Here Rests the Muse, There Rises the Muse

“The formation of a diaspora could be articulated as the quintessential journey into becoming; a process marked by incessant regoupings, recreations, and reiteration.”

--Okwui Enwezor

It's been nearly seven years since I left the Coastal Empire, but certain events call for dusting off old habits.  And if something warrants a commentary from an erstwhile Savannah dramaturg (but still your Friendly Neighborhood Dramaturg), it is the closure of the venue at 703D Louisville Rd. (recently Muse Arts, but also Indigo, Little Theatre of Savannah, Cardinal Rep, and the Savannah Actor's Theatre).  It was quite the run.

Why do I bother to comment, given that my life has long ago moved on and I've not set foot there in so many years?  Allow me to draw an analogy with the death of a beloved celebrity.  Though they are not a part of one's everyday existence, and you often go long periods without really thinking about them, there is a certain amount of solace in the fact that you know they are out there, somewhere, doing their thing.  And so, I find myself facing the closure of the Muse with a feeling similar to that I had at the deaths of David Bowie and Prince.  Something good has shuffled off this mortal coil, and the world is a bit poorer for it.

However, I take solace in the children of the Muse, what I have long called the Savannah diaspora.  In Los Angeles and New York, Cleveland, San Francisco, Washington DC, and Atlanta, artists who honed their skills on the floor of the Freight Station are now creating great work.  They are teaching the next generation of artists, producing thought-provoking work, and stimulating audiences in a variety of media.  This is exciting, and it is laudable.  The memory of what was lives within us, and this is a loss which we rightfully mourn.  But rejoice, for this is not the end, and the spirit of Muse can be found from coast to coast.

At the heart of things, either waiting in the wings, treading the boards, or perched in the box office, was the lady of the Muse, JinHi.  Buckets of ink could be spilled in her praises, and rightfully so.  There is little of substance my poor words can add to highlight this fierce, beautiful, loving soul.  I can only offer a somewhat pathetic anecdote.

Roughly a week ago, I was changing the photo of my niece and nephews that hangs in my office at Kent State University.  As I did so, I looked around at the show posters, photos of productions, etc.  I realized that I did not have a photo of JinHi, and I felt the poorer for it.  Make of that what you will.

Exit, Stage Left

Esteemed Readers:

As many of you most likely know by now, your editor has wandered off from the confines of Savannah to accept a job teaching in North Carolina. As such, I fear I wont be much service to The Savannah Dramaturgy. I will not be taking this blog down, and if there is a brave soul in the Savannah community who is interested in taking it over, I'd love to hear from you.

For those of you who are specifically interested in my writing particularly, I will be continuing my blogging at the Friendly Neighborhood Dramaturg. There's not much to show at the moment, as I am just getting it set up, but eventually it will be running with the same steam as the Dramaturgy.

To indulge myself, allow me a few goodbye notes. Savannah is a great town, and it was an excellent, frustrating experience living there. As a fairly large city with a small town mentality, there is the potential for a sustainable community of working artists... if only it can be harnessed. There is one major force standing in the way, and that is fragmentation.

One perfect example of this is the splintering of the Savannah orchestra. Before the split, it was capable of paying a decent, part-time wage to its musicians. Now, there are two entities dipping out of the same pot and both are forced to scrabble. I'm not saying there need to be fewer production companies, but there needs to be some cooperation. The market simply isn't big enough for a complete dog-eat-dog showdown in sustainability. Jim Morekis, over at the Connect touched on an example of this when he pointed out that there were long dearths of activity punctuated by sudden bursts where there was far too much to do. If the theatre community could work together, cooperate... or at least talk to one another as opposed to crouching in their enclaves... and then reach out to the wider community, you might stand a chance of creating the rising tide the lifts all ships.

It was an honour to serve as your self-appointed voice and gadfly for the past couple of years. Living in Savannah is similar to living in a novel by Joyce, though it pained me to leave... I had to follow the work. I hope to hear from you over at the Friendly Neighborhood Dramaturg. Good luck, bless you all.

Eric S. Kildow, Editor
The Savannah Dramaturgy (2008-2010)

Audition Notice: THE DIVA DAUGHTERS DUPREE

Ladies and Gentlemen,

I apologize for a recent dearth in coverage on the part of the Dramaturgy, as I have been quite busy with things recently. However, in order to try and continue serving the Savannah Theatrical community, we would like to post this audition notice and encourage interested parties to come on out.

-----
THE DIVA DAUGHTERS DUPREE AUDITIONS
By Kim Euell
Directed by John Houchin

WHEN: November 2, 2010,7-10pm
Where: City of Savannah Cultural Arts Theatre (9 W. Henry Street)

The Diva Daughters Dupree tells the story of three African American sisters who struggle with cultural assimilation, consumerism and race. The three sisters Billie (a successful financial adviser), Sarah (a college history professor) and Abbey (a college drop-out and free spirit) all aspire to the “American dream.” Playwright Kim Euell questions what they are willing to forfeit to have it all: Hairstyle? Dialect? Political views? Cultural identity?

Casting requirements:
Billie (40’s);
Sarah (30’s);
Abbey (20’s);
Zak, Billie’s white husband (40’s);
Uri, Bbbey’s Israeli husband (20’s);
Spencer, Sarah’s African American boyfriend (30’s).

The diva Daughters Dupree will be presented as a staged reading December 8 and 9, 2010.

Tell Your Story

While idly watching Youtube videos, combing through the brain-rot and kitten videos, I came across this little gem from Harlan County Kentucky.



Once again, to refer back to another video on The Savannah Dramaturgy, never underestimate the power of schmucks (meaning dreamers, for those who did not catch the Clurman video).

These people, faced with potentially crippling social problems like drug addiction, didn't throw up their hands. They turned to a force as old as humanity itself, the arts.

For those who view the theatre, or other arts for that matter, as a "frill" or "unnecessary," this may seem an isolated incident. But the artistic impulse, to do something for aesthetic value, or simply to tell a story, is the first thing that began to draw humans together into communities, real communities, aside from the survival instinct.

Community, based in the idea to commune or share. What are you sharing?

Open House: City Lights Theatre

Some things simply get better with age. Wine, houses, and, rarely but occasionally, plays.

This would appear to be the case with Open House, City Lights Theatre's reopening foray onto the boards. First staged some years ago at the Lucas, Savannah Morning News critic Will Dean noted the script to be masterfully constructed yet let down by shoddy acting. A bit of time and a bit of care has seen to that, at the very least.

The sprawling comedy, written by City Lights' Artistic Director Jim Holt, details the process of trying to sell the most ideal house ever imaginable. With a cast of 21, one can easily lose track of plotlines and stories. Also, with the wide array of concerns, pratfalls, schticks, and conflicts, none seems to come strongly enough to the for to vie for the title of theme. However, though it might creak in places, the script is a fundamentally sound comedy that manages to drag the community to the forefront. With thinly veiled references to Savannah neighborhoods, and completely unveil jabs at certain local figures, it has a style and feel that is uniquely "Savannah."

The characters are, by and large, broadly (and kindly) painted by Holt and generally well served by their actors. Grace Diaz Tootle, reprising her turn as Karen, a rocket-fueled steamroller of a real-estate agent, demonstrates once again her strength and vindicates her nod in the Connect: Savannah's "Best of" awards in acting. Bailey Davidson, as fornicating college professor turned junior realtor Mark, strikes a bewildered but capable everyman while Johnny Walgate takes the concept of camp to heights even Sir Elton John never considered possible as Robbie. Les Taylor (Bill), and Terri Palanca (Martha) are a joy to watch, with Ms. Palanca reminding one of a slightly less insane, though no less homicidal in the long run, Kathy Bates from Misery. The ensemble works well together, for the most part, at creating a unified illusion, which, considering the sheer number of people, is an accomplishment in and of itself. If Suzanne K. Milton is tuned to the key of F sharp as the depressed and suicidal Kelly while the rest are in G major, it is a relatively minor fault.

To echo Will Dean, the production is akin to touring a massive new home, but this is certainly a mixed bag. When finding a walk-in closet one forgot was in the Master Bedroom, one is pleasantly surprised. Forgetting that one of the toilets runs, as there are so many to keep track of, is far less pleasant when the water bill arrives. Though certain moments may seem incomprehensible, a Dancer (ably performed by Jody Chapin) only visible to certain people, and joggers (Renee DeRossett and Kim Trammell) prancing through with dog poop like something out of Desire Caught by the Tail, and certain characters get lost in the shuffle, forcing resolution to their storyline to feel somewhat capped on, there are far more closets than toilets on offer here.

Plus, one of Savannah's most celebrated companies has returned to the boards, and that's worth having to jiggle the handle on occasion.

By Jim Holt; directed by Jim Holt; A City Lights Theatre Production. At the S.P.A.C.E., 9 West Henry Street, Savannah; (912) 507-4112. September 10,11,17,18.

WITH: Bailey Davidson (Mark), Renee DeRossett (Jogger #1), Kim Trammell (Jogger #2), Les Taylor (Bill), Terri Palanca (Martha), Bradley Mullins (Thug), Cassidy Jane Tootle (Thugette), Suzanne K. Milton (Kelly), Corbett Coleman (Tom), Bonnie Rae Terrell (Gwen), Donald Jarvis (Glen), Alison Greer-Chodkiewicz (Jean), Lavon Youins (Chrome), Kareem McMichael (Alexander), Grace Diaz Tootle (Karen), Dia Frazer (Alicia), John Meyer (Charles) Johnny Walgate (Robbie), Louis Clausi (Arnie), Jim Holt (Doug), Jody Chapin (Dancer).

Going Traditional

So, dear readers, your editor here at The Savannah Dramaturgy is going to take a moment to make a shameless plug.

I now have a book out, and many of the editorial thoughts and musings put out over time have been distilled in it.

Atlanta Dispatch

Recently, when taking my fiance to Atlanta to begin her stint with the Atlanta Shakespeare Company, I was afforded the opportunity and balmy weather to wander around downtown Atlanta for a few hours. Turning from Peachtree Street, onto Peachtree Lane, then strolling down Peachtree Court, and then up along Peachtree Road, I stopped by two of our young capitol's two theatrical landmarks. The first being the Woodruff Arts Center (Housing the Alliance Theatre), and the Historic Fox Theatre.

These two landmarks had one very remarkable thing in common on this pleasant August afternoon, they both boasted a small string of protesters outside their gates.

The Woodruff's protesters were not, more's the pity, particularly concerned with the Alliance Theatre's disconcerting habit of casting their shows out of New York nor with their NY-centric playwriting program. Instead, they appealed to issues of gender equality, claiming that the Woodruff refuses to hire female security guards. While I cannot speak for the existence (or lack thereof) of this practice, I can say that it seems mildly ridiculous if it actually does exist. Firstly, there is the fact that every female guard I have ever faced at passport control has been twice as frightening as the male guards I have faced. For the second, we must reach back to a spottier time in American history, to the West and its notorious brothels. The common practice, should a gunslinger get out of sorts with his lady, was to send the madam as opposed to a bouncer. Quite simply, it just worked better, according to sources.

However, and bearing more directly on issues dramatical, is the protest outside of the Fox theatre. According to protestors, the board of Atlanta Landmarks (which operates the Fox) is looking to evict Joe Patten, the 83 year old former Technical director of the Fox and founder of Atlanta Landmarks, from his Fox Theatre apartment. Upon a glance at the Atlanta Journal Constitution, the issue is slightly more complex. Articles outlining the full situation can be found here and here. An Associated Press article with a title stating that the "Phantom of the Fox" (which is a great nickname, and Savannah needs people living in its theatres) could remain in his apartment was published by the San Francisco Examiner this morning.

It is not our purpose here in The Savannah Dramaturgy to register much in the way of opinion on this subject. A flyer handed out by protesters claims that Mr. Patten is being evicted because the theatre board claims they need the space for "improvements." According to various sources, the board has not yet made this claim, but instead voiced concerns about the octogenarian's health. Instead, we would like to draw your attention to the outpouring of concern to be found.

On some level, this man (and the theatre he saved) has engaged with the community in a meaningful way to the point that they care (beyond his immediate family and close friends) precisely where he lives and what goes on in the theatre. Though it is little more than a touring house, it is somehow a part of the popular imagination. In all honesty, there are a number of theatres in Savannah (possibly a majority) that would simply not be missed should they shut their doors. So again the question comes about: How to engage?