2013 Academy Award Predictions

The Academy Awards are on Sunday and at this point I doubt I'll be watching. Going over the list of this year's nominees is like reading a list of movies that would not have made the cut in other, stronger years. I haven't seen all of the nominated films, but I've seen enough of them to know this is the weakest year for movies in recent memory.

Stacked with winners from previous years, it almost feels like the Academy has decided to take a year off by rewarding great actors, directors, and writers for their second best films. In some cases, their third or fourth best. I mean, honestly, in 10 years are we really going to put Lincoln on the same shelf as Schindler's List? Regard Life of Pi as highly as Brokeback Mountain? Pick Django Unchained over Pulp Fiction? Les Miserables over The King's Speech? Hell, Silver Linings Playbook over Flirting With Disaster? I don't think so.

There are a few worthy nominees in the mix, although the best films I saw in 2012 were mostly ignored. Skyfall, for instance, is a terrific film that knows exactly what it wants to achieve and exceeds those goals. It may not be a serious film, or a moving film, but it's certainly an entertaining film. I'm not even a James Bond fan and I couldn't take my eyes off the screen. Same goes for Perks of Being a Wallflower. Sure, it's a film for teenagers, but it's also the best film for teenagers. Shouldn't that count for something, especially when David O. Russell's film isn't even the best David O. Russell film?

I don't know, maybe I'm just being a grump because last year was such a great one for the Oscars. There were so many films I enjoyed that I could cheer for all the winners. This year I can barely think of a possible winner that I'd be excited about. I suppose I can get behind Argo. It's a slick Hollywood movie that stirs up the audience. Helen Hunt was great in The Sessions. Nominating Beast of the Southern Wild and Amour shows that the Academy wants to shake things up. Still, I plan to take the year off to regroup. (Not to mention, avoid Seth MacFarlane.)

So here are my predictions. Please let me know how I do, and if anything exciting happens on the broadcast, send me the link on YouTube.

BEST PICTURE

Nominees: Amour, Argo, Beasts of the Southern Wild, Django Unchained, Les Misérables, Life of Pi, Lincoln, Silver Linings Playbook, Zero Dark Thirty

Will Win: Argo. Oddly enough, Ben Affleck's snub in the Best Director category seems to have worked in Argo's favor by creating a need to right that wrong.

Should Win: Amour. It's the best of the bunch, but only a handful of foreign language films have ever competed in this category. And if Crouching Tiger Hidden Dragon couldn't win it, Cries and Whispers couldn't win it, Life is Beautiful couldn't win it, chances are slim Amour can win it. In which case, Argo would be a very worthy winner.

BEST ACTOR

Nominees: Bradley Cooper (Silver Linings Playbook), Daniel Day-Lewis (Lincoln), Hugh Jackman (Les Miserables), Joaquin Phoenix (The Master), Denzel Washington (Flight)

Will Win: Daniel Day-Lewis, Lincoln. If anyone else wins, I will eat my hat.

Should Win: John Hawkes, The Sessions. Oh wait, he wasn't even nominated? How is this possible? Boo, Academy! Boooooo!

BEST ACTRESS

Nominees: Jessica Chastain (Zero Dark Thirty), Jennifer Lawrence (Silver Linings Playbook), Emmanuelle Riva (Amour), Quvenzhané Wallis (Beasts of the Southern Wild), Naomi Watts (The Impossible)

Will Win: Jennifer Lawrence, Silver Linings Playbook. In its long history, the Academy has always favored the babe in this category. There are a few notable exceptions (I'm sure someone thought Jessica Tandy was hot), but more often than not Best Actress goes to the biggest boobs and smallest waistline. Such a shame, too, considering Lawerence's role in Silver Linings Playbook was nothing more than every man's fantasy of how a woman should behave. I think she's a wonderful actress -- I would have voted for her 2 years ago for Winter's Bone -- but to put her name in the books for such a weak female character when there are surely going to be stronger ones in her future is a shame.

Should Win: Emmanuelle Riva, Amour. If Riva really wanted to win this award, which she so desperately deserves, she would include a press kit of photos of herself from the 1960's, when her stunning beauty would have put Jennifer Lawrence to shame. I still think she's as beautiful as ever, and her performance is more than enough to warrant the Oscar, but it couldn't hurt.

BEST SUPPORTING ACTOR

Nominees: Alan Arkin (Argo), Robert De Niro (Silver Linings Playbook), Philip Seymour Hoffman (The Master), Tommy Lee Jones (Lincoln), Christoph Waltz (Django Unchained)

Will Win: Christoph Waltz, Django Unchained. This prediction might lose me the Oscar pool, but I have a hunch that Waltz will take it. But this is nobody's to lose and everyone's to win.

Should Win: Um...nobody? Could we just take a year off from this category? All of the nominees have won before and they're all nominated for playing characters they have played countless times before. Zzzzzzzzz.

BEST SUPPORTING ACTRESS

Nominees: Amy Adams (The Master), Sally Field (Lincoln), Anne Hathaway (Les Miserables), Helen Hunt (The Sessions), Jacki Weaver (Silver Linings Playbook)

Will Win: Anne Hathaway, Les Miserables. If anyone else wins, I will eat your hat.

Should Win: Helen Hunt, The Sessions. After disappearing into second rate roles in second rate films, Helen Hunt returned to form in The Sessions, giving her best performance to date. Although she'll have to settle for just being nominated, which is a feat unto itself given the subtlety of her role.

BEST DIRECTOR

Nominees: Amour (Michael Haneke), Beasts of the Southern Wild (Benh Zeitlin), Life of Pi (Ang Lee), Silver Linings Playbook (David O. Russell), Lincoln (Steven Spielberg)

Will Win: The smart money seems to be on Steven Spielberg, although Ang Lee could certainly snag a win. Actually, this race is surprisingly wide open. For the first time in a long time, Best Director is the category where any of the nominees have a decent shot at winning.

Should Win: Ben Affleck, Argo. I don't know when the Academy will forgive Ben Affleck for being Ben Affleck. He proved himself a terrific screenwriter more than 15 years ago with Good Will Hunting, but then he burned that good will by making a string of terrible movies and relationship decisions. Still, he more than made up for Daredevil with Gone Baby Gone, Surviving Christmas with The Town, and by now all traces of Gigli have been erased by his masterful work on Argo. While I'm pleased Benh Zeitlin made it into the Best Director mix, that it came at Ben Affleck's expense is a travesty. Actually, if anyone should have been swapped with Affleck, it's David O. Russell.

BEST ANIMATED PICTURE

Nominees: Brave, Frankenweenie, ParaNorman, The Pirates! Band Of Misfits, Wreck-It Ralph

Will Win: Wreck-It-Ralph. I really enjoyed this movie. It was fun, inventive, and gorgeous to look at. Although I will say that it had the same effect as a sugar rush -- tasty going down and exhausting afterward.  Still, I'm cool with it winning.

Should Win: Brave. As much as I liked Wreck-It-Ralph, it lacked the emotional impact of Pixar's latest.

BEST ORIGINAL SCREENPLAY

Nominees: Amour (Michael Haneke), Django Unchained (Quentin Tarantino), Flight (John Gatins), Moonrise Kingdom (Wes Anderson and Roman Coppola), Zero Dark Thirty (Mark Boal)

Will Win: Quentin Tarantino, Django Unchained. He came close to winning for Inglorious Bastards 2 years ago, so I think they'll award him for both this year.

Should Win: Michael Haneke, Amour. If Amour is going to win anything in addition to Best Foreign Language Film (where it's a lock), this is it.

BEST ADAPTED SCREENPLAY

Nominees: Argo (Chris Terrio), Beasts of the Southern Wild (Lucy Alibar and Benh Zeitlin), Life of Pi (David Magee), Lincoln (Tony Kushner), Silver Linings Playbook (David O. Russell)

Will Win: Chris Terrio, Argo. It won the WGA award, which usually overlaps at the Oscars since the voting pool is the same. Tony Kushner had it in the bag until just recently, when all the Lincoln love seemed to wane.

Should Win: David Magee, Life of Pi. If you've read the book, you know how impossible a screen adaptation seemed. That they managed to make a coherent film from a novel that's more philosophy than fiction is an enormous feat that should be rewarded.

Loons

I am pleased to announce that Loons is now available for purchase from Heuer Publishing. Click here to read a free preview and order scripts. I am very proud of this little play and hope you enjoy it.

Loons was selected as one of the winners of the Lakeshore Players 8th Annual 10 Minute Play Festival. Directed by Doug Dally, and starring Linda Wolf and Jim Westcott, I received many kind emails that told me what a lovely production it was. Below are some photos from that production.

Question and...Answer?

One of my favorite things about being a playwright is receiving emails from students, teachers, and parents who have played a role in bringing my words to life. My goal is to bring people together through the arts, so whenever I'm included in that process, I'm overjoyed. Over the years, many actors, directors, stage managers, crew members, and even audience members have been in touch with me to ask questions and make comments about my work. I'm always more than happy to answer questions and I have also made a point to respond to any comments, whether they be positive or negative. While most of the emails I receive are easy enough to reply to, there are times when I've been faced with a question or comment that I had absolutely no idea how to answer. Here are a few of the funniest, most absurd, and perplexing examples.

- My son is in your play and he doesn't have enough lines. Here are some funny ones that we would like you to add. He will also be wearing brown pants and not jeans.

- Why do you write with so many spaces?

- Did you mean for Freddie not to be as funny as the other people?

- On page 12 should I be sitting down?

- Could you please tell my teacher that I deserve a lead role? I've been in the drama club longer than Keisha but she gets the bigger parts and I don't think that's fair. Thanks bunches.

- I don't understand the title. Explain.

- I don't play football so I want to turn the quarterback into a tennis player because that would be more real because I play tennis and not football.

- What is the last line of scene 1? The photocopy was crooked and it got cut off.

- I would like a dvd of Attention Detention sent to me asap.

- How much do you charge to write a play for us? 20 page max and no swearing.

- Thank you for coming to see our play!!! It was an honor to meet you!!!! (Very sweet, except that I was not at this particular production, which happened more than 1000 miles away. Yikes.)

Vamp Ire Photo

Thank you to Noble and Greenough School in Dedham, MA, for sending a photo from their production of Vamp Ire.

"He's a vampire and all you can say is, big whoop?"

Vamp Ire is now available from Brooklyn Publishers. Click here to read a free preview and order scripts!

A Flea in Her Ear Q&A

So I've received a few questions about my post last month, which recalled my experience acting in a somewhat ramshackle production of A Flea in Her Ear. I'd like to address them here.

You were an actor? Really?
Yep. I was even pretty good, until stage fright completely took over my performances, which told me I should probably pursue a different specialty if I wanted to remain involved in the theater. "Writing it is," I said to myself.

Who directed A Flea in Her Ear?
I wish I could remember his name, but I have no idea. He was extremely, extremely nice, just not the kind of director I prefer. I'm sure others enjoyed his method a great deal.

How do you talk without consonants?
It wasn't easy. I ended up putting my tongue against my bottom row of teeth and bit down on it slightly as I talked. I thought I made no sense at all, but I was pleased when the audience understood what I was saying enough to catch a few of the jokes.

Could you make a video to show us how you did it?
Um, no.

And finally...

Did this really happen?
Yes, I assure you, it did. Here's photographic evidence.

If you have any questions, about anything at all, please leave them in the comment box below. I'll answer them right here on the blog as they arrive!

Free Monologue

I Don't Want to Talk About It is now available from Playscripts, Inc. (Click here to order a copy!) This play includes over a dozen monologues, ranging from comedy to drama, which makes it great for competitions, auditions, and classroom study.

In the few short months since it's publication, it's already picked up quite a number of productions, as well as Best Play awards at several one-act and speech competitions across the United States. Best of all, I've received more than a dozen emails from students and teachers, thanking me for writing a play that has allowed them to express the feelings they have long had trapped inside. As you can well imagine, these emails mean more to me than any awards.

Below I've included one of my favorite monologues from the play. I was able to sit in on a production via Skype not that long ago, and the girl who delivered this speech knocked it out of the park. It comes near the end of the play, when things have become quite serious, but this young actress was able to get the audience to laugh uproariously in spite of their grief. She provided a much needed relief from the sadness that came before it. Enjoy!

CHELSEA. I dropped an egg roll in my grandpa's casket. I can explain. People like to bring food when someone dies, you know. They don't know what to say, so they stuff their faces instead. Well, that's what my grandpa's funeral was like. An all-you-can-eat buffet. I even caught my Auntie Joan sneaking butter packets into her purse. Anyway, my Uncle Pete is married to this Asian lady named Ming. She's, like, super pretty. I wish I was that pretty. And I swear, she makes the best egg rolls ever. Better than the ones you get at the mall even. Well, she brought a pile of her famous egg rolls to the funeral and everyone clumped up at her end of the buffet. Nobody wanted the salmon salad sandwiches at the other end. The crusts might have been cut off, but salmon salad is still salmon salad. Yuck! Well, Ming had this brilliant idea to make all these different sauces to go with her egg rolls. Sweet and sour, teriyaki, lemon, plum. Plum's my favorite! I was so happy she made so many sauces because it gave us all something to talk about. "Have you tried the lemon? Taste the teriyaki. Dip it in plum!" So there I was at the front of the church, standing in line to say good-bye to Grandpa. I don't know why they left the casket open. It's not like he needed to breathe or anything. Finally my turn came to pay my respects, but I didn't know what to say. I just leaned in and stared at his face for a while. His gray whiskers were caked with pink foundation. It was kinda creepy, but I didn't say anything because everyone else thought he looked so peaceful. I could feel the line of people nudging me forward, so I just said the first thing that came to mind. "Try an egg roll," I said. "They're delicious!" And then I dropped one in next to him. Weird, I know—spending eternity with an egg roll. But somehow it felt like the right thing to do. And now when people ask how I'm doing, I know exactly what to say. "I dropped an egg roll in my grandpa's casket." It's a good story, I think. Almost as good as the sauce.

In Memory

Today is a sad day. I lost one of my very best friends and have yet to find the words to express just how much he meant to me over the years, and will continue to mean to me so long as I live. The words will come, but until they do, a memory.

Adam acted in the first real play I ever had produced. He played Maxwell, a pompous, middle aged actor who preyed on the young ingenue by demanding her affections. Where I came up with such a character at the age of 14 is beyond me, but I'll never forget what he said after we read the script out loud on the floor of his bedroom. He said it was funny, but stupid. He was right. He said I should probably write about people our own age next time. He was right about that, too. He also said he'd be perfect for Maxwell. Right again.

A writer never forgets their first production. It was an exciting time, hearing my words come to life in front of an audience. And whenever I close my eyes to hear those words again, it's Adam's voice that I hear, loud and clear. He was there for my first play and has been there for every one that's followed.

Note to Self Pictures

Thank you to Redwood Valley High School in Redwood Falls, Minnesota, for sending me some snapshots from their production of Note to Self.

Note to Self is published by Playscripts, Inc.

Troubleshooting Clip

Here's a sneak peek at Troubleshooting, which will be released very shortly from Brooklyn Publishers. This video was taken at the world premiere production, presented by Charles Henderson High School in Troy, Alabama. Stay tuned to this blog for an announcement upon its release. In the meantime, enjoy these few short clips!

Review: Sixteen in 10 Minutes or Less

Last weekend, Sixteen in 10 Minutes or Less opened at the Four County Players in Barboursville, Virginia. Directed by 17-year-old Hannah Mawyer, the production has been extremely well received, and will continue to run for the next two weekends. Below I have pasted a very positive review Mawyer and company received in the Orange County Review. I so wish that I could be there to support their production, as well as to see all of the wonderfully inventive ideas they've incorporated (one of the actors plays the dog!), but reading this review gave me an idea of the energy and creativity they brought to the show, and in a sense made me feel like I was there to see it. Congratulations to all on a job clearly well done!

"Sixteen" a funny, heartwarming glimpse at teen life

Gracie Hart Brooks
February 5, 2013
Orange County Review
 

A sudden snowstorm didn't stop theatergoers from enjoying "Sixteen in 10 Minutes of Less" Saturday night at the Four County Players.

The play, featuring a teenage cast and director, is being performed in Four County's black box theater The Cellar and is a collection of 10 10-minute plays combined into one humorous, yet heartwarming look at what it means to be 16 years old. The play tackles everything from the pitfalls of braces to divorce and bullying.

Vance (Sheridan Parkinson) is the wheelchair-bound teenager, slightly insecure due to both his condition and his status as a new student. His insecurities are expressed in "Friend Request," when he befriends fellow new student Cindy (Dora Baker), but is too afraid to show her that he's wheelchair bound. Meanwhile, Cindy falls into the mean girl scene with fellow student and mean girl ring leader Piper (Jenneca Graber-Grace). Then there's shy, artsy Laura (Grace Hynes) who is unfortunately the brunt of their jokes, something she shares with her dog Jeff (Bradley Shipp), whom she refers to as "her true friend." Sweet, talkative Samantha (Julia Hatter) and her boyfriend, Brody (Jacob DeLoriea) round out the cast, along with Piper's brother James (Shipp).

All of the young actors do an exceptional job of making the audience feel what it's like to be 16 years old. Particularly poignant is "Payphone," a scene in which James (Shipp) experiences a nightmare concerning his role in the divorce of his parents. Brody (DeLoriea) also has a scene expressing his feelings about the divorce of his parents in "Wheels." "Bench Warrant" is also gripping in its portrayal of bullying as Samantha (Hatter) stands up to both Cindy (Baker) and Piper (Graber-Grace) when they harass Laura (Hynes). And both "Friend Request" and "Status Update: A Symphony" address the cyber culture of today's teenagers. The play also has its light moments, particularly seen in "Brace Yourself" as James (Shipp) tries to remove an unknown object from his braces. "Tumblefur" is also sure to get some laughs as Shipp portrays Laura's dog Jeff.

"Sixteen in 10 Minutes or Less" by Bradley Hayward is the directorial debut of 17-year-old Hannah Mawyer. Having been involved in numerous Four County productions, this play marks Mawyer's first attempt at directing. It likely won't be her last though, as she seems to excel at her new role. Mawyer was mentored during the process by Geri Carlson Sauls, who along with Tres Wells, serves as producer.
Scene designer Elyse Bennett uses minimal sets and props for this production, placing all the focus on the characters and their stories. Lighting designer Rowena Halpin especially excels during a scene in which lighting is used to replicate fireworks.

"Sixteen in 10 Minutes or Less" runs weekends through Feb. 17. Friday and Saturday shows begin at 8 p.m. and Sunday shows begin at 2:30 p.m. All tickets are $12. For more information or to purchase tickets, call the box office at 832-5355 or visit www.fourcp.org.

Young Playwrights Urban Retreat

In the summer of 2001 I spent a week in the heart of Manhattan, taking part in the YPI Urban Retreat -- a week long playwriting intensive offered by Young Playwrights Inc. Founded by Stephen Sondheim in 1981, YPI has given thousands of young playwrights the opportunity to experience, first hand, just what it takes to develop good theater. At the time of the retreat, I was 20 years old and thrilled to meet a dozen other playwrights my age. Up to that point I had not met anyone who shared my ambition for playwrighting, so it came as quite a shock when I mentioned Terrence McNally's name and someone else in the room had an opinion. I was immediately struck by the talent of our entire group, which encouraged me to work hard and learn as much from them as possible. It was an extraordinary week of writing, lectures, dramaturgy, and performances.

With John Weidman, after a performance of Contact. YPI Urban Retreat 2001.

One of the highlights of the retreat for me was attending a performance of Edward Albee's The Play About the Baby, starring the incomparable Marian Seldes. Ms. Seldes is a rare breed -- a theater legend with the enthusiasm of a novice -- and she was kind enough to participate in a talk back with us wide-eyed scribes after the performance. She could not have been more receptive to our questions, although I do recall her insistence that we get to the point.

YOUNG PLAYWRIGHT: May I ask you a question?
MARIAN SELDES: You just did.

I was enamored with her colorful stories about her theatrical experiences, both past and present, yet her commanding presence was so intimidating that I became tongue-tied when my opportunity to ask a question arose. She quickly recognized this hesitation, ran her fingers through her wild mop of gray hair, and said something about the best questions being those unasked. I regret not having the words to express how overwhelmed I was by her brilliant performance (both in the play and the talk back), but looking back I realize that I learned more from her ability to divert attention from my humiliation to her technique than any question I might have asked. Most of all, I will never forget her genuine interest in where we came from and what we had to say, as if she was auditioning years in advance for the plays we would go on to write in the future. There was not a hint of condescension in her voice (which is more than I can say for some of the other professionals we met), and she treated us as contemporaries, which gave me the confidence to believe that a career in the theater was indeed possible. Her words stuck with me for weeks after the retreat; so much so that I ended up writing her a note, thanking her for her time and expertise. Much to my surprise, a postcard bearing her signature arrived in my mailbox shortly thereafter. Addressed "Dear Playwright," she thanked me for my letter and expressed the hope that our paths would cross in the future. So do I, I thought. And still do.

I learned a great deal that week, both about the craft and business of playwrighting, but the biggest lesson did not come until years later. Deep within a box hidden in the back of my closet, I discovered the journal I kept with me that entire week in New York City. Scribbled in the margins were some notes I had made for one of our class assignments. We were asked to take in our surroundings and write down anything that made the "scene" unique. I wrote about some shadows being cast in two separate directions, stretching out for what seemed like miles on either side of me. Pasted beside these notes was a photograph of myself, seated on a dirty bench in front of the World Trade Center. Little did I know when I wrote those notes that the towers behind me would come crashing down a few short weeks later. It was at that moment I finally understood the true meaning of our assigned task: it's a playwright's responsibility to capture moments that would otherwise be lost in time forever.

I've stayed in touch with a few of my fellow young playwrights over the years. Some have continued to write, others not. Plays have been written, produced. Books completed, published. And back in 2001, none of us could have foreseen how websites, blogs, and even Twitter would give us a very public platform to express our points of view. I'm grateful for every day that I'm able to work as a professional playwright, and I can't help but believe that getting my feet wet that week in New York gave me the courage to eventually dive into the pool, head first.

As for Ms. Seldes, I'm still holding my breath.

Reading Room: Chemo Girl and Other Plays

 
My friend Christian Kiley has written a collection of four beautiful plays that absolutely need to be read, produced, and experienced. I had the great honor of reading Chemo Girl and Other Plays while it was in the development process and I cannot tell you how much they moved me. They are fascinating, sensitive, and (most amazingly) humorous portrayals of teenagers dealing with cancer, from a variety of different perspectives.

My father passed away from cancer when I was 14, so The Other Room hit a nerve that I was not expecting. The play centers around a teenager coping with his dad's illness as he recovers from chemotherapy treatments in the other room. My father's death was a defining experience in my life, yet I've never been able to put into words the experience of going through his demise. The fear I had of going into that "other room" continues to haunt me to this day, and The Other Room is so real, so raw, that I felt as though I was experiencing that fear all over again. At first I wasn't sure I could handle it, but as the play progressed I felt myself coming to peace with my dad's passing, and as I turned the final page, tears of joy were running down my face. It was the catharsis I had been looking for since I was 14. It was exactly the play I needed at the exact time I needed it...and one that I wish I could have written myself.

My niece is currently battling leukemia and her courage and determination inspires me every single day. Her positive outlook in the face of such unfortunate circumstances reminds me that anything is possible if we put our heart and soul into it. So when I read Chemo Girl, about a young girl who finds the strength to fight her own battle with cancer through video games, I was reminded of my niece and what a super hero she has become. The theatricality and creative invention of Chemo Girl blurs the line between fantasy and reality in a way that young actors and directors will really be able to sink their teeth into.

The two other plays in the collection, Red Rover and Waiting Room, tackle the physical and emotional repercussions of a cancer diagnosis. The two plays could not be more different, yet they compliment one another beautifully and provide actors the opportunity to tell a story with their bodies as well as their voices.

Chemo Girl and Other Plays is now available from Theatrefolk and I encourage anyone looking for a play that will knock the socks off their audience to consider it for their next production. It's a truly extraordinary evening of theater that will delight, enlighten, and inspire everyone involved.

Review: Les Misérables

Every year I say that I'm going to see all of the Oscar nominees for Best Picture, but that's a lie. It's true that I've gone to movies simply because they were nominated, and I've seen several great ones that I never would have discovered on my own (Moneyball, Winter's Bone, Precious, In the Bedroom, to name a few). But just because a movie is up for awards doesn't mean I'll see something that I know I'll hate. I know me and I know what I can't sit through, no matter how good it might be. For instance, I'm sure Django Unchained is a very well made film, but I loathe blood and guts and gore and such, so chances are good I'll hate it. In fact, I've never liked a Quentin Tarantino movie, although I do tend to believe people when they tell me he's a genius. Same holds true for Zero Dark Thirty, directed by Kathryn Bigelow. It's probably terrific, but I'll never know. I've taken everybody's word that her film The Hurt Locker deserved Best Picture, but I know I can't handle it so I refuse to go there.

So what made me think I'd like Les Misérables? Well, I suppose it's because I love the theater, write plays, and am obsessed with musicals. I'm a Hugh Jackman fan, enjoy the French, and thought The King's Speech (from the same director) was wonderful. But here's the problem: I've never liked the musical. Les Misérables is depressing and bloated and melodramatic and confusing. True, it has one or two remarkably good songs, but they only serve to remind the audience that the rest of the music is bleak and repetitive. I'm the first to admit that I get tears in my eyes when hear but two bars of "Do You Hear the People Sing?" It's an epic song, one of the best ever written. And of course it comes at the end of the show, which sweeps all of the play's faults under the rug by manipulating the audience into believing the whole thing was equally as moving. It's not.

What I'm trying to say is that it's probably unfair for me to judge the film, given that I find the source material so appalling. So instead, here are a few bullet point reactions to things in the movie that were not clouded by my misgivings for plot.

- Hugh Jackman carries the entire film on his own. He is incredible in every way.

- Anne Hathaway is not as good as everyone says she is, and Russell Crowe is not as bad as everyone says he is.

- Anne Hathaway is very hammy. In search of an Oscar, she acts out every chapter from Uta Hagen's "Respect for Acting" and few from "Anxiety Attacks for Dummies."

- The first hour is far too hard to watch and required some levity. Helena Bonham Carter and Sasha Baron Cohen add some desperately needed humor, but they're entrance is somewhat jarring because up to that point there had been no comedy whatsoever.

- Amanda Seyfried is beautiful, but can't sing a note.

- Eddie Redmayne and Aaron Tveidt should have swapped roles.

- The little boy is very good.

- The director helps clarify confusing plot points by pointing the camera in all the right places, yet I still had no idea what the hell was going in the second hour.

- Who is Samantha Barks and did women really pluck their eyebrows so aggressively in 19th century France?

- Russell Crowe's suicide is nicely shot, although when did he find time to dry clean his uniform in the middle of a revolution?

- It's too long.

- The curtain call ending, with all the actors smiling on a big heap of furniture, is so over-the-top that I expected the actors to bow.

- I was disappointed when they didn't.

Photos: I Don't Want to Talk About It (Florence High)

Congratulations to the cast and crew of I Don't Want To Talk About It from Florence High School for winning Superior Play and Superior Ensemble at the South Dakota State One-Act Festival! Below are some photos from their phenomenal production.

"That's the thing about small talk. It keeps getting bigger and bigger until someone gets clobbered by it."

"You know that little voice inside your head? The one that tells you what's right and what's wrong? Well, mine's a jackass."

"If I hold my breath for a really, really, really, really, really, really, really, REALLY long time, I can get whatever I want without sayin' nothing."

"They weren't talking behind my back. They were stabbing it!"

 "There are two different kinds of dreams. The kind you have when you're asleep, and the kind you have when you're awake. As far as I can tell, you can't control either one."

 

"Words ruin everything. They don't express feelings. They hurt them."

"It's not that I don't have anything to say. It's that I don't know how to say it."

 

"Most people get from point A to point B without any trouble. But I'm not most people."

Production directed by Laura J, Hummel with the following cast: Ben Hummel, Nicolas Teughels, Lindsey Goldade, Katie Mastel, Sam Sheffield, Derek Olson, Ashley Ronke, Jolinda Hagen, Chris Gollnick, Mareike Boenig.

I Don't Want to Talk About It is published by Playscripts, Inc. Click here to read a preview and order scripts.

Photos courtesy South Dakota Public Broadcasting.

Farce, Part 3: Moon Over Buffalo

The greatest theatrical experience I've ever had, apart from those as a playwright, is undoubtedly when I had the chance to direct Moon Over Buffalo by Ken Ludwig. I had wanted to direct it from the very moment I first read the script and I thankfully did not have to wait long to get that opportunity.

The year was 2003 and I was a board member at Lakeshore Players in White Bear Lake, Minnesota. Despite being on the board, landing a directing position was not a sure thing, so I did my homework and came to the interview prepared. I wrote out a complete vision for the show, complete with scenic design sketches and blocking sheets for key scenes. I got the job, but I'm sure it had less to do with my preparation than it did my enthusiasm for the play.

Have I mentioned that I love Moon Over Buffalo? Well, I do. When it opened on Broadway, it was criticized for having a somewhat creaky script, yet it ran for a healthy nine months and has since become enormously popular with regional, community, and high school theaters. It's a beautifully constructed farce with delicious characters and hilarious situations. In my mind, that makes it a huge success. So there!

I strongly believe that 90% of good directing is good casting. If I can match the right actor with the right character, then I can step aside and let them find their own way through the material. After all, I'm not the one who will be standing up in front of hundreds of people. But it doesn't end there. A good director also needs to match the right actors with the right actors. This is something I believe I'm particularly good at, and one of my favorite parts of the process. To create a community from scratch and have the opportunity to watch it develop is what I believe the theater is all about.

When given the choice between the best actor and the best person, I always choose the best person. I firmly believe this leads to a happier creative atmosphere; one where the actors are able to work in a safe environment, free from competition, which enables them to develop a genuine chemistry that cannot be faked. I can work with someone not perfect for their particular role, so long as they are able to work with me. Thankfully, I did not have to make such concessions on Moon Over Buffalo. The best actors were also the best people, and the memories of our rehearsals together are among the fondest I have.

The greatest cast and crew ever assembled. Moon Over Buffalo, Lakeshore Players, 2003.

After sitting at the keyboard for what seems like an eternity, I realize that I do not have the proper words to express what my cast and crew of Moon Over Buffalo meant to me then, nor what they continue to mean to me today. But I can say that our little group of 12 put on one hell of a good show. While the play may have been farce, our brief time together was far from it. So while I cannot generate the words, nor share any proof other than my word, nor find an audience member who saw anything more than what made it to the stage, I know in my heart that the experience was something special. "Magic" is about the best word I can think of to describe it.

Come to think of it, this inability to put my feelings into words is exactly why I'm so enamored with the theater. Theater exists only in the present, evaporating the very moment it's over. Sure, the memory of a great performance might stay with a person forever, but the actual moment -- the magic -- lasts but a second. And it's the hunt for that moment, that second, that magic, that makes me smile, makes me laugh, makes me happy.

That's farce. That's theater. That's life.