Operation: Gods: Humans: Folly
On October 11th 2018, a god complex will never surfeit in an indulgence of poetic lesson as I will have done in learning gratitude when I debut in the role of Ra as the Egyptian Sun God in The Gods Are Not Happy by Sharmon J. Hilfinger under the direction & design of Giulio Cesare Perrone in collaboration with Inferno Theatre Company & BootStrap Theater Foundation at The Brooklyn Preserve in Oakland, Ca. Running till the 28th of this month, Thursdays through Saturdays at 8pm; and 7pm on Sundays, I cannot begin to describe how the synchrony of fundamental elements like time & space; & fate; & destiny, the little of them I dare claim to witness in my life, have come together with abandon in this specific show. And how I feel dangerously indebted to, and therefore personally receive, each and every blessing with monumental care. Not unlike a surgeon would, I imagine, with nerves. Of steel.
When Truth breathes, History resonates.
Coincidentally, my forced metaphor notwithstanding, Earth is on the 'operating table' in this play as ancient gods from all corners of the world come together as her primary (or perhaps primordial) physicians to heal her current threateningly-fatal ailment; and that which Ra decries as: "the folly of human beings." Will they succeed?
In exactly a month, I have a deadline I look forward to meet for which tomorrow launches the lifeline I must brave with abandon. God willing and I follow through, this blurb will not have been in vain. See you in 30 suns.
Time, Work, Vision
I'm happy to report that I'm working on something I've been meaning to attend to since the idea first popped in my head. God willing I'll finish it soon enough to share.
If I utilize my time as efficiently, fearlessly, & fiercely as I intend on doing then I will have succeeded even if it happens to not be share-worthy.
I have faith the more specific my discipline, the sharper my clarity of Vision.
Although I did not meet the deadline, I am happy to report my efforts were not in vain. I have launched myself on to an amazing journey I intend to stay on no matter what. I hope these two blurbs will serve me as markers first and touchstones thereafter.
Portia Out of Context
In The Merchant of Venice, I am of the opinion that the only protagonist Shakespeare gives us is... the audience, because there are none. Every major character in this play is essentially a villain. Or suffers from what I'd like to call 'Specific Blindness' that allows them to see the world in a way that justifies only their biased perception. To root for one of them is to root for our own blind biases. To not root for anyone is to confront who we are.
Nevertheless, Portia's monologue to Lord Bassanio after he chooses the right casket resonates with me deeply. I hear it outside of the play in a way that diametrically opposes my heart-set opinion.
So, I thought I'd attempt to explore it. Hence, this video.
Closing Night of AYLI
In a few hours, I will assume the role of Jacques from As You Like It one last time with Silicon Valley Shakespeare in Willow Street Park and I'm starting to feel Jacques' melancholy in a real way; a melancholy nowhere nearly as existential yet perhaps as profound.
No one likes to move-on, especially when it's from something good. Because something better is never guaranteed. However, I suspect the real challenge is not in moving-on to something better but rather moving better. Deeper.
Therefore, as tonight comes to a close, I hope to be deeply mindful of the sunset on this beautiful wonder of a production so I can, without judgement or impatience, allow the fire of my plans for autumn to rise with the coming Fall.
For, although this may be the last time I play Jacques, I already know that the emotional parallels I have found will keep resonating with me long after tonight like timeless echoes in the valleys of my heart.