Showing posts with label Paradise Lost. Show all posts
Showing posts with label Paradise Lost. Show all posts

Friday, May 10, 2013

The Most Important Day Of My Life (For The Next Two Weeks)

I'm still searching to articulate the wonder of Saturday, May 4th, the day on which The Upstart Creatures presented a concert reading of our adaptation of John Milton's PARADISE LOST (cut down to a mere 8 hours), punctuated by two meals that we made for those souls brave, daring and crazy enough to join us. 

Here's a schedule of the day's events:

10AM - First Wave

first wave arrives to begin assembling the sandwiches for tea and cutting the baked goods.  We get to the work in the sanctuary of the church, which is a gorgeous space:



The fillings had been made previously, as had the sweets, but creating 750 tea sandwiches is still a formidable feat.  The loaves of bread had been ordered and picked up by our company member, Linda Larson, and frozen the night before, to make spreading easier (our Tea Mistress, Carol Halstead, did all the research for why those little tea sandwiches taste so delicious - another trick - lots of butter).  We set up the assembly lines: Paul Bernardo (who rode his bike up from Florida the night before), Michelle Beck (who flew in  from Germany the night before), and David Scotchford, our resident choreographer/kitchen master, who cooked and cleaned and chopped his heart out along with his wife, Tomoko Minami.

Our second 10AM crew consisted of +Stephen BelD and Lindsey Gates along with this awesome young woman named Anne who recently graduated from Yale's Dramaturgy program and showed up to help.  They were our Very Berry Crew, in charge of assembling the Demon Dart Berry Picks that were our fifth dessert option for the first meal.

Noon - All Hands On Deck

the rest of the company arrives.  Until 1:30, we all assemble, slice, cut and bake.  Our stage manager, Catherine Costanza, worked in a bakery in college.  And she plays violin.  Both skills are used this day.  Maggie Lacey, along with her two beautiful men (husband Bill Heck, who's basically become a Honorary Upstart by this point, and her son Harry, who was exactly one month old the day of this event), shows up and insists on helping whenever she's not feeding her son.  She sliced up our Fruit of Knowledge Upside Down Cake, which had been baked the day before in the church.  We were all terrified it wouldn't set, but the beautiful thing solidified into a scrumptious delight by the day of our event.  Rafael even asked me to make it as the dessert for our rehearsal dinner.

Jason Bruffy, our Associate Producer, sets up the upstairs space, and performs what I consider to be the technical miracle of running an audio feed to our downstairs space so that actors can hear the reading while they're cooking.  This is amazing because:

1)  that way we all got to hear the poem
2)  actors didn't miss their entrance cues

1:30 - Thank you, thirty.

I make all the company members put down their knives and aprons and start prepping for the reading itself.

2:10 - Curtain

I welcome our audience members with joy in my heart to our (Meta)Physical Feast.  The entire company performs the prologue:

 
Of man’s first disobedience, and the fruit
Of that forbidden tree, whose mortal taste
Brought death into the world, and all our woe,
With loss of Eden, till one greater Man
Restore us, and regain the blissful seat,
Sing Heav’nly Muse,
In the beginning how the heav’ns and earth
Rose out of chaos: I thence Invoke thy aid
To my advent’rous song, while it pursues
Things unattempted yet in prose or rhyme.

Then the actors who weren't in Books 1 or 2 ran offstage to help setting up the tea.

2:10'ish - 3:45 No Teabagging Here



This was probably the most intense period, since the Lower Hall was booked by a birthday party until 3PM.  Luckily, the uncle of the birthday boy studied Milton in college, so he was sympathetic when we bolted through their party into the kitchen, holding platters of chicken salad sandwiches.

The tea was donated by Harney & Sons, since it turns out that one of the Sons plays on my gay soccer team, the The New York Ramblers!  The tea was sensational, my favorites being Diamond Jubilee, an Earl Grey with citrus overtones, and Strawberry Kiwi herbal, and I don't even like herbal tea.  Please note: We brewed all the tea from loose tea and served it in these beautiful urns.  No tea-bagging here!





3:45 - 5  Full Tea

When our audience descend after hearing Books 1-3 of Paradise Lost, they were greeted by one of these:  our savory tea plate, which featured the following sandwiches:



Dr. Quinn’s Cucumber Delight (Vegetarian)
English cucumber dolloped with house-made wasabi cream cheese, garnished with a grape tomato.  Named in honor of Cherub and Honorary Upstart Dr. David Quinn.

Tears Such Angels Weep (Vegetarian)
Baguette covered with goat cheese ricotta punctuated with a home-made black olive tapenade. 

McDonald’s McMilton (Vegetarian)
Eggs salad tossed with a home-made mayo, accentuated with chopped roasted red peppers on white bread.  Named in honor of Cherubim and Honorary Upstart K. Ann McDonald. 

Smoking Johnny Jon
Pumpernickel, cream cheese and smoked salmon sandwich.

Coq of Paradis
Tarragon Chicken Salad Sandwich on seeded bread with apples and cashews.


And then, we moved into our dessert course:

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Fruit of Knowledge Upside Down Cake 
Browned apples baked into a syrupy brown sugar cake.

Sin Squared
Dark chocolate cacao brownies.

Margaret's Divine Thumbprints
Assorted jam cookies, named in honor of Cherubs Margaret and Haim Bar-Akiva.  This dessert was prepared by Margaret Bar-Akiva and company member Maggie Lacey, making it even more Margaret'er!

Anonymous Morsels
Lemon & poppy seed scones, named in honor of our many generous anonymous donors.  Served with lemon curd and creme fraiche. 

Demon’s Darts
Blackberry/strawberry picks garnished with fresh mint leaves.

5PM - 7:30PM  Enter The Pigs

One of two pigs we had roasted (and later, carved) for the feast.

Upstairs: Books 4 - 9 of Paradise Lost - In Paradise.

Downstairs:  The company, led by David and Tomoko, do the prepping for the side dishes that we're preparing for our banquet.  David has already shredded six huge boxes of brussels sprouts (we only ended up cooking half that many) and soaked the currants in the apple cider reduction.  Tomoko begins mincing onions and garlic and parsley and anything else unlucky enough to be caught in her knife's path.

The two pigs, one already carved, one not, for our event.  Our carver can't show up last minute, so Dr. David Quinn calls his gardener, a seasoned pig carver, and with his aid via telephone and a nifty google search, he's cutting up our second Wilbur like he's a pro.

I can't find the shredded coconut or the almonds, so the red quinoa has to go without.  We almost forget to heat up the vegetarian stew that we made the night before (possibly my favorite dish of the day - we ended up using Japanese sweet potatoes instead of American ones because they were on sale and the rich, nutty, subtle taste was to die for).  

But neither of these crisis holds a flame to the moment I realized, ten minutes before the audience was about to descend for dinner, that I had forgotten to assemble the salad.  This is a real "all hands on deck" moment.  Jennifer Thompson, a guest Upstart who stepped in to read the role of the Messiah last minute, leads a crew that rinses romaine, chops arugula, peels clementines and crumbles Greek feta.  Luckily, David whipped up a few cups of balsamic vinaigrette in advance.  Salad for 100 is made in ten minutes.

7:30  to 9:00 Dinner Is Served


I knew I wanted dinner to be a sit-down event.  The first time I cooked en masse was for Brian Mertes' and Melissa Keivman's inimitable Chekhov at Lake Lucille event, and Brian insisted that dinner be a formal, sit-down event.  It takes more energy, it takes more effort, but it's worth it.  We transformed the downstairs space into a banquet hall, with full tea service.  Here was our menu:
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Entrée:

Abel’s Sacrifice (Meat)
Whole pig, roasted and carved.

Cain’s Sacrifice (Vegan)
Chickpea & sweet potato stew simmered in Morrocan spices.

Sauce:

Fruit of Knowledge Chutney
Medley of fresh apples w/citrus fruits reduced for maximum deliciousness.

Grain:

Celestial Bounty w/Fruit of Woe (Vegan)
Fluffy quinoa tossed with fresh ginger, parsley and diced apples.

Vegetable:

Shaved Paradise (Vegan)
Brussels Sprouts sliced and tossed with roasted chestnuts and currants, drenched in an apple cider vinegar reduction.


Salad:

Angel’s Offering (Vegetarian)
Romaine and arugula, clementine slices, toasted pecans and Greek feta dressed in a homemade balsamic vinaigrette.   

Our company members served the guests French-style, which means (and anyone planning a wedding will become intimately acquainted with different styles of service and how much each costs) that they went around with platters of food, offering as much or as little as each guest wanted.  I chose this because I like the intimacy formed between the actors and audience, and also, because I hate wasting food.  I hate it.  People are starving in this world.  Some times, I 'm one of them.  So I hate wasting food.  When we had tons of leftovers at the end, I went to the Chinese restaurant up the block, bought 100 to-go containers, and plated the leftovers so audience members who sat through the last section could take whatever they wanted home.  


9PM - 11:45PM Only Three Hours To Go!

We never actually read-through the last section through its entirety, so you can imagine my surprise when I discovered it was 45 minutes longer than I thought it would be.  

Our company finished reading and cleaning up.  Although I wasn't in the house for most of the reading, I made sure to be there for the very end:

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EVE

all the eastern side beheld

Of Paradise, so late their happy seat,



ADAM

Waved over by that flaming brand; the gate

With dreadful faces thronged, and fiery arms:



EVE

Some natural tears they dropt,



ADAM

but wiped them soon;



EVE

The world was all before them,



ADAM

where to choose

Their place of rest, and Providence their guide:



MILTON

They, hand in hand, with wandering steps and slow,

Through Eden took their solitary way.

I'd say we had fifty people in the house at the end.  I'd say around fifteen of those people had spent the entire day with us, including my good friend and collaborator Suzanne Agins, my  the wonderful writers Jenny Levison and Josh Waletzky, the director Ethan McSweeny, who's work I've always admired, and my very own fiance, Rafael Asencio.

Most of us cried some, finished cleaning up, drank wine, and then went home, our feet aching, but proud.

Two days later, I attended a much-needed yoga class.  I had recently been asked to join the Level I/II class, a step up from the Level I class I'd been attending for the past year.  This means that instead of being the only guy in a class of middle-aged women, I'm now the only guy in a class full of middle-aged women who are much better at yoga than I am.

It was my second I/II class, and in the first class, a week earlier, I'd been introduced to the headstand pose.  I practiced all week, excited to show off how I could enter the pose and keep it for a full fifteen seconds before falling out of it, when my instructor said that we'd try the much more difficult hand-stand pose.

I was naturally disappointed, but dutifully followed her instructions, all the while thinking about how much I wanted to show off my headstand.  And then, suddenly, I was in handstand.  Although I believed I couldn't do it, I surprised myself, and for ten glorious second, stood on my hands, flush with the wall, feeling my blood recirculate.  That moment was, in many ways, the exact experience of throwing this (Meta)Physical Feast.  It seemed impossible, but I allowed myself the possibility of surprise. 
Thanks to all who came, thanks to all who supported, and I can't wait to discover where this Miltonic adventure will lead me next.

   








Friday, April 19, 2013

One Month Sans Cell Phone

The Cell Phone Thief

Exactly one month ago, on the way to a meeting, I got out of the cab, slammed the door shut, realized my iPhone had fallen out of my jacket in the cab a moment earlier, and watch them both speed away into the distance.  Since I hate the sound of a ringing phone, my phone lived on silent, so the cabbie didn't pick up when I called from a friend's cell a few moments later.

I did everything I was supposed to - I kept the receipt, called the garage, even went out to the actual garage (okay - it happened to only be two blocks from my apartment).  I put my phone on lost mode, made sure that a message with Rafael's number showed up whenever it was turned on, and then waited for the good Samaritan who found my phone to get in touch with me.

But that good Samaritan turned out to be more of an Adam Tiler.  Every few days, my computer would buzz, indicating that my phone had been turned on.  It even displayed a map, showing where my phone had been for those precious moments it had been allowed consciousness.  I got to track my stolen phone's whereabouts through New York City.  I imagined it asking it captors to kindly let it out for a brief stroll along Riverside Park, after which they sped over to Spanish Harlem, where it spent a few days on 108th St and 2nd Ave, close to one of my favorite tacquerias.  In all of its adventures, my phone never left the island, but really, I didn't blame it.

A day after I lost my phone, I went on a week-long retreat to the Eugene O'Neill Theater Center to finish up teaching my Advanced Directing class for NTI but mostly, to spend a week writing the final draft of my book.  I decided not to replace it before I left, figuring that the tranquility its absence would afford me would be good for finishing the book.  I was right.

Save $200

I go back to the Big Apple on March 28th, and begrudgingly trudged into the Big Apple Store, where I was told that if I waited until April 13th, my annual rebate discount thing would kick in, and I would save $200 on the iPhone 5.  It was the sign I needed.  I decided to spend two weeks sans cell phone in the big city.

It was amazing.

I was so amazing, one week after my rebate date, I still don't have a phone.  And although I feel the experiment coming to an end (I got into rehearsals next week for my PARADISE LOST project and think that it would sorta be irresponsible not to get a phone before that), I have to report honestly to you, loyal readers:

I didn't miss my phone at all.  I've never been happier. 


Here are a list of times I reached for my phone to realize I didn't have it:

1) Every five minutes, to verify that five minutes had passed since the last time I'd checked.

2)  Every time the person I was with got up and went to the bathroom.

3)  Every time I left the person I was with to go to the bathroom.

4)  Every time I heard someone else's iPhone text alert bell-ring-ping thing go off.  I swear to God, the Pavlovian reaction I've developed to that little sound is down right maniacal.

5)  To quadruple-check the address of the place I was supposed to meet someone.

6)  When someone was late to meet me.

7)  Every time I thought about using one of those apps that seemed so great when I downloaded it and like I would just it all the time but then I realized it was just sort of annoying.

The amazing thing was discovering how many times we use our phones unnecessarily.  When someone was ten minutes late to meet, I didn't actually need a text telling me that.  I just waited.

When I was late meeting some friends because I couldn't remember if Fonda (best Mexican in New York) was on Ave A or B (it's B, fyi) and I couldn't check on any of the five thousand map apps,   they just waited for me.

Every thing was fine.  There were no crises.

I hope that after I get that stupid cell phone today, I will be able to retain the lessons I've learned while we were apart.  I hope I'll be able to break the cycle of abuse that we enact on each other, me depending on it far too much, it enabling my mania.  But I doubt it.

It seems innocuous - why not check your email when left alone in a restaurant for three minutes?  Why not shoot off that text as the bus you're on lumbers up 10th Ave?  Why not catch up on those articles in The Times while you're waiting for the subway?

But these individual moments add up, culminating in shattering our attention spans.  We don't need to be able to communicate nearly as much as our phones allow us to.  Now, when I see people emerge from the subway and anxiously check to see if anyone had emailed them in the twelve minutes they were underground, as I always did, I think the same thing when I see people smoking: slave.

I want to write about two more things - they have no direct relationship to having lost my cell phone.



1)  Today will be my fourth day on a liquid diet.  I woke up on Tuesday, decided I felt disgusting, and began juicing.  Here's what my intake basically looks like:

Breakfast - Green Juice: Kale, spinach, parsley, celery, green apple, lemon
Lunch - Orange Juice: Carrot, beets, lemon, ginger
Afternoon Snack - Smoothie: bananas, strawberries, home-made almond milk
Dinner: Home made beefstock.

The first day was hard and I was headache-y.  Since then, I have felt euphoric.  Concentrating on one thing for extended amounts of time ain't the easiest thing in the world, but I led a three-hour meeting yesterday.  And I played soccer.  I don't think I could rehearse a play like this, since I'm tingling and semi-hallucinating the way I always imagined LSD would make me.

2)  My Paradise Lost Project has raised over 7700 dollars!  Our goal is 10000 and if you're one of those people whose thought about kicking in but haven't yet, we've only got a week to go.  The time is now!  Carpe diem!  Give me your money!




Wednesday, April 3, 2013

Why I Want You To Give Me Money

This is the poster for our (meta)Physical Feast of PARADISE LOST.  Ain't it neat?

Money Money Money

I love haggling.  Just recently, on a trip to Syracuse I got myself upgraded hotels.  Not just hotel rooms (who hasn't planted someone else's hair in the bathroom to get bumped up to a suite), but actual hotels, in the process moving up from a studio at a glorified Days Inn to a stunning 1BR in a wanna-be Ritz Carlton.

Maybe it's because of the time my ancestors spent in bazaars, but haggling comes as easily to me as mixing cocktails does to a WASP.  And yet, I hate asking for money for many reasons.  Maybe because so much of my life has been defined by its absence.  Maybe because my parents fought about it (in a nutshell, the positions - my mother, Armenian: Let's live!  my father, the Isareli:  Let's save!).  I saw friends starting theater companies and funding films and begging/borrowing/stealing for something they believed in, and I never envied them.  Even the idea of running an institution and having to ask for money on its behalf terrifies me, and not just because it's the part of the job that my friends who are Artistic Directors bitch about the most. 

I've been slowly working through my money issues.  The first thing I try to do is determine whether or not an expenditure is inevitable.  Toothpaste?  Inevitable.  Pinkberry?  Evitable.  If something's inevitable, I try to reason to myself, there's no point in torturing myself about it.  Since I'm going to do it inevitably, I might as well just do it now and get it over with.  The evitable things are trickier for me, but after all, man cannot live on bread alone.  Or Pinkberry, as a week of research showed me.  Right now, I'm just trying to minimize the self-torture I perform after succumbing to the evitable, so that I can actually enjoy that pomegranate frozen yogurt, rather than lacerate myself for having spent money on it as I greedily spoon into my face.

I'm thinking about money these days because I've finally taken the plunge.  I found a project big and weird and epic and unique and lots-of-other-adjectives enough that it has inspired me to leap over the hurdle of my money-asking phobia.  In December, a company of 20 actors and I began adapting PARADISE LOST for the stage.  When I sent the first email out to the actors, I had no idea what our final product would be - or if we would even have a final project.  But on the first day we met, when I was detailing to them what I wanted us to do, I heard words coming out of my mouth, describing a day-long concert reading of our cut adaptation of the epic poem.  With two meal breaks.  And naturally, we'd make the food.  And serve it as well.

I don't really know where the words or even the idea came from.  I love to cook, and a few summers ago, prepared dinner for a colony of 75 artists every night for a week at Lake Lucille, where Brian Mertes and Melissa Kievman would produce site-specific multi-media deconstructed Chekhov plays.  I would plan my summer around these events, and getting to see Bill Irwin do Vanya inspired me to saute, bake and simmer out of my comfort zone.

I used this image for a previous blog post and just think it's so hilarious I can't help myself from using it again.
                                      
Another integral part of this PARADISE LOST process is that we, the artists, are self-producing the project.  And, like Spidey, we've found that even with a little power comes great responsibility.  We have formed committees.  We've created video footage and launched an indiegogo campaign (I'm obviously going to beg you for money at the end of this blog, but if you want to donate now because you believe in art and in me, here's the link: I believe in art and in you, Michael ).  We've created menus, organized master recipe lists, researched ingredient costs.  We've summarized and laid out. We've even already gotten a grant, from the Drama League's New Directors/New Works fund.

This is the basic gist:  we've cut the poem down.  We're going to perform a concert-reading of it over the course of one day, and we're going to break that event up with two meal breaks.  We're going to prepare all the food for those meals.  And we're going to serve the food.  And the whole thing is going to be free.  But, the only way we can make it free is by getting you to donate money.  


The basic guiding principle behind this event is the desire to create something epic, something sensual.  I want to create an experience that is the opposite of the four-character, living room, unit set play.  I want to create the kind of theatrical experience that I love - unique, epic, bizarre and delicious.  People can come to as much or as little as they want, but what I hope is that by hearing this epic poem and sharing meals, community will be formed within the audience as much as it is within the artist community that mounts the event.

We're trying to raise 10K in 25 days.  By this time this blog hits, it'll probably be more like 22 days.  That's a lot of money.  It's more than 9K, but not as much as 11K.
In letters like these, people always write "even ten dollars help."  I never believed them, but now that I'm on this side of the equation, I really get it.  If you donate ten dollars, then we'll only need to raise $9,990.  That's less than 10K.  So even ten dollars really does help.  But not as much as twenty.  Not by half.


                                                  



Wednesday, January 30, 2013

7 Years of Missing Wendy

http://images.betterworldbooks.com/015/Old-Money-Wasserstein-Wendy-9780151009367.jpg
"I like him.  He knows when to laugh."

These were the first words Wendy Wasserstein ever spoke to me.  Or rather, about me, I should say.  We had just finished the first day of a week-long workshop of her play Old Money at Lincoln Center in May of 2000, in preparation for the upcoming production that would go into rehearsals in October of the same year.  The ever-kind Mark Brokaw had asked me to assist him on the production, and invited me to sit in on the workshop, and at the end of the first day, after the actors left and I lingered, hoping I'd be allowed to stay and hear how Wendy and Mark talked about what they'd learn from having heard the play, Wendy gestured to me and said those words.  "I like him," she giggled, in that endearing way that made you feel included.  "He knows when to laugh."

The First Laugh

Knowing when to laugh was a matter of great import to Wendy.  When I worked for her over the course of the next few years, the first first laugh was something she'd talk about.  For her, the first laugh was to a comedy what the first song was to a musical - if it didn't come early enough and wasn't pitch-perfect, you'd lose the chance to introduce your audience to the piece.

After Old Money opened, Wendy asked me to type for her.  I was her amanuensis, I guess, although I only learned that word recently, in the context of Milton, who was blind when he "wrote" Paradise Lost.  The poem was transcribed by his daughters, to whom he recited it in its entirety.  I imagine them furiously scribbling down his lines of perfect iambic pentameter, secretly bemoaning their cruel lot in life to each other later.  "If only we weren't the daughters of a brilliant blind poet," Anne Milton, the elder, would complain to Mary, the younger.  "We could go out on Saturday nights like the rest of the Puritan girls.  But instead we're stuck home scribbling away.  And don't even get me started on my ink-stained fingers.  Who's ever going to want to slip a ring on one of these?"

The one on the left looks especially bored to me - she's totally thinking "Dad's blind, so he can't see me rolling my eyes at him." Milton also had a third daughter, standing in the back, but she's rarely mentioned so she must've been boring.


A Life In The Theater

I'm not sure exactly what I'd be doing today if I hadn't met Wendy.  Unlike many of my peers, I live on the money I make directing and writing.  In my twenties, when the income I made from directing was the meagerest of trickles, working for Wendy was the only way I could afford to pay my rent and buy my groceries and go out dancing.  In addition, my first professional directing job was at Theater J in Washington, D.C. - two one-acts Wendy had written and given to the little theater to produce if and only if I got to direct them.  The first was called Welcome To My Rash, a piece that's almost unbearably painful for me to look at now, about a sick, middle-aged writer struggling with her illness and loneliness.  The second was a one-act version of Third, which would grow up and become Wendy's last full-length play.

I am not resilient the way many of my friends are, and I think working a day-job would've broken me.  But I didn't need a day-job, because I had Wendy.  When I would kvetch to her about how unfair it was that young directors with trust funds could stay in New York and assist for free while I had to go gallivanting around the country directing at colleges, she would tell me that she was my trust fund, and I would remember how lucky I was to be able to support myself in a job that paid well, didn't require early mornings, and allowed me to learn about my field.

Writing

http://belatednerd.com/wp-content/uploads/2011/10/FF-cosmic-rays.jpgUp until and including the time that I worked for Wendy, I never wanted to write.  I know this, because I didn't write anything, and I'm someone who believes that people do what they want to do.  I haven't actually parsed through the cause-and-effect of losing Wendy and starting to write.  Was it something that would've happened if she hadn't passed away, because my proximity to her inspired it, like the Fantastic Four, who developed their superpowers after being exposed to cosmic rays (not to be confused, of course, with the gamma rays that turned Bruce Banner into the Incredible Hulk)?

One of the first things I ever wrote was a play about a young director and the established writer he works for, titled WORK.  I've been hacking away at it for years (click here to go to my website and download the sample).  I have no idea if the play will ever have any life, but I know that writing it helped me tremendously as I struggled with Wendy's loss the ache of missing her.  So maybe losing Wendy was the cause, and writing the effect.  I am positive that I'd never have had the fortitude to write my young adult novel, ONE MAN GUY, if it hadn't been for the years I spent at Wendy's side.

http://upload.wikimedia.org/wikipedia/commons/thumb/9/97/Anton_P_Chekhov.jpg/150px-Anton_P_Chekhov.jpgOr sometimes I think, Wendy died so young, and with so many things she still wanted to write, that I started writing to try to fill the void her absence created.  Chekhov, after all, wrote hundreds of short stories and 5 brilliant plays before he died at the age of 44.  Sometimes, when I want to depress myself, I think about all the work he would've made if he had lived to be 50, or 60 or 70.  It's enough reason for everyone to pick up a pen and start writing their version of funny, sad, heart-breaking characters on a Russian estate.

Closer Than Ever

Writing makes me feel close to Wendy.  Unlike directing, with which I've had mentors galore, Wendy is the only one of two writers I've ever really been close to in that way, and so the act of it reminds me of her.  Writing my play about her, this blog, my young adult novel - every time I sit down at the keyboard, I hear her voice, and most of the time, it's making me laugh.  The rest of the time, it's giving me advice, which is inevitably practical.  When she came to see my production of The Seagull, she told me how much the character of Trigorin spoke to her, in his obsession with his writing, and how he (and Chekhov) were clearly so interested in the craft of the art.  Wendy took great pride in that, in her own work.  And I know that some people feel her plays are a little old-fashioned, and not edgy enough, or too nice, and until I get to direct one again and prove those people wrong, I hope we can all agree that they are, at least, written by someone who brings great craft to her field.



Pastrami and Cheesecake





http://students.cis.uab.edu/byulyou/cd2.jpg


October 18th was Wendy's birthday.  We had plans to lunch together on the day that neither one of us knew would be her last birthday, in 2005.  We were supposed to meet at the little writing studio she kept on 60th St (in the same building where Rafael was living when I met him, and if you think that wasn't Wendy nudging me along from beyond, you gravely underestimate her).  Wendy wasn't feeling well enough, however, to leave her apartment, so I went to the Carnegie Deli and picked up pastrami sandwiches and cheesecake, one of our perennial favorites.

She was in bed, where I served her the delicious fare.  She picked at her sandwich and didn't even touch the cheesecake.  If I weren't in such deep denial about her medical state, this would've been a clear sign that something was wrong.  I ate my portion with gusto, blabbering on about boys and work.

I try to do something that would honor Wendy ever January 30th.  Before her niece Samantha moved out West, we'd sometimes meet for a cocktail at Cafe des Artistes, which like Wendy, is no longer with us.  The first anniversary of Wendy's death, I went to see Sarah Ruhl's stunningly beautiful play The Clean House at Lincoln Center, in the same theater where Old Money had happened years before.  I wept through most of The Clean House and left the theater knowing that I would direct the play one day (which I got to do at Syracuse Stage two years ago, one of my finest productions).

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHR_1ijOeTqZa2lJuDVxG0cIEEnDrEgjz2vrgdVzlvvG8lQ38w8ylkQj3xgWJf2gpktnulbiTdOLIO7eolBqFwhgF5kyksFuW9mW6xfnY7clK_mQcF8yitZKSL6j-yTEbwQLTFEopdICQ/s320/strawberry+cheesecake.jpghttps://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnlNMHxu0ERUMn0gCPFcux9HHiBFltfQAzso7ai1zRMlzakUDegjEjY2DdDkGEjusKJdyqYfYYIMM5tsieUnlrh2ZeTdqdCep7m0jbz4rnnft33NwK5yj4HtKAJ5mXxAGliWe6FVATzfY/s1600/carnegie-deli-pastrami-michele-roohani.jpgBut the one thing I always do January 30th is go to the Carnegie and order a pastrami sandwich and a slice of cheesecake.  I am passed the age where I can finish both those magnificent servings by myself, but I still do it, knowing I'll have leftovers for another meal.  And so I invite you to partake of this tradition, wherever you are today.  Order some pastrami or a slice of cheesecake, and spend a moment thinking about Wendy, and how lucky those of us who knew her were to have known her, and how lucky all of us are to have her work.  





 

Sunday, January 20, 2013

Better Than Chocolate

https://mail-attachment.googleusercontent.com/attachment/u/0/?ui=2&ik=991bfeed8b&view=att&th=13c4a301a31cf47a&attid=0.1&disp=inline&safe=1&zw&saduie=AG9B_P9wwFHTMkq3jpx_1l18ywlq&sadet=1358737725132&sads=KSEb2kFMCbx1DGKzGnveJrHDL4o&sadssc=1
The Eugene O'Neill Theater Center, with snow
I'm not exactly sure how to write about the retreat that my PARADISE LOST company took up to the O'Neill Theater Center - it exceeded even my wildest expectations, both in terms of productivity and fun.  When we met today in New York to work on Book V, the members of the company who were unable to join us on the retreat asked me to talk about how it went, and the first thing I did was realte the menu.  This was it:


PARADISE LOST
O’Neill Retreat

MENU


Thursday, January 17


Lunch

Dinner

Appetizer: Guacamole & Corn Chips
Entrée: Tacos  (choice of Pork or Beans, with accoutrements)
Dessert: Dark chocolate shredded over blueberries on a bed of Greek yogurt


Friday, January 18


Breakfast
Strata with Spinach, Gruyère and spicy sausage (vegetarian available)
Coffee or Tea

Lunch
Sandwich spread
(cold cuts, cheese, & condiments on whole wheat bread w/pickles)

Dinner
Appetizer: Arugula & Romaine salad with apples, goat cheese, & toasted walnuts
Entrée: Roast chicken breast, broccoli rabe, & wheat berries
Dessert: Strawberries drizzled with a balsamic reduction over vanilla ice cream


Saturday, January 19

Breakfast
Coffee or Tea

Lunch
Sandwich spread
(cold cuts, cheese, & condiments on whole wheat bread)

I have to give props here to Chris Grabowski, director and cook extraordinaire, who accepted my invitation to join us a week before we left, and who prepared both dinners (with help from company members).  

Those of you who have been following my blog might recognize some of the recipes - especially the tofu scramble and the lentils.  When cooking for large groups, it's good to throw a few things in that you're uber-familiar with.  I'm all for leaving the comfort zone, but in that kind of situation, one recipe goes astray and there you are with a company of hungry actors and that's not a pretty thing.

A Group Dessert That'll Wow 'em

The biggest surprise for me, recipe-wise, was how big of a hit the second dessert was, which I'm titling BETTER THAN CHOCOLATE because that's what the company kept insisting.  It's easy to make, but I'm going to share with you a few tips to take this simple, delicious dessert and catapult it into extraordinary.

BETTER THAN CHOCOLATE: 
Vanilla Ice Cream with Strawberries, Swimming in Balsamic Reduction 

(These portions served 14 actors just right.  It can obviously be made on a much smaller scale).

3 gallons really high quality Vanilla Ice Cream
1 quart strawberries
1 bottle good balsamic vinegar

Notes on Ingredients:

Let's start with the ice cream.  When a recipe is this simple, you have to splurge for the good stuff.  It doesn't have to be fancy (I used Breyers).  The ingredients should basically read cream, sugar and vanilla.  Breyers also has milk and tara gum, a thickening agent that probably isn't going to kill you.  If the ice cream has any ingredients you can't pronounce, don't get it.

Strawberries are only in season in the northeast in the summer, but the store had some delicious ones from California, and I swallowed my green-guilt and bought them.  Berries are usually interchangeable in simple desserts, but with the balsamic vinegar, strawberries' sweetness is key.

First, pluck the heads off the strawberries.  Some people cut them off, but I think you lose some good strawberry that way.  Next, and this is very important, soak the strawberries in cold water.  If you really want to gross yourself out, do this in a transparent glass bowl, and you'll see all the seeds and dirt they release.  After fifteen minutes (or ten, or twenty - who really cares), rinse them out and soak them again.  I got this tricky from Mother Barakiva, and it does wonder for their taste.  After they're soaked, cut them in half.

Finally, buy yourself a good bottle of balsamic vinegar.  You're going to be boiling it down, so don't go crazy, but again, don't buy bottom shelf or you'll regret it.  Look for a seal from the Consortium for the Protection of Balsamic Vinegar of Modena (CABM). A burgundy-colored seal (you'll find it on the neck band of the bottle) means your product is authentic.

If you've got a dish large enough to hold all the ice cream, or if you're using a few dishes, put them all in the freezer - that'll keep the ice cream colder longer.

INSTRUCTIONS:

1)  Pour the bottle into a sauce pan bring to a boil, drop down to a simmer, and reduce by 50%.  That's all a balsamic reduction is - vinegar that has been boiled down.   How do I know when it's reduced by 50%, Michael?  Well, this is a very good question, reader.  Until the people at Calphalon figure out how to include measurement notches inside of their pots (this doesn't seem like it would be so difficult to me, but I've never seen it, so what do I know?), this is what you do: get a large Pyrex measuring cup, and after it's been boiling for around 10 minutes, pour the liquid in the cup and compare it to the bottle's capacity.  Warning: at a certain point, the reducing vinegar will give off noxious fumes and you'll feel like you're the victim of chemical warfare.  That means you're doing it right.  A few minutes of those and you'll have your reward.

http://gorgeinthegorge.com/images/Full-Page/815.jpg2)  Put the ice cream into the serving dish(es).

3)  Put the halved strawberries on top of the ice cream.

4)  Pour the reduced balsamic vinegar (still hot) on all of it.

5)  Serve immediately.

My company went crazy for this.  Most of them couldn't believe that the dessert didn't have any chocolate.  I'd never thought about it, but the richness and tartness of the reduced vinegar in that quantity did imitate dark chocolate's punch.  The product is exquisite - the richness of the ice cream creating a base of which the sweet strawberries and sweet/tart vinegar can dance.

We also got a lot of work done on the retreat, and I would be remiss if I didn't mention that.  But honestly, writing about how Lucifer impregnated Sin after she sprung out of his head, during a counsel he organized to try to overthrow God, and how she gave birth to Death, and the amazing metaphorical significance of all of that, just doesn't seem as interesting to me as delicious and simple-to-make desserts for groups.







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