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Act 4 Scene 22: The Lonely Burrito

Food is one of the defining elements of culture. Especially American culture. We Americans like to use food as a means of social gathering. PTA organizations provide bagels to overtired soccer moms to entice them to come to morning meetings. Student-run clubs order pizzas, often too many, and those who made the effort to attend often get more than their fair share. Friends catch up over skinny, low fat, lattes with whipped cream (ah, the irony) at Starbucks. Food is there during laughs, tears and reunions.

Maybe this is why it’s always broken my heart to see people eating alone.

It’s bothered me for years now. I know that our fast-moving culture often requires businesspersons to grab lunch on the go. I myself have been subject to “lonely lunches.” However, it’s always saddened me to see men in business suits chewing silently while scanning headlines or women reading books as they mindlessly munch on salad.

I always wonder, do they feel as lonely as I think they are?

It might seem as though I’m over thinking this. Some people like to eat alone and don’t mind it. So what’s so sad about eating alone? Well, actually, a lot.

First of all, the thought of people eating meals alone has always reminded me of my dad, who travels a lot for business. Seeing suited men order for one always reminds me of how my dad must sit at a solitary table instead of requesting a table for “cinco” at the local Mexican restaurant.

Inside diners’ eyes, I can see the kid sitting along in the cafeteria with the peanut butter and jelly sandwich his mom lovingly made for him. The juice box, the apple, the pack of cookies if he was lucky. Inside those adults is the kid who was always a little left out. And it breaks my heart to think that being picked last in gym class doesn’t end. That a feeling of loneliness persists throughout life.

I once saw a man eating alone at an outdoor restaurant. The waiter brought a piece of cake with a candle in it and set it down across from him. No one sang. No one smiled. The man had tears in his eyes, and I could only imagine that it was for someone special that he had lost. Instead of sharing the cake with that person, it sat there, the candle flickering. Still lit.

My sister once comically described a teenager eating a burrito by himself as “the lonely burrito.”  At some point, all of us have been the lonely burrito. Instead of talking over a meal or taking a pause in a conversation to chew and mull over what you’re planning to say, we eat alone with our thoughts.

Eating alone makes us aware that we’re getting by. It’s just another meal on another day. Not every meal will have meaning. After all, food is food. Mealtimes can evoke memories, satiation and even happiness. But they can also be lonely burritos.  

Act 3 Scene 24: Traveling

For those of you who haven’t done it yet, “flying solo” is a liberating experience. Literally. There’s a certain feeling of pride in showing your license to the security officer (unless you forgot it in your dorm, but that’s another story) and then finding your gate all by yourself. You’ll see businessmen straightening ties and carrying suitcases, flight attendants applying yet another layer of lipstick and then there’s you. The independent. Pulling out your computer, typing, looking all “official. “ You know what’s up. I mean, for heaven’s sake, you’re traveling alone!

My unaccompanied travels didn’t start until I got to college. I knew that going to school about 700 miles away from home meant I’d have the opportunity to fly home for breaks. My airline of choice? Southwest, which is a long way from the airline I’ve  flown all my life -- Continental, but I’ve grown to love the homey atmosphere. It’s cheaper, they don’t charge for bags and they give you snacks (and no, no paid endorsement here!)

I also get to meet interesting people on Southwest flights. I don’t know what it is about this airline, but I’ve never had more strangers strike up random conversation with me. This time, there was a notable individual: the cake man.

No, not Duff from Ace of Cakes (though yes, I have seen him in person and he’s just as funny and well, round, as you’d expect). 

At the Chicago Midway Airport, there’s a café called “Let Them Eat Cake.” So naturally, my sugar loving self stopped in and couldn’t leave without a piece of Strawberry Dream Cake. I took it back to my gate and planned on eating it there. I could see hungry eyes mentally tasting my cake, but none so much as the middle-aged man in front of me. He even went as far as to say, “I have to go” to whoever he was talking to on his cell phone and said to me “you know, you’re going to have to share.”

I laughed and opened the plastic container it came in, silently inching the cake closer to me. I stuck the fork into the thick, white frosting and was about to place it in my mouth when he said, “you know, it’s my birthday.”

The anticipation of the first bite was ruined, so I put down my fork. “Happy Birthday.” I said to him. “You know, the cake place was right over there.” As I spoke to him, I noticed his eyes never left the red flower petal artfully drawn on top. “Well, I might just have to grab a piece, then.” He proceeded to watch me eat the entire piece, which was pretty uncomfortable. But, cake man, you taught me a few things:

    1.)  Birthdays are no fun after you’re 21 (well, I knew that, but he reinforced it).

     2.)  Cake isn’t as enjoyable when you’re a middle-aged man with a more than middle-sized waistline.

So, for those of us who still have youth and spontaneity on our side, I say, EAT CAKE!

Did you miss me?

Recently, I’ve heard from more than one person that I should have another blog for my random, everyday thoughts. And hey, if people are willing to read my writing, I’m more than happy to oblige! 

Since this blog is a little neglected (not by choice, I just don’t have the time or opportunities to see as many shows as I’d like!) I’ve decided to add a section, which I should be able to update more often. Scenes. There are many events in my life that I am told, “Would only happen to me” or are too hilarious to go untold. So, if you’re reading this, it means you get to be a part of these scenes! More often than not, you’ll be a chorus member, but hey, better to be in the chorus than not in the show at all, right? 

KCACTF Review 4: Godspell (Last one!)

“Thou shalt not bear false witness” to Johnson County Community College’s production of Godspell, an upbeat and updated musical that is sure to uplift audiences.

 Godspell, originally written by John-Michael Tebelak with book and lyrics by Stephen Schwartz, is a story about a collection of outcasts and lost souls who strive to unite and better themselves through the teachings of Jesus Christ. Also there to assist them is Jonnie the Baptist, a peppy and enthusiastic Salvation Army officer whose attempts to inspire the disgruntled crowd have been futile. JCCC’s version is also set in the modern world (or a contemporary, littered street, complete with crumpled up newspaper and empty pop cans).

The structure of this story about the gang of misfits, which includes 14 cast members and 6 band members, is a series of parables based on the Gospels of both Matthew and Luke. The short sketches are set to music lyrics from traditional hymns.

The show’s musical selection is religiously based, but doesn’t attempt to convert audiences to the Christian faith. Most notably, the song “Day by Day” reached #13 on the Billboard charts in 1972, and is still recognized and played as muzac in elevators today. Other memorable songs include ”All for the Best,” which was complete with tap dancing and the moving company number “By My Side.”

Director Beate Pettigrew adapted the show to include specific characters such as “Kandi the prostitute” and “Judas the street pusha.” As the iconic Jesus himself, Jeremy Right was patient and gentle, with a calming voice that was easy on the ears. Also noteworthy was Tony Cintrony as “Ginger-Snap the drag queen.” High heels, fishnets and eyeliner-drawn-on-cleavage were no match for Cintrony, who proved to be perfectly comfortable in his drag attire and gave an honest and humorous performance.   

While the cast was strong as a whole, especially during empowering ensemble vocal numbers, it sometimes became hard to hear the one-liner jokes often present in the script. With 14 characters, the stage often got boisterously noisy, and lines of dialogue were drowned out.

Aside from modernizing the script, Pettigrew expertly incorporates pop culture jokes. From references to Charlie’s Angles and Thriller, the audience never feels as if they’ve been taken back to the original 70’s production. These references, combined with identifiable characters, make the show relatable to widespread audiences.

Kelly Vogel’s elaborate set design uses train tracks, concrete-looking steps and a full size pick-up truck that carries parts of the orchestra. The band’s onstage presence allows the audience to experience every element of the show first-hand, and the band members’ visible focus on Jesus further draws viewers into his message.

Though many elements of the show are impressive, the production itself was simply good. Without many memorable elements, the show is subject to fade in the minds of viewers, which, due to the decline of organized religion, is ironically the path that the message of Jesus has taken. Ultimately, the production is a success, allowing audiences the opportunity to contemplate faith, while simultaneously being entertained – and that’s the gospel truth.

KCACTF Review 3: Richard III

“Now is the winter of our discontent,” -- and so it was in the performance of the University of Minnesota Duluth’s Richard III, which provided much "discontent" throughout the production.

            UM Duluth’s production used the Colley Cibber adaptation, which was the most popularly performed stage version for nearly two centuries. Cibber’s script cut much of Shakespeare’s original lines, and also added original scenes to emphasize Shakespeare’s comedic intentions. UM Duluth also threw material from Sir Thomas More and Raphael Holinshed into the large, Richard III melting pot.

            The script follows the tale of the hunchbacked prince, who is determined to become a villain. Much of Richard’s anger stems from his brother Edward’s ascension to the throne. In order to quell his jealousy, Richard decides to take matters into his own crippled hand and kill off every threat to his reigning power.

The production’s only redeeming actor is Richard III, played by Corey Ryan Boe. As the deformed prince, Boe is consistent in his rigid sidestep and menacing voice, making him a captivating villain. This commitment distinguishes him from his fellow castmates, whose emotions are stoic and forced at best.

            UM Duluth’s production takes place in a crumbling train station. Multiple tiers and scaffolding comprise the set, but don’t enhance the production. Though director Tom Isbell’s setting idea was creative, it did not play out well, as the scene changes result in no noticeable differences in the set arrangement. Also bothersome is the loud background music, which often completely drowns out the actors.

            During the show, audience members have to resist the temptation to yell “off with his head” and are relieved when he is stabbed, not only because the villain is gone, but because the show is over. 

KCACTF Review 2: The Odyssey

In modern times, it wouldn’t be surprising to hear many people answer the question “What is the Odyssey?” with the retort “a mini van.” However, the theatrical production of The Odyssey, performed by Minnesota State University Mankato, brings a contemporary element to the epic story, making it another modern Odyssey worth recognizing.

            The Odyssey is one of two Greek epic poems by Homer. This particular poem centers on Odysseus, a cunning Greek hero who spends ten years trying to return to his homeland of Ithaca after fighting for a decade in the Trojan War.

            While Odysseus combats Cyclops, resists the sweet songs of the Sirens and is kept captive by the goddess Calypso, his wife Penelope and son Telemachus must ward off the suitors who come to woo the assumed widow. With the help of the goddess Athena, Odysseus attempts to return to his wife, unknowingly racing against time and the attentions of other men.

            The version performed by Minnesota State University Mankato is a humorous and irreverent adaptation of the direction by Mary Zimmerman, which often makes fun of the original Odyssey within the confines of the plot. While the entirety of the poetic Odyssey could take days to perform, Zimmerman’s abridged three-hour version moves at a steady pace and contains enough witty dialogue to keep audiences engaged.

            With 29 actors in the cast, there is hardly ever a dull moment. Clayton Oliver Rutschow, who plays Odysseus, tackles the role with a domineering stage presence. Rutschow fully grasps the many facets of Odysseus’ complex personality, from his compulsive lying to his determination to fight all odds against him, making his performance believable and inspiring.

            Also exceptional was Kimberly Michelle Steffen as Athena, Odysseus’ guardian angel (or God) and narrator of the play. Steffen enthusiastically took on Athena’s mortal disguises, ranging from a precocious child to an old man. The on-stage costume changes made Athena’s guises easy to follow, but her commitment and seriousness in playing each new role brought many laughs to the eager audience.

            In tackling a play of epic proportions, director Paul Hustoles chose an adaptation of the script that suited both his cast and the audience. While mentions of the Odyssey might cause some people to groan while remembering sleeping through the poem in high school English class, Hustoles’ creative stage directions make it impossible for audiences to fall asleep.

With a large ensemble, Hustoles employs actors to portray animals, posing as everything from sheep to dogs to pigs. The ensemble’s bestial mannerisms and “baas” and “oinks” are not only natural, but are hilarious as well, as audiences are pleased to see “animals” roam in and out of the scenes.

The set designed by Tom Bilese consists primarily of white sheets attached to long wooden poles, which are transformed from ship sails to Grecian pillars within seconds. Additionally, the blank backgrounds of the sheets allow for shadowing effects, which were especially effective in the memorable Cyclops scene, where the one eyed giant appeared to “eat” an actor.

To help establish the setting in the numerous scene changes, Steven Smith’s light cues effectively provide warm, golden glows when the action shifts to the heavens, and icy blue hues when Odysseus travels to the underworld. Masks worn by the gods and traditional Grecian togas worn by commoners also help to distinguish between characters, as many actors take on multiple roles throughout the show.

The drama’s only weakness lies in the sound, which incorporates both pre-recorded effects and melodies. Though not used often, the voice-overs came through as fuzzy and unclear, and the songs in the background and during scene changes seemed out of place.

Overall, the show was an incredible success, vividly depicting the long adventure of Odysseus with a tongue-in-cheek approach that leaves audiences simultaneously laughing at and cheering on the ancient Greek hero.