Biting fleas, picking pecans, their voices
touched and words hung like crystals
glistening through the horizon line
dreaming the smell of wet earth
from Year of the Butterfly
(Click images below for links)
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I hadn’t been to a play at Delgado Community College in Mid City, New Orleans, since they opened the expansive Timothy K. Baker Theatre. Great venue! The show, Moliere’s Tartuffe, from the age of Louis XIV, was lavishly performed in period sets and costumes (set dir. James Means, costume design by Cecile Casey Covert and Shelby Lynn Marie Butera).
The set was gorgeous, with the possible down side of very limited set changes through the course of the play. Director Kris LaMorte did a great job blocking and managing at least 11 characters with speaking roles, and pulled the best from each actor, as each contributed with full personality to the scenes at hand. A few with smaller parts could have done a better job with vocal clarity, but this was hardly noticeable as the principal actors kept the rollicking comedy of hypocrisy and misdirection going. Orgon (Ryan J. Vidrine), Dorine (Gabriella DiMaria) and Tartuffe (Brian C. Rosenthal) were all excellent, but the showstopper in this production was the grand dame of the family, Madame Pernelle (Magnus McConnell). McConnell’s part was not large, but from costume and makeup to the magnificent vocal delivery of aristocratic affectation to her command of the stage, she left the strongest imprint.
Bravo to the whole crew at Delgago, who have proven once again that a solid community college theater department, with passion and joie de vivre, can stage productions every bit as good as those at big league (and better funded) universities.
(Images from Delgado Community College website and Facebook page)
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(Click image for links)
Goodbye, Maggie (160 pages), which was short-listed in the William Faulkner — Wisdom Competition, is scheduled for January 2020 release. If anyone would consider giving an honest advance review, query email@example.com and I’ll send typeset pdf (and notify you when a Kindle copy is listed for free after release).
Summary: In a culture of health food stores, gurus, quacks and seekers, a young man’s stagnant life goes topsy-turvy when his charismatic brother shows up with the news that he has murdered someone and asks for sanctuary.
For the opening page, click here.
For an excerpt from late in the novel (“Phil’s next surprise”), see below …
Phil is shaky, fresh from the bed and weak. Gus supports him. The priest walks away, past the cracked headstones toward the moss-laden oaks and cypress trees at the perimeter of the cemetery. Perhaps his concern for all souls has brought him here but his better judgment has him scurrying away before anything pagan breaks out.
The voodoo priestess stands and speaks.
“Close your eyes and feel, feel this city of the dead come to life to help our sister cross over. The city of the dead is come to life and we are but its shadows.”
Gus whispers to Phil: “This is definitely not like my aunt’s funeral in New York. The cities of the dead here feel like they might really come to life.”
A raspy, middle-aged woman’s voice hammers down from behind.
“What you mean, ‘might come to life’? You must be blind as a bat. Look around you and what do you see? Flesh and blood and spirit mixing and churning.”
They turn and see Madame Peychaud.
“Damn fools,” she adds.
“Madame Peychaud?!” Phil exclaims.
“Where the hell did you come from?” asks Gus.
“Got a letter from poor little Maggie. She told me when and where to come. Always directing things, even from the city of the dead. She said y’all had the essential oils business all ready.”
Gus and Phil look at each other confused. The conversation continues as they walk out of the cemetery.
“Yeah,” Phil says. “Yeah, sure, we’re ready. I just, we don’t actually have the, have the oils.”
Phil hears his own voice echo off the cemetery’s iron gate. He is speaking to Madame Peychaud, looking at her. Perhaps he’d never seen her in a dress, never seen her exposed to the shoulder. And the echo – and what he sees – captivates him. For a second, he ponders in sheer curiosity, trying to remember where he had seen it before. He is still speaking to Madame Peychaud but he doesn’t know what he is saying. Where had he seen it before? And suddenly he knows. His mouth dries out. He knows where he saw it. The tiny image against the caramel skin of Madame Peychaud’s shoulder. But he is too frail from his ordeal. He drops.
Someone is being carried. Someone is carrying. A white man being carried. A black man carrying. Other characters populate the scene. They are going down a street. Phil feels that he is somewhere in the scene but he doesn’t know where. Is he the white man being carried? The black man doing the carrying? One or all of the others? Or is he the trees, the sun, the stucco facades, the atmosphere itself. He floats into the atmosphere. Up, up he floats, surveying the scene below – a black man carrying a white man with a huddle of people moving along with them down the street. He is on top of a cathedral. The mime is there, on top of the cathedral. The bells ring.
“Wake up, baby.” The voice is Madame Peychaud’s.
Phil is back in the fairy queen’s bedroom.
“Where are we?” Phil ventures. “Why are we …”
“Hush, baby. We don’t have to be out of this room just yet.”
Phil is still groggy. Everything seems symbolic.
We don’t have to be out of this room just yet.
He starts to dream again. He is back in the hollow, at the pond with Maggie. She is young and beautiful.
“Do you know about my parents?” she is saying.
Phil doesn’t answer. He is lying in the grass, feeling the sun, watching the leaves waver overhead, hearing the occasional “plip … plip” of a fish jumping in the pond.
“Once upon a time, I thought that he too betrayed a loved one.”
Strange, Phil thinks. This conversation. Viewing our lives with such calm. Feeling the truth of things, but from a distance. Detachment. Compassion. They only work together. That’s where he got it wrong. That’s where people get it wrong. They think detachment and compassion are opposites. No, they are brothers, sisters, twins, always together. They only work together. Unconditional love means never missing anyone. If you miss them, your love is tainted by attachment, interest, possessiveness. As long as you’re capable of missing someone your love is conditional. It’s like a veil was lifted for Phil. He is getting excited. And his excitement breaks the spell. He looks at Maggie but the scene is fading, dissolving. Someone is standing across the room. Someone with her back to Phil. She is rinsing out a small towel in the sink. He hears Madame Peychaud’s voice.
“This wild goose chase you been on the last few weeks, hunting around like that. It isn’t really about Hermia, is it?”
“No ma’am. It’s about Magnus.”
Did he really say that? No ma’am? Is he a child again? No, he is just disoriented. He gathers his thoughts.
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(Click image for links)