(no subject)

I should mention.

( A young man from a family I know died last week. Cut for potentially triggering. )

So if anyone wants to say prayer for Branden Samorajski and his family -- they'd appreciate it, I think.

Breakfast-time endeavor

. . . There's a new gold rush on, apparently?

Right. Who wants to open up a brothel/bar with me?

Mm, yeah, that's all I have to say at the moment. Show goes up today, and I'm busy calling on Thespis and Dionysus and Ganesh and every other god of theatre and things going well to send us some Fucking Magic.

I feel like House -- partly 'cause I'm vaguely convinced that the people around me are idiots, but mostly because somehow I've bruised my right thigh, and my right knee's been bothering me for a while. I don't quite limp, but ow.

Having a cane would be kinda fun, anyway.

(Man, House is totally on my list of possible Halloween costumes. The other top contenders are some incarnation of the Doctor, and Rosie the Riveter.)

Writerly thoughts

Realization, re Pandora:

It's incomplete. That's part of the problem. It's okay if each half currently has a distinct beginning, middle, and climax, because really they're two ten-minute plays with a through character.

Greek tragedies come in threes, not twos.

The problem now is what the third play is. The through characters thus far have been Epimetheus and the Chorus, but I'm pretty certain the third part can't be Adelphaki. Adelphaki is a totally different story, thematically -- it's about family, and Pandora is about knowledge.

Prometheus is a prominent presence in the second half of Pandora, though he never appears onstage. Perhaps the third part needs to be about him again -- his rescue by Hercules? But that's not his story, that's Hercules'; knowledge is passed on, but the only people who really care about it are Hercules and Zeus. Anyway, I'm resistant to focusing on Prometheus after his punishment, in this work. Aeschylus already did that. Maybe someday I'll rewrite The Prometheia -- but that's not what this project is about.

The other obvious story that follows chronologically from Prometheus->Pandora is the Flood, and Deucalion and Pyrrha. I admit to a certain attraction to Pyrrha, but only because her name starts with a P, and that'd be a nice sort of consistency, or something. I'm just not sure what there is to be said about her and her story; she survives the deluge because, depending on the story, Prometheus told Deucalion how to survive, or because she and Deucalion had never insulted Zeus and he spared them; she throws some rocks and is a progenitor of the human race, like her uncle. I suppose I might be able to make a story of preserving knowledge, but I'm not . . . compelled.

(Tangentially: newredshoes, have you ever Millicanoned anything about Prometheus in re: Deucalion?)

There's an option, I suppose, of taking a several-generation-leap to the story of Dionysus and talking about theatre and knowledge. I'm writing this for a distinctly academic setting, after all. (Hence the jokes that are only going to make people who think like me laugh -- the visual pun of Prometheus offering an apple to a snake, f'r instance. Did anyone get that, or am I the only person who thought it was funny? >.>;)

Hm. When I get home this summer, I anticipate spending a lot of time with my D'Aulaire's rewriting this and editing Adelphaki.

(no subject)

So the show went . . . well, it went. varadia and phoenixchilde are probably in a better position to say how it was (because they came to see it! <3); I was up in the booth with the light cues I had written into my script five minutes beforehand doing my best impression of Maria at 7:00.

Yeah. Lines were dropped all over the place; occasionally they were put in where'd they hadn't been for days before; props were used for the first time ever -- oh. And the witches were green. Fucking green. It was like Wicked meets Shakespeare.

But it all came together. The fights looked good, and there were some really nice moments. Fucking Magic, man. And most importantly, it's done now.

Oh, after the show, Rico -- the Playground coordinator -- went "You're a dramaturg? You should be a stage manager!" That was kinda cool. And the cast all thanked me profusely for all my hard work.

Yeah, I'm definitely in this for the adoration.

And then I got to hang out with Lynne and Pho! And there were waffle fries, and coffee and chai, and much discussion of who's the meanest to their pups.

I'm exhausted -- and bruised -- from hauling platforms and dividers and running around the building finding extension cords for the band, and I was gonna go sleep at 8:30, but there are people in the room, so I can't. :(