Dec 20, 2016

Sale on eBooks until Dec. 30


My two theatre works I BROUGHT HOME A CHUPACABRA and DINOSAUR AND ROBOT STOP A TRAIN are available for the reduced price of $1.99 each (normally $2.99) until the end of December. Own and read my twisted little stage works. Get one or both for your Kindle today!

I BROUGHT HOME A CHUPACABRA... here

DINOSAUR AND ROBOT STOP A TRAIN... here


Dec 5, 2016

A Very Nouveau Holiday 2016

For the last three years I have participated in Nouveau 47 Theatre's annual collection of short seasonal plays called A Very Nouveau Holiday. I'm pleased that once again a play of mine has been accepted.

Here's a blurb about the evening as a whole.

The production is made up of eight short plays about the holidays. As in previous years, the plays are from local, Texas playwrights and every one is a new work! The plays cover a wide range of topics, from send ups of popular holiday images (what if snow globe figures could talk?) to somber pieces that express how the holidays can make us question what we believe.

My piece this year is called CRANDALL ON PLANET X-16. It is set on an alien world as we join a group of galactic troopers mid-invasion. One of them is having a debilitating case of homesickness at the worse possible time. Directed by Chris McCleary.

CRANDALL ON PLANET X-16 in rehearsal
Here's the details:

Nouveau 47 presents A Very Nouveau Holiday 2016, playing December 9th-23rd, 2016. Playwrights include: Justin Locklear, Jim Kuenzer, Erin Burdette, James Burnside, Bill Otstott, Brad McEntire, Greg Silva, Christopher Soden and Chris-James Cognetta. Playing at the historic Margo Jones Theater in the Magnolia Lounge at Fair Park (1121 1st Ave. Dallas, TX). Performances are at 8:15pm on Fridays, 5:00 on Saturdays, 6:30pm on Sunday with pay-what-you-can performances on Mondays at 8:15pm. Tickets are $20 Fri.-Sat. and $15 on Sundays. More details can be found at Facebook.com/N47Theatre.




Nov 23, 2016

I am acting again

DREAMING ELECTRIC a tthe Ochre House

I was in a play. It was called DREAMING ELECTRIC. I played a rather fictionalized version of the real-life inventor/businessman George Westinghouse.

It has been nearly a decade since I was solely an actor in a production outside of my own projects.

The play was a drawing room dramedy about the inventor, Nikola Tesla. He throws a birthday party for himself and invites some friends over to unveil his most recent invention, wireless technology. His friends arrive, but so do some of his fiercest competitors such as Thomas Edison and J. P. Morgan.

DREAMING ELECTRIC was written and directed by Kevin Grammer. I had never worked at the Ochre House before and hadn't seen a production there in ages (the last thing I saw was UMLAUF'S BICYCLE, their weird, barely-coherent mash-up of the Marx Brothers and the Myth of Icarus, back in 2010).


I was surprised when I arrived at the first rehearsal that the script was not finished. In fact, we "rehearsed" every weeknight for two weeks by sitting around a table and reading through the play-in-progress. We'd read it out loud twice each night, incorporating rewrites and the few added pages. It was "finished" about a week before we opened and we put the play on its feet and added the tech over the course of about six rehearsals. This seemed incredibly ineffecient to me, but, hey, I was just a hired gun on this one. Not my place to mess with the process. I did not criticize or complain. I went along with it.

The play hit a decent stride about a week after opening. Reviews were positive, the production team was happy and audiences seemed to dig it.

The experience was ultimately very rewarding for me because of the people involved. I've always enjoyed Justin Locklear (who played Tesla) as a performer and as a person and I was grateful he thought of me for the play. I never audition for stuff anymore because 1.) very few things appeal to me as an artist and 2.) plays take a lot of time and energy, so I might as well do my own stuff. The rest of the actors were also really nice folks and decent to really good performers. And even though I didn't quite dig Kevin's methods of writing and directing, he proved to be a really nice guy as well.

The thing wrapped up November 19th. 

Nov 22, 2016

Problem Solvers of the World


I had a screenwriting teacher one time call artists "The Problem Solvers of the World." Seems about right. And means the work of artists is needed more than ever in the world right now...

Please subscribe to my YouTube channel at http://www.youtube.com/dribblefunk



Oct 23, 2016

Just Say Thanks After the Show



Theatre people, particularly actors, are not always great at taking compliments/feedback/criticism/etc. from audience members after a performance. In the lobby, post-show, one can find actors making excuses, leaning into a compliments, becoming defensive or pleading for a second chance. These are not a great responses. I have found the best policy is just to say "thank you," and then, you know, live your life. 

A little stream-of-conscious talk in the local park. Got a tiny mic. Trying to minimize the sound of wind...

Please subscribe to my YouTube channel at http://www.youtube.com/dribblefunk



Sep 10, 2016

Off the Grind...


I have retreated a bit from the grind. The grind is what I call the ever-present need to keep getting work in front of people, to keep my name out there, to try to move the ball that is my career further down the field ( a very crowded, continually difficult, and perpetually younger field).

I am now nearly a year into my 40s and my wife and I are expecting our first kiddo this coming winter. I feel a change in my perspective, a shifting in my outlook and ambitions. I look back on the last 25 years of making theatre and realize I have accomplished some of the things that I really wanted, some things I thought I really wanted and a lot of just wheel-spinning achievements that ultimately didn't really move me very far in the direction I wanted to go.

And part of that dilemma is that I never really settled on what direction I actually wanted to go.

Starting out I just wanted to do. I wanted to make stuff, particularly theatre, of any kind, as most young artists do. Then, after some time, I wanted to see what I could pull off. I pushed hard against the limits of myself. The trick wasn't to do something of super high quality or of super high originality, but just to do it. To actually pull it off.

As I began to develop an original voice and explore different directions my artistic bent would take me, I leaned towards things I began to wear as badges of identity... solo performance, weird plays with kitsch factors, long-form improv.

Since the new year, I have produced two projects. I co-wrote (with my friend Jeff), designed, directed and produced a full-length play called NIGHT OF THE TARANTUBEARS. It ran for two weekends, had a great cast of actors that I genuinely enjoyed working with, was reviewed by one media source (positively) and was seen by very few people. It will probably not go anywhere. The other project this past June was the 3rd Annual Dallas Solo Fest. I brought in eight solo performers from around the country showcasing a variety of different kinds of one-person shows. It was marginally successful. Some shows kicked ass, some not so much. It had a solid opening weekend and then a pretty over-looked second weekend. It lost money. I will do it again next year... mostly out of spite. I refuse to end the DSF on a note of semi-failure.

As far as the amount of activity I have turned out, on average, year after year for the last two decades, this past year has been paltry. Paultry in the extreme.

I have one 90% finished play I wrote last year that was commissioned by a local theatre. I pulled it after the first few production meetings. It was too big for the organization, which was partly my fault for not keeping the scope of the organization in mind and partly their fault for not having their shit together. I don't know quite what to do with the play (except, you know, fine tune it and do some readings somewhere). I think about producing it myself for my small company Audacity, but I fear another world-premiere being overlooked again (i.e. in playwriting circles this means "wasted").

This summer I completed two other plays. I attended a writing retreat and worked up a full-length reboot of the first play I ever wrote, a one-act from 1996 called ARSENIC & ROSES (this new version doesn't have a name yet). It, too, is about 90% complete. Again, I'm not sure what to do with it. The other play is a ten-minute piece for a collection of holiday shows a tiny theatre group does every year. I've had a piece presented in it for the last three years. It is a fun, easy, low-stakes thing. There's a chance it won't be selected this year, but I hope it is.

I have two ideas that I will develop into works for the stage percolating in my brain. One a solo piece and the other a contemporary full-length tragedy. The tragedy has the potential to be part of the New Play Circuit, since it will tackle race, class, and other social-economic things that theatres seem to salivate over nowadays. It might be great or it might be crap. If it is great, it may put me on the map, or it might just be another in a long line of things I create that make absolutely no impact on the larger cultural landscape. 

This raises the question: do I want to be part of the larger cultural landscape? I have been playing the "maverick theatre artist" so long, I can't even see the cultural mainstream any longer. I can't see why it is valuable, why I should go after it. 

The thing is, I can't see any growth on the indie level any longer. I have practically self-exiled myself away from the bigger game. I have the chops now and the knowledge of my craft, but I'm tired of making things that make no ripples. But without getting in the game at all, I'm just that guy who "used to do stuff." 

I'll just be on the sidelines, with all my chops and knowledge, not even using it.

I wish I knew what other theatres artists did, particularly playwrights. How and why they decided to enter the arena of American Theatre. Was that the goal, or was it a stepping stone to ultimately being a show runner for television? How'd they get an agent? How'd they get into residencies? Did they all go to Yale or Brown or Columbia? Did they all do the route of South Coast Rep, Playwrights Horizons, New Dramtists and so on? If so, how'd they get on that route?

Most of all, I'd wanna ask them, was it fulfilling? Did adding plays to the world, even if they are done Off-Broadway, Regionally or even on Broadway itself (they still do that, right?), did it give them the feeling that they were actually making a difference?

I can't tell anymore.

So, I'm taking this time to reflect, to settle under myself, to reformulate what I want to do in the theatre. What direction do I want to go? 

I can't stay where I am.

I'm sure I'll get restless again. I'll get that itch to create, to get out there. I'll jump back into the grind. Until then, Imma just gonna try to figure some stuff out...


Sep 1, 2016

Sundown's 5th Annual Drunken Mixed Tape


Two years ago, Sundown presented my extremely short work LIZARD BOY EATS A DORITO. This year, they are doing a sort of "Best of..." and LIZARD BOY was chosen.

Here's the details:

SUNDOWN COLLABORATIVE THEATRE PRESENTS…
“WE ALL (STILL) MAKE MISTAKES, THE B SIDES: A DRUNKEN MIXTAPE
SUNDOWN’S 5TH ANNUAL(ISH) SHORT WORKS FESTIVAL”
SEPTEMBER 9-11, 16-18, 23-25, 30- OCTOBER 2 @ 8PM

GREEN SPACE ARTS COLLECTIVE
529 MALONE
DENTON, TX 76201

We All (Still) Make Mistakes, The B Sides: A Drunken Mixtape features a variety of stellar acts ranging from the scripted and linear to the devised and absurd. This year’s festival explores how some of our biggest mistakes may inspire breakthroughs both personally and artistically.

In a new festival format, each night of performances will feature a different line-up of acts. 12 nights, 14 works, 1 festival!

Tickets are $12 general admission, $10 students/seniors.
Side B Special: Bring your program back to an additional performance and receive $8 admission.

To reserve tickets or pay in advance, call 940-220-9302 or email boxoffice@sundowntheatre.org.

info@sundowntheatre.org
http://www.sundowntheatre.org/



Aug 31, 2016

Bike Soccer Jamboree Episode 52 - YouTube Tricks



In Episode 52 of the Bike Soccer Jamboree Podcast I explain how  and why I shot this YouTube video. If you want a behind-the-scenes breakdown, give it a listen... HERE




Aug 30, 2016

Kathy George Indie Artist Residency

An ambience conducive to creativity
A few weeks back (August 12-19), I served as the first theatre-artist-in-residence at the Kathy George Indie Artist Residency in Ashford, Washington. Sponsored by Seattle's Minion Productions, this week-long retreat offered me a chance to get away from my regular routine and concentrate on my writing in the isolated and idyllic setting of Ashford, Washington, right next to Mount Rainier National Park.

Grant Knutson of Minion Productions offered me a great cabin. Tucked a bit off an access road in dense woods, it was a perfect place to focus. Just me, alone, with the work that needed to be done. I went up specifically to finish a full-length play. The play in question is a reboot of the first play I ever wrote, Arsenic & Roses.

I wrote the one-act Arsenic & Roses in 1996 while I was in college studying acting. It had its first production at the College of Santa Fe in the tiny Weckesser Studio black box. I directed it myself. Over the years the play has been presented a number of times. With every production I tweaked it and tried to make it better.

As the 20 year mark approached (geez, I've been writing plays now for 20 years!), I wanted to stop fiddling with Arsenic and Roses. But I was not happy with it. Like most early works, it falls so far short of the current work I do. So, I figured I'd just rewrite the thing. From scratch.




Sitting down in the tiny A-frame cabin the first full day I was there was so difficult. After staring at the void for nearly forty minutes, I gradually began to put words to page, then to keyboard and screen. I wrote the first few pages and then let the piece take me forward. Everyday, I would tally the page count. Some days I only created 7 pages. On one particulalrly prolific day during the week, I completed 15 pages.

I would alternate two roughly two or three hour work sessions each day with walks outdoors, or the occassional cigar on the deck out front. It was really kinda nice once I settled into a routine.


Afternoon walk
The goal wasn't perfection, only completion. And it worked. After a full week, I had a 62 page, full-length reboot.  

This was the first arts residency/retreat I have been a part of. It was hugely beneficial. Much gratitude to Grant at Minion. I will be taking a second pass at the first draft I completed at the cabin later in the month and then begin the arduous task of play development readings and workshops, submissions and then eventual productions. I will rename this new version of the play (I just don't know what yet).



Aug 23, 2016

Bike Soccer Jamboree Episode 51 - Work Habits


In Episode 51 of the completely unnecessary podcast Bike Soccer Jamboree, Jeff Hernandez and I discuss living the creative life. We go over productivity routines, doing a few big, important things vs. lots of small projects and, most of all, how to maneuver daily life to get shit done.

Oh, and the glory of $0.17 spiral notebooks.
Here’s an excerpt:

I’ve really started to see through things I consider bullshit. For myself, I have to consider, am I doing this so-called ‘creative work’ for real or am I just bandaging over my feelings, trying to feel creative, by doing something easy and short-handy? So I can tell myself I’m a creative person? What I’m saying is, you have to chisel out the time to do the important stuff. It has to be important enough to you to make you want to do it. You don’t makeyourself do it, you just are organically gonna do it.

I don't always give a shout out to the BSJ podcasts, but this one is totally worth a listen... HERE.






Jul 31, 2016

Camp Cooking Backyard Test



For the last few days I've had a hankering to go camping. Two things: 1.) I don't have a bunch of money to sink on buying gear and 2.) it is too hot here in Texas to actually go camp out for a while.

To remedy the first, I am frugally gathering equipment, some of it DIY. For the weather, I'll just have to wait until the wort of the summer dies down.

Here's me testing a Mainstay "Grease Pot" I got from Walmart for under $7. It should work out pretty well considering I won't be using it too terribly often.

Watch more of my videos at: http://youtube.com/dribblefunk


Jul 27, 2016

New place to get work done


Found a great little coffee shop in my neighborhood. Good place to get some work done. # WritersLife



Jul 26, 2016

My Home in Dallas


Two years ago, I left this comment on a post by Will Power in regards to his article on HowlRound. He had recently moved to Dallas with his family so he could be the Artist-in-residence at the Dallas Theater Center. I have tweaked it a bit and reposted it here. It sums up what I set out to do and why I chose Dallas to do it in...

#   #   #

Will, great post! You know, I'm operating on the fringe-size/indie side of things and I discovered the same thing about Dallas (which was a surprising revelation because I grew up around here).
I lived and worked in NYC. And I have visited Chicago for long stints at a time. When I finally committed to a career as a theatre-maker and turned my attention to specializing in my own idiosyncratic stage creations, I considered moving a bunch of different places: Minneapolis, Seattle or joining the bulk of my playwriting colleagues who have nestled in Brooklyn. 
Then I started thinking about what I actually wanted to do.
I had some concrete aims:
I wanted to create theatre where it didn't cost an arm and leg. Simple things like getting rehearsal space or building sets didn't have to be logistical nightmares. I'll admit, 24 hour places like Walmart, Kinko's and CVS are handy when you are producing theatre. So is having mega hardware stores like Lowe's nearby. After trying to move a couch across several boroughs in NYC one time for a play I realized I liked having space and easy transportation (heck yeah to harnessing the power of a pick-up truck for theatre!). These are all practical considerations of the actual "making" process that I took for granted until I went to other big cities around the country. I have lived in New York, but also in London and Hong Kong. Making theatre in these cities was difficult.
I didn't want to spend a fortune just to maintain a sustenance-level lifestyle. Dallas is comparatively inexpensive and the standard of living is super high. I have rented those four bedroom houses you talked about, complete with huge backyards and plenty of space, central air and heat, etc. for less than the amount I used to spend to sublet a *room* back in NYC. With space comes a surprising level of freedom (for rehearsals, meetings, thinking, building, etc.)
I wanted to travel. My wife casually pointed out on a map one time that Dallas is centered literally in the middle of the entire country. With a giant international airport here and no aversion to driving places (hell, it takes more than 12 hours to drive across the state... so pretty much anywhere in the midwest or south seems pretty close by Texas standards) Dallas makes a great "homebase." I consider the whole country my "field of operation" and keep coming back to Dallas as my welcoming HQ. From here I've taken pieces to festivals and venues all over North America.
Lastly, I didn't realize southern hospitality was an actual thing until I went other places. Dallas is a welcoming place. The arts patrons here are curious, sophisticated and actually pretty open-minded. Dallas, like Austin, is a little dash of blue in a mostly red state, politically. I like that. It is a good mix. I'm not saying there is more audience than other places, just that most of the time, the audiences here in Dallas are pretty engaged and smart. 
I'm producing my first large arts festival - the Dallas Solo Fest - at the historic Margo Jones Theatre in Fair Park later this month and I have solo performers coming in from all over the country. As the lead up to the fest is underway, it has been a pleasure to begin to show off Dallas to them. I'm hoping they leave with a good impression of the place and community here.
Anyway, great write-up, Will. Glad you and your fam are here. Glad you have experienced the positive side of Dallas for a working theatre artist.

#   #   #

I am about to move into a new chapter in my theatre career, with a new focus. But I am still gonna be here around Dallas. It is still my home and my artistic HQ.


Jul 12, 2016

Book Report: The Compound Effect


I have been reading a lot lately. I read year round, but sometimes, I devour book after book because I'm in search of ideas. These times come when I am in a period of reinvention. This happens about every five years or so, which is pretty understandable. How many five year segments does a person get in life? Maybe ten or so after one is all out of formal schooling. 

Ten years ago, I started getting really into improv. Before that I was a gigging actor and sketch comedy guy. Five years back I drifted into solo performance big time. One thing kind of leads to another. I don't reinvent the wheel, I just pick a variation on a larger path (as a theatre artist who specializes in narratives) and see how far I can go. I'm not a hundred percent sure what is coming next, but I know I'm restless for new horizons. 

One of the books that I've picked up recently has been Darren Hardy's THE COMPOUND EFFECT.

I had never heard of Darren Hardy before. Apparently, he's a motivational dude comparable to Tony Robbins. He shows up in his own book preseting himself as quite a big deal, which was initially a bit of a put-off, but once I got past that, I found he has a lot of worthwhile things to say. 

The book doesn't break new ground, but the benefit of it is putting all the common sense stuff we need to hear, but often forget, all in one place.


  • Track everything.
  • There's no substitute for hard work.
  • Cut out distractions.
  • Figure out why you are doing what you are doing
  • Small, incremental changes add up over time.
  • Don't quite, keep going.


So, nothing groundbreaking. But Hardy puts all these things together in such a simple, accessible way. 

The things that I took away from the book have really stuck with me and I have started applying them directly to my life. For instance, Hardy reiterates that little seemingly inconsequential decisions really do either add to one's life or take away from it. 

For instance, he uses the example of three friends. One starts eating slightly less (like 125 calories less) per day by doing small things such as having one less soda or switching mustard in place of mayo on his sandwiches. A second friend doesn't make any change in his diet at all. A third friend puts a bit more luxury into his life. He puts a bigger screen television in his house and fixed himself cocktails in the evenings. After a few months, there was no noticeable difference between the friends. But after 30 months, the three friends had very different outcomes. The first guy had lost 20-something pounds. The second fiend didn't change at all. The third friend was 20-something pounds heavier. Just from the small, seemingly irrelevant actions, the compound effect yields drastically different results in the long-run.

Hardy goes on to point out, if friend one and three had stopped their actions after a short time, they would have seen very little effect. The big change happens in the long term. So, keep going. The take-away is to keep going.

I totally fall into the trap of instant gratification from time to time. I have been known to throw up my hands when I don't see results. Ultimately, I have never gotten that far in those areas where I expect a lot of apparent results in a short time. 

I have decided to switch my basic belief system in regards to this. If I have faith that the compound effect will work, that given enough time and pressure things are bound to change regardless of short-term noticeable evidence. 

The last big take-away for me is Hardy's insistence on direction over goals. Setting a goal and mechanically heading toward it in perfect measured ways is really difficult to do. But knowing that you are heading in a general positive direction towards what you want is enough. All the benefit in the long-run but without the stress and pressure. Again, small, incredmental changes add up to seismic shifts. The compound effect in action.

Recommended. You'll need to be ready for this book, or in need of it, but it is jam-packed with useful stuff.



NOTE: See more books that have impacted me on my Book Shelf page.



Jun 24, 2016

My so called life on Bike Soccer Jamboree Episode 46


I co-host a podcast called Bike Soccer Jamboree. In the most recent episode my fellow co-host, Jeff, interviews me about my career and how I came up in the theatre. Give a listen. Link below.

Listen... HERE


Jun 4, 2016

Pretty Damn Important

Grant Knutson, Me and Mark Lowry of TheaterJones.com


I'm reposting this little snippet that showed up on TheaterJones.com the other day. It is probably the most supportive statement I've received in my home town to date. Much gratitude to Mark Lowry ay TheaterJones.com for the support and for seeing the big picture.


This marks the third year for Brad McEntire and his Audacity Theatre Lab to put together a two-week festival featuring eight solo performers from across DFW, Texas and the country, using his connections from years of traveling his own work to fringe festivals.
This event is becoming pretty damn important, one of the few theaters/events that can scooch Dallas into the national theater conversation—and let's be honest, although we have more of those opportunities than we did even five years ago, it's still not where it should be for a city and metropolitan area this large. With WaterTower Theatre's Out of the Loop Fringe Festival on hiatus next year (and its future hinging on leadership changes), and considering that the Festival of Independent Theatres is hyper-local, Dallas Solo Fest is our only theater festival connecting communities and performers around the country. And McEntire is doing it on the shoestringiest of budgets.
<soapbox>If you consider yourself a patron of local theater and you're not making some effort to support events like this (provided you have time in your schedule and money in the pocketbook), then you're helping Dallas/Fort Worth stay mired in the provincial.</soapbox>
Make tracks to Margo Jones Theatre this weekend and next, even in the rain, for something that's truly significant. Will you love everything you see? Probably not. But you will love or at least enjoy—and possibly learn—something. And that's what theater and arts festivals are all about.
» Here's a list of the interviews with the five performers who open their shows this weekend, in order of first performance. The link on each name goes to our interview with the performer:
»  Our special section for Dallas Solo Fest, which has schedules, info on workshops, interviews and reviews, and will be growing over the coming week.


Original post... HERE






May 27, 2016

Bike Soccer Jamboree Podcast Episode 43


So, yeah, I'm still making these along with the delightful Jeff Hernandez...

Listen... HERE



May 25, 2016

Actor Richard Mansfield and Jack the Ripper | Histrionic Kablooie



Nineteenth century actor-manager Richard Mansfield must have been some actor. In 1888 he was performing an adaptation of The Strange Case of Dr. Jekyll and Mr. Hyde. Some how, he had London audiences believing he might be the serial killer Jack the Ripper. A little historical anecdote about the power of acting...

Please subscribe to my YouTube channel at: http://www.youtube.com/user/DribbleFunk?sub_confirmation=1




May 16, 2016

Brad on the Little Big Scene Podast


The team at the Little Big Scene Podcast sat down with me and got a first-hand history of Audacity Theatre Lab and the upcoming Dallas Solo Festival at the Margo Jones Theatre in Deep Ellum. We talked about what it means to be an intentionally "small" theatre company in Dallas as well.

Here's the excerpt with me in it...





For the full episode go... HERE

Apr 29, 2016

Brad Goes to the 2015 Nanaimo Fringe Festival


August 2015 - I set out from Texas to British Columbia for the 2015 Nanaimo Fringe Festival. I took my one-person show CYRANO A-GO-GO. This is a behind-the-scenes look at one performer's first-time Canadian fringe festival experience.


LINKS:
Check out Adrew Wade's stuff at: http://andrewwade.ca/

Check out the Nanaimo Fringe at: http://nanfringe.blogspot.com/

Check out Minion Productions at:
http://www.minionproductions.org/

Please subscribe to my YouTube channel at http://www.youtube.com/user/DribbleFunk?sub_confirmation=1



.

Apr 13, 2016

Shakespeare the Player | Histrionic Kablooie



April 2016 marks the 400th anniversary of William Shakespeare's death (in 1616). In celebration of the Bard, I offer this li'l review on a bit of a lesser-known book on Shakespeare's life and art.

Check out the book mentioned... SHAKESPEARE THE PLAYER by John Southworth. Here's a link: http://tinyurl.com/h8tt5y4

Please subscribe to my YouTube channel at: http://youtube.com/dribblefunk



Apr 6, 2016

Post-Tarantubears Garage Organization



It took me longer to get things put away after Night of the Tarantubears than I had anticipated...


Mar 26, 2016

Why I Read

Back in 2009, I put a post on my old LiveJournal blog. It was titled "Why I Read." This is an updated version of that post...


I am currently reading Alain de Botton's excellent How Proust Can Change Your Life. It seems to be a wonderful primer on how to glean wisdom from reading literature. I am reminded while I make my way through it about why I read and what I have gotten out of my adventures with books up to this point in my life.

When I was very young in the world, I read for pleasure. I was that set-apart sort who snuck books into class and scoured over them instead of paying attention to the teachers’ instructions. At lunch I could often be found in the school library reading something or another.

As a youth I read the usual kinds of books that capture the imaginations of young boys. Sure there were comics and joke books and books that showed me how to draw cars and dinosaurs and superheroes, but there was a lot more. I remember touchstones in my literary education. I remember colorful tales of Kit Carson and Buffalo Bill Cody. I remember reading over Treasure Island for the first time. I remember those Time-Life Books about ancient cities and lost treasure. There were picture books about explorers, Roman centurians, pirates and astronauts. I remember finding Dracula for the first time with its epistolary structure and it bolstering my growing interest in letter writing. I remember Sherlock Holmes and Doyle’s excellent, but often overlooked The Lost World. I remember reading and being captivated by Robin Graham’s account of – as a teenager - sailing around the world alone...
Halfway through high school I had two reading experiences that held considerable weight in my literary growth. First, during one summer I read the complete decalogy of L. Ron Hubbard’s sci-fi epic Mission: Earth. I look back and realize I was the perfect age for the pulpy, sprawling adventure story. It took all summer to read the ten fat paperback books in the series and it was the first time I was aware of reading being a feat (admittedly, in hindsight, not a very impressive feat, but at the time it was an accomplishment).
Secondly, it was part way through high school that I discovered Edmund Rostand’s Cyrano de Bergerac. I picked it up at the public library and read it all the way through two times in a row during that one sitting. The swashbuckling story of love, language and loss ignited my adolescent mind as it had, doubtless, done to countless boys through the years. The play remained my favorite for years and to this day, I collect different translations of the piece for my private collection. More profoundly, it started an interest in stage plays that later evolved into a livelihood and, ultimately, a career (though the idea that I have a career, as the concept is usually understood, could certainly be argued).
In college I discovered Beckett, Hemingway, Melville and Shakespeare. I did my work-study in three places as an undergrad, each of which ended up aiding me in some way: the computer lab, the school newspaper and in the college library. In the library I frequently had to reshelf dozens of books off of rickety wooden rolling carts. The quiet and calm of the space as well as the ample opportunities to browse and thumb through different things I would not normally be drawn to widened the range of my literary appetite. I remember reading about Tesla, and Theodore Roosevelt and The Compass Players (the fore-runners of Chicago’s legendary Second City comedy troupe). It was at the end of college that I drifted from fiction and general interest and finally began reading with a goal in mind. I had grown out of the phase of reading for sheer joy, simply to stretch the imagination as I had done as a child, and turned to books to feed my spirit and better my person.
I began to “read well” as it is called. In the wanderlust years after my time as an undergraduate, I began to realize time was finite and there would be no time for consuming randomness or mediocrity. There simply wasn’t enough time to read all there was to read and so choices had to be made. I became more selective and read deeper. I turned to biographies as well as volumes on spiritualism, on history, and on sociology. I wasn’t just curious how the world worked in general, but how my immediate world worked. I began to read books concerning my own fields of study and my own specific interests. How did the theatre work? How does it now? How does society? How does our minds and economies and histories work?
My reading was no longer willy-nilly, but goal-oriented. It was still organic, one work leading to another to another, but with a distinct focus. It was in these more recent years that I picked up Walden for the first time and the works of Malcolm Gladwell. I consumed Brustein, Brook and Mamet’s essays on the theatre. Richard Florida’s Rise of the Creative Class and Mihaly Csikszentmihalyi’s studies on Creativity filled many engaging hours.
For someone who works so often in such a supposedly collaborative art form like the theatre, I disproportionally value seclusion and isolation. I like being alone and I love being alone with a good book. I value some of my reading experiences as among the happiest times of my life so far. I read literature and recognize the fictional characters to the parallel people in my own life. I gleam information in small nuggets of epiphany. I feel that divine sadness when a good book ends that same way I feel sorrow when saying goodbye to a friend who is departing and I won’t see again for a long while.
As time goes on I find more and more that reading is a very personal thing. Part of its charm is that it’s gains cannot be easily transferred. I am learning to keep my knowledge to myself. A good friend and I have a running gag about this. Every time he hears me mention The Blue Zones, he uses it as a cue to launch into complete and instantaneous derision. I realize he hasn't walked my path. He doesn't have my context. It is a joke between my friends and I that I must "discover" everything for myself. This seems to be true of everyone. My friend must read the book on his own. Not only that, but he must have read all the books that lead me to the book as well. And he won't and to some degree can't. My path to reading The Blue Zones is distinctly, and privately, my own.
I still read voraciously. I consume, when time and energy and daily life allow, up to three books a week. Now there is a search under it. I read nowadays not to escape, but to confront and explore. I read for the restorative and emboldening properties within the solitary activity. I read to discover. I read to augment the self.

[NOTE: If you are interested in the 30-someodd books that have had the most impact on me, visit the page on this site labelled Book Shelf]