting seeing someone kick a dog in the street, was told “It starts at the top with Franco.”

James Greene, 1971 as James McLowery in Doc

Yeah, well, I think we’ve beat the Spaniards on this one. So clear is the directive sent from the upper reaches of our government that the expected trickle down effect has infiltrated every corner of our society, Ponzi schemes, to #MeToo to the latest scandal in college admissions. All are fundamentally based in the tenet that my needs/truth/reality overrides yours or anyone else’s.

I’m here to tell you that sometimes narcissism is healthy if exercised in a confined timeframe. I can’t yet tell you the acceptable outer boundaries of healthy narcissism, because I haven’t yet navigated them, but some examples are:

  • Around the birth of one’s child
  • Around the care of loved ones
  • Around the death of one’s partner

There may be other examples of appropriately prescriptive narcissism. My direct observations have to do with all three bullet points above. Not sure what our Franco-equivalent in the White House would say are the rationalizations for his extreme narcissism, but I’m pretty sure they are none of the above. But then, as a (hopefully temporary) narcissist, no one’s pain is worse than mine, right?

Last Sunday, I had the pleasure of seeing The Miraculous Journey of Edward Tulane at the 24th Street Theatre, here in South Los Angeles. Running through May 19th, based on the young adult book by Kate DiCamillo, the play recounts the travails of a uniquely fashioned charmingly narcissistic china rabbit. Edward’s miraculous journey unfolds through his travels and travails, and his awakening from narcissist to empathetic being, able to learn to love again after his own loss. The 24th Street Theatre does consistently beautiful work with minimal and very theatrical elements, and again, here they don’t disappoint.

Director Debbie Devine has guided her cast of four, accompanied on a piano throughout by Bradley Brough through the intricacies of this rabbit’s tale (sorry, couldn’t resist). Funny, moving, tear jerking and ultimately satisfying, the afternoon unfolded with a welcoming curtain speech by Co-Artistic Director Jay McAdams, contextualizing this theatre’s imprimatur on the play (first production utilizing spanish supertitles, created for the production, as well as the consciously simple aesthetic which the theatre embraces). From the moment I entered the lobby of the theatre, I found my visit one of inclusion. Awkward in my singleness these days, I’m challenged in going out to see something on my own, particularly on a Sunday afternoon. It was opening weekend of the play, and the lobby was filled with 24th Street Theatre family members, board members, critics, adults, children, neighborhood folks. The step and repeat with a stool and two bunches of carrots was heavily utilized. I enjoyed seeing families posing with the carrots and huge smiles on their faces.

(I’m sorry, Jay and Debbie, issuing a spoiler alert.) If you are in the LA area, please come see this play. If you aren’t, you can benefit from a reading of this magical book.

Like Edward, I’ve been going through my own miraculous journey since my husband’s death in November. In the early phases of his rabbit destiny, Edward is cocooned in the loving embrace of his young girl owner Abilene Tulane. He wants for nothing, so embraced and supported is he. A bunny of privilege, his clothing is stylish, his position in the household secure. Then comes his loss, from which it appears he may never recover. His life pretty much goes to hell. I recognize, wear these phases of bunny privilege, then loss. The life going to hell part is less applicable, unless you describe sessions of unprovoked tears, increased impatience with things and people and a general weariness and disinterest in participating as hell. I don’t afford myself that luxury. I know that it is a process, and as hard processes go, they are not hell. They are opportunities for growth and improvement and learning.

The tears, weariness and disinterest describe the immediate aftermath of a loss, even if you are lucky as I have been, to have the consistent support of family and friends. Eventually, after the public grief cycle has “ended,” after the memorial, the funeral, the life celebration, the next phase begins. It is one of solitude with a lot of acting involved. To sustain the Edward Tulane metaphor, this might be construed as the “scarecrow” phase. Utilized as a deterrent to others, surrounded by shiny objects, the grieving widow/er is still out there in the field, showing themselves to be fierce, smiling, but feeling emotionally empty and suspended. This might be why I chose to purchase the bracelets and distribute them to my grieving friends. Upon receipt, their thank yous were heart-felt, but also tinged with a recognizable sadness and fraught with questions I don’t have the answers for.

How do you keep f&*king going?

I can keep f&*king going, but why should I?

And for me, the moment one night 34 years into my sobriety, five months into my solitude, this week, I stood in front of my cabinet in the kitchen and looked at a corked bottle of red wine left over from one of my recent visits by friends, thinking to myself, “well, no one would even know if I had a glass of red wine right now.” I promptly uncorked the bottle and poured the remaining wine down the sink. It really scared me.

The one reassuring element of this scarecrow phase is that I find myself surrounded by other scarecrows. I’m not alone in the field. Nor are any of us. I want you to hear that.

None of us is doing this human thing alone.

I’m reminded of that every day, yesterday in the hallway in the DRC as I greeted a colleague who has been on leave for several months. We clung to each other sobbing amidst the coming and going of our colleagues. In her I recognized her challenges and loss; in me, she recognized my loss and challenges.

If you were to read my bed-side table stack now, you’d be worried but really, I’m in a research phase, to prepare me for the work ahead. Because of my loss, my bunny tale, if you will, people have been reaching out for support during their own challenges. I want to say when they do, “I don’t know any more about this than you do!” And I’m certainly not an authority on caregiving, death, or anything related to human loss. And yet, I do have the capacity to listen and hear and try to help. In my own limited scarecrow capacity. As do you. And certainly my friends do.

Emotional Check in this morning with my Pals via Skype – three different time zones. So sustaining.

From now through May 19th, if you live in Los Angeles, you can and should see The Miraculous Journey of Edward Tulane at the 23rd Street Theatre. It will help you in your recovery. Aren’t we all in recovery from Narcissism?