Tracy Shaffer
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Memorable Night; Sweet & Lucky

sweet and lucky 2
Photo: Adams Visual Communications
To say that life is sweet and we are lucky is a sentiment reserved for the days spent looking backward. Rare are the moments spent fully present, when the experience and appreciation collide. This summer, in a 16,000 square feet warehouse in Denver’s RiNo neighborhood, a confluence of elements comes together to create a unique experience where life comes alive and the past is fully present. Presented by DCPA Off Center in collaboration with Third Rail Projects, Sweet & Lucky is a theatrical time ballet exploring the nature of love, memory and the objects that connect us to both. Lush, romantic, universal, metaphoric and delightful― there is magic happening here and you feel it.

Describing the event without giving too much away- not in plot spoilers, but careful not to interfere- is tricky for this is immersion theatre. Rather than the traditional sitting-in-the-dark-watching-actors-tell-the-story or the interactive style of Tony & Tina’s Wedding, Sweet & Lucky invites you into its world, takes your hand and guides you through it, while leaving space for the sound of your soul to fill the silence.

It is a story of love through decades and the moments that ultimately define us. My first venture into Sweet & Lucky took me on a deeply personal journey as touchstones of the central relationship reveal the heartaches, kisses, treasures and gratitude that make a life. Audience members are allowed to snoop around in the lovers’ psyches; reading letters, guessing outcomes, drinking in the ambiance a taste of the Sweet & Lucky cocktail created by Williams & Graham mixologist, Sean Kenyon.

Everyone starts together in the huge warehouse space, culled into smaller groups, and moved room-to-room as the twelve performer piece unfolds. Each room is its own environment, designed to evoke engagement through the senses with exquisite visuals, tasks, scents and “audio texture”, contributing to a deeply moving and dream-like evening, bearing witness to the core of the story and finding resonance in your own.

Given the opportunity to return, I took my son, August Witherspoon, curious to see how the evening would play in his open, twenty-two-year-old heart and compared notes over a cocktail in the post-show speakeasy. A few questions led us to the realization that we’d each tracked a different cast-

So we saw different actors playing the same story? I like that, and how you were left to fill in the blanks in what happened; we got different views of the same play. I love how as you’re taken from scene to scene, you start to notice trending objects; symbols and motifs become apparent the further along into the story you progress and wrap around again. Like how every sense is pleasantly utilized, from smelling the chamomile and lavender to the taste of the same herbs in the cocktail. I felt these things starting to have an effect on me― they were not only connecting the story together but they started connecting me to my own memories. You’re watching this story, putting together the pieces and becoming introspective into your own memories of loved ones. That’s never happened to me at the theatre. I realized how many memories I’ve made in my short time on this Earth, many of which I hadn’t thought of since the events themselves. It really makes you wonder what creates a memory, and how the more memories you make with someone, the closer you become with them. I guess that’s why they seem to never dissipate.

How true my son. We’re just spinning around on a rock amid the stars, without reason, making all the memories we can. Sweet.

SWEET & LUCKY is produced by DCPA’s Off Center, a commission of Brooklyn-based Third Rail Projects. Running through August 7 (at which time it must close) tickets are limited, non-transferable, and available at 303.893.4100 or online at www.denvercenter.org

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Tracy Shaffer
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The Catamounts Bring Futura to Boulder

rsz_futura_photo_title_and_anne_only_[44058093]When Boulder theater artist, Amanda Berg Wilson returned to Denver from a decade long explore of Chicago what she found here was a lot of great theater. What she craved, was great theater with a Chi-town influence. “There was so much being done in Chicago while I was there, so much of it was unlike anything I’d seen before; exciting voices from playwrights telling multi-disciplinary, non-realistic stories that were offbeat and very theatrical.” That was then. Now in its fifth season, Co-Founder/Artistic Director, Amanda Berg Wilson and the cadre of artists who constitute The Catamounts, continue to surprise and engage like no one else in Denver theater. Drawn to the non-linear tale, this “Theater for an Adventurous Palate” has built a repertoire of edgy experiences for a loyal Denver/Boulder audience that is welcoming of the group’s esoteric, contemporary focus. And they FEED you.
I sat down with some Catamounts and began a chat about the upcoming production of Jordan Harrison’s play, Futura, with a slight detour diving deep into the differences between experimental theatre and performance art and the evolution of the avant-garde movement. “The concept of pushing the boundaries of theatrical convention isn’t new, of course, it just keeps changing” says Amanda. “Where we fit into this as a company is that rather than looking for stories that alienate, we’re looking for stories with a point of entry, for narratives that refine and defy convention while engaging our audience.” So far, so good.
Futura is the season’s second full-length offering; a dystopian allegory written by Jordan Harrison, directed by company member Meridith Grundei. A 2015 Pulitzer Prize Finalist for his play Marjorie Prime, Harrison takes us to the not so distant future where the printed word is illegal. Harrison’s obsession with fonts led him to an exploration of the art of pen-to-paper and the extinction of the printed word in a digitized age where online libraries, e-readers and the rapidly shrinking newspaper industry are the polar ice caps of a font-fetishist’s nightmare. Melancholy for a pre-e world and the collateral damage of the Information Age is a now a font of inspiration for millennial writers. Playwright Annie Baker mourned the loss of film to digital in The Flick, and though Harrison is currently on the writing team for the Netflix series Orange is the New Black, his theatrical forays continue to pay off.
I ask Ms. Grundei, to tell me about Futura and a world where the printed word cannot be written or even read. “It takes place in 2021, so not that far off, when the written word is virtually dead. On her first day back on the job after her husband’s gone missing, a University professor launches into a passionate rant about history, relevance and importance typography and the detrimental effects of the techno world on the human brain. Then she gets kidnapped.”
We continue into the topics explored on the play’s dark side: the ominous Big Brother, capricious Wikipedia and manipulation of information controlled by a select few. “It’s interesting because rather than being a manipulative polemic, we ask at what cost? Futura is a brilliantly written and thought-provoking play about the physical loss of the written page, our privacy in this growing technological world, and the beauty and sadness around the loss of something so simple as an ink smudge.” Says the eloquent Ms. Grundei. “A life without texture” say I. The Catamounts Executive Producer, McPherson Horle, adds, “The largess of Jordan Harrison’s ideas about government intrusion and the power of the written word would be gift enough, but the humor, grace and humanity that pervade this piece are truly remarkable. This is a hopeful story about the importance of human connection, and the art that flows as a result.”
Now tell me about the FEED. Berg Wilson picks up, “FEED is a multi-course, seated dinner where each course pairs a dish, a drink, and a performance piece. All courses revolve around a central theme, and live music weaves the whole evening together.” Go on… “We choose a theme, FEED: Fire, FEED: Illuminate” says Horle. “Then we create a palate of handcrafted food and a specialty drink inspired by that theme. We encourage people to experience the chef’s pairings and the performance- dance, music, literature- each element enhances and compliments the other. It’s truly magical.” I ask MacPherson Horle how that came to be. “Well, first off, we’re foodies. Foodies with an MFA.”
Sounds good to me!

Futura opens April 2 at the Nomad Theater in Boulder and runs through the 16th. Click here for tickets, schedule and special performance events.

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Tracy Shaffer
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A Thanksgiving Tradition; passed on from playwright to playwright

Wreath
An autumn past, the glorious playwright James Still sent me an email with this Max Coots prayer/poem/chant. He has sent this to his circle for many years and I was quite moved to be included in this Thanksgiving tradition. And then there is the poem, so spectacular in truth and wit. I loved it so much I’ve adopted the tradition, sending you this a virtual whisper of thanks, as James calls it. I call it a poem for the table, a little salt and a bit of sugar. I hope you will share it, read it aloud (that’s just the best) or delete it if that pleases you.
If this is your first time receiving it we might have just met, or perhaps reconnected after many years. Perhaps you are a stranger, stumbling on it as a novice and to you I say welcome. If you remember it from seasons past, I hope you enjoy it once more and wrap yourself in the true feeling that comes with it. If you are one of the lucky ones, receiving this from me and my dear friend…you are twice blessed. May it fill your heart as the day does your belly.

Let us give thanks for a bounty of people:
For children who are our second planting.
And though they grow like weeds and the wind too soon blows them away,
May they forgive us our cultivation and remember fondly where their roots are.
Let us give thanks:
For generous friends, with hearts as big as hubbards and smiles as bright as their blossoms;
For feisty friends as tart as apples; for continuous friends, who, like scallions and cucumbers, keep reminding us we’ve had them.
For crotchety friends, as sour as rhubarb and as indestructible.
For handsome friends, who are as gorgeous as eggplants and as elegant as a row of corn, and the others, as plain as potatoes and so good for you.
For funny friends who are as silly as Brussels sprouts and as amusing as Jerusalem artichokes, and serious friends, as complex as cauliflowers and as intricate as onions.
For friends as unpretentious as cabbages, as subtle as summer squash, as persistent as parsley, as delightful as dill, as endless as zucchini, and who, like parsnips, can be counted on to see you throughout the winter.
For old friends, nodding like sunflowers in the evening-time and young friends coming on as fast as radishes.
For loving friends, who wind around us like tendrils and hold us, despite our blights, wilts, and witherings.
And finally, for those friends now gone, like gardens past that have been harvested, but who fed us in their times that we might have life thereafter; for all these we give thanks.

– Max Coots
1928-2009

Wishing you a warm and meaningful Thanksgiving

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Tracy Shaffer
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The Virgin and the Badass Bard

badass bardTheatre’s obsession with Shakespeare, coined ‘bardolotry’ by George Bernard Shaw, has always escaped me. While Voltaire called his work “an enormous dunghill”, my aversion to Sir Will is far less eloquent. Not knowing my First Folio from my “What ho Malvolio”, I’d quipped “I hate Shakespeare” in defense. “You don’t know what the hell he’s saying, he takes too long to say it and you know what’s going to happen in the end”. But truth is truth… it’s personal.
When I was a student at the Stella Adler Conservatory of Acting in New York City, I was enrolled in the requisite Shakespeare class. Our teacher heaped praise upon the European students, fawned over the Renaissance Faire maids as they flitted twixt texts, winked at the tinfoil swords and paper crowns, taking delight in our dalliances. He found the good in everyone’s work… everyone but mine. It seemed that no matter what scene I chose or how long I’d rehearsed it, I’d leap “Once more unto the breach” to a tragic ending. I can’t tell you how many times I rushed out of the building to hail a taxi and hide my tears, or how much it cost in cab fare to sob my way home to Tribeca, but it felt like a pound of flesh. As this wasn’t the case with my other acting teachers, I was left to assume at Shakespeare I sucketh.
Being Stratford-upon-Avon challenged, I’ve managed to work around my shortcoming and carve out decades of work on stage, in film and on television without ever trodding the boards for the Bard. Until now.
I was at Water World when the call came in. It was the Denver Center Theatre Company with the offer of a role in “Romeo & Juliet”. I snorted my slushy out my nose, choking back surprise along with terror. “Me?” I asked. “Are you sure?” They were, revealing I’d be playing Lady Montague. “Is that Romeo’s mom?” I asked, trying to recall the Franco Zeffirelli film I saw at the drive-in lo these many years ago. “It is.” came the reply. Hmmmn. The play is’t called “Romeo’s Mother” so I can probably pull it off, I figured. Some rhyming verse, a ruffed collar and losing my metaphorical maidenhead beside men in pumpkin pants made it too saucy to resist. “Why not?!” I blurted out before they could catch their mistake.
There must be a million things we’ve held ourselves back from over some misconception of our youth, Brussels sprouts for example. Schoolyard taunts and misspoken remarks of friends and lovers twist the view we see in the mirror. I’m sure my teacher had no idea the lasting effect his critique would have on me, but I made the choice to break up with Billy Bardy, didn’t I? Shakespeare, like the bitter cultivar, may be an acquired taste but so is the taste of freedom from all that crap. Maybe, in spite of the Mayans, life goes on, stretching itself out to give us the time to circle back to find the sweetness in what was sour and to savor it.
Sitting at the rehearsal table with a talented group working through the script I find myself thinking… This guy’s pretty good. This guy’s badass, even if I do know how it ends.

Romeo & Juliet runs January 25-February 24, 2013 at the Denver Center for the Performing Arts.

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Tracy Shaffer
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I Love You Google+

That’s the phrase my math-obsessed four-year-old used to say when playing the “I love you more” game. Of course, he was referencing the mathematical concept, googol. Excited by the infinite possibilities in the number 1+100 zeros, August’s love knew no bounds.
Lately I have been receiving more invitations for the new social platform, Google+, than I did invitations to 5 year-old’s birthday parties in my googol love days. So far I haven’t accepted any of them, I’m waiting for the party with the pony. Before I dive into another social ocean or launch into another learning curve, I want to know what I’m getting in to. If you’re feelin’ the love as well, you may want to check out the article I found explaining Google+ and how it differs (or not) from Facebook and Twitter. The segregation part may be a good thing, though I don’t really use the same tool on FB. When you express yourself as freely as I am wont to do, you know that not everybody needs to read every thought that pops into your head, no matter how brilliantly witty. A bit of discretion, please.
See you in the inner circle.

1. Circles
Google+ is based on a “circle” analogy, and this is where Google’s philosophy on sharing differs from Facebook. As stated in the interactive demo, “Circles makes it easy to put your friends from Saturday night in one circle, your parents in another, and your boss in a circle by himself — just like real life.” [LW: See “list” in Facebook]
Unlike Facebook, where a user broadcasts updates to a large audience, Google+ allows a user to break their “friends” into subgroups. These groups can be family, friends, co-workers, etc. This allows for very targeted conversations.

2. Stream
The Google+ Stream is very similar to the standard timeline you’ve come to expect. However, your Circles are displayed, enabling a user to select and view a Stream for that particular circle. This is actually a very nice feature. [LW: you can do this in Facebook, and I use it a lot, but it’s cumbersome]
You can also update your status here and you are not bound by the 140-character limit of Twitter. Some users may love this — personally, I’ve grown to appreciate that number. Adding photos, videos and location is super easy, but there are some missing elements, including an accessible RSS feed. It will be interesting to see Google expand this module.

3. Hangouts
Hangouts is a video chat module that allows for group videoconferencing. As you may know, Facebook recently partnered with Skype to bring video chat to Facebook, and TechCunch wrote an in-depth article, “Facebook Video Chat vs. Google Hangouts: It’s No Contest,” which covers these features in detail.
Essentially, Facebook supports one-on-one video conversations and Hangouts allows group chats. In fact, up to 10 people are supported. I tested this module and quickly discovered that performance and quality are greatly enhanced with a high-speed Internet connection. This is an intriguing feature that could have a ton of potential for remote team meetings. {LW: would clients like this if you send them a list of homes to consider – feels more like a face to face discussion even when it isn’t?]

4. Sparks
Sparks is another useful feature. Just enter a topic, click “search,” and articles from across the Web regarding that topic are streamed into the Sparks module. Topics are automatically saved and can be accessed at any time. You can be specific in creating Sparks. I was surprised at the different results displayed for “real estate marketing” and other industry-related terms.

5. Privacy
As with all social networking services, configuring your privacy settings in Google+ is imperative. To access your privacy settings, click the “gear” icon at the top right, select “settings,” followed by “profile” and “privacy.” Here you can customize everything from notifications to visibility.
Although Google is focused on the consumer experience, they announced via YouTube that they are developing plans for a business experience on Google+ that will be released later this year.

It is certainly too early to predict if consumers will adapt to Google+. Is it a Facebook and Twitter “killer”? I doubt it.

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Tracy Shaffer
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Telluride Playwrights Fest: Notes from the Inside, too.

I wrote about day one on Wednesday afternoon, a piece for Telluride Inside and Out, Later that evening we had the festival’s first PlaySlam at the Steaming Bean. Visiting playwrights and Tellu-writers read excerpts from their works and it was great to see everyone come together to hear such compelling work. The pieces were funny and moving, varied in style and tone, consistent in quality. In my three years at this festival, this has to be one of my favorite evenings. Most of the time I’m squirreled away in my luxury condo, banging out new pages, the only community interface is at dinners, mixers, fund-raisers and the like. It was really gratifying to see, hear and share.
The coolest thing was when my son, Gabe, a wizened twelve-year-old, came up to me after a reading and said, “Mom, did you hear that one?” (I had not, having briefly stepped outside) “It was all about this woman, right?, who had a friend with this disease called ALS…” and he launched into a detailed recount of the story. I was amazed at the power of words and the images they etch in our hearts and minds. Especially this young one.
Today was the company hike to Bear Creek Falls… for me it was the hike through rewrites, just as stimulating, just as exhausting, though I’m certain not as breath-taking. With the boys on a trip to Mesa Verde and a ride on the Silverton/Durango Railroad, I’ve got an open window to focus on the script for Sunday night’s staged reading. Off to hear what my brilliant cast does with these new pages!

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Tracy Shaffer
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“American in Hiding” comes to Telluride

American in Hiding, a bracing new play by Tracy Shaffer, will be presented as part of the 2011 Telluride Playwrights Festival “American in Hiding”, says Shaffer “is the story of an America family, taking refuge with friends in Amsterdam after Thom slips on the soapbox of his professorial profession. Unable to contain his ego, he sets himself up in Dam Square, ranting the hypocrisies of his homeland and how far she’s come from the Utopian dreams of her Founding Fathers, without realizing that his actions dictate a risky future.”
This year marks a departure for the Festival. Rather than soliciting submissions from a national pool of writers, Festival Director, Jennie Franks shifts her focus to ‘growing local’, nurturing the talents of Rocky Mountain writers and dipping into the Denver talent pool for her lead actors. TPF will mix it up a bit this year: Ms Shaffer’s script receives a week of rehearsals & revisions with a public staged reading at week’s end with audience feedback. Acclaimed playwrights, Judy GeBauer, Ellen K Graham and Gary Leon Hill (who joins after a week at the Seven Devils Playwrights Conference) work their scripts in open workshop (public welcome), salon readings and read excerpts in the evening Play Slam at the Steaming Bean. The Telluride Playwrights Festival will become a producing/presenting entity this season as it brings a fully staged production of William Missouri Downs’ “Forgiving John Lennon” into town from the University of Wyoming where Downs is a professor. Telluride Playwrights Festival takes place July 12-18.
Telluride Inside writer, Susan Viebrock, described it this way.

The Telluride Playwright Festival operates like grow dome for fruits and veggies: brand new plays are watered and tended in a safe environment. After they grow and flourish, they are sent out into the world to be enjoyed. Larimore’s “Out of Askja” is one of a number of fine plays that were transplanted from Telluride to fertile soil around the country. Tracy Shaffer’s (W)Hole, also a Playwright Festival alum from 2008, received raves from The Denver Post critic and other rags when it was produced this past fall at Denver’s Paragon Theatre. Next spring, James Still’s play “Love Me Some Amnesia,” one of Playwright Festival’s picks for a 2010 staged reading is scheduled to be produced in Chicago at the American Blues Theatre. And so on.

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Tracy Shaffer
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How Many Writers Does it Take to Write a Play?

One. But he really has to want to share.

For the past seven days, ten writers from around the country and within the Telluride community have been hunkered down at the Sheridan Opera House or gathered in Jennie Franks’ living room for a post-supper salon and informal reading. The event is the Telluride Playwrights Festival, a glorious blend of featured playwrights and theatre professionals existing in a fluid blend of rehearsal, response, reflection and rewrites with the goal of making good scripts better. Now in its fourth year, Ms. Franks has made impressive strides, attracting extraordinary talented writers, garnering support of the community and providing an experience unlike any other. As we lean into our public readings, tonight James McLindon’s DEAD AND BURIED and tomorrow’s offering LOVE ME SOME AMNESIA by James Still, I asked our two Jameses about this Telluride experience:

“I find the Telluride Playwrights Festival unique in that it’s such a small, intimate group of artists working together on these plays. Here, you have an opportunity to get to know everyone and to build relationships and trust. These are essential ingredients for any playwright seeking the constructive criticism necessary to take his or her play to the next level. I’ve also been impressed by the intelligence, artistry, kindness and generosity of the people Jennie Franks has gathered, and the result is, I think, a much better script that will performed Monday night than the one I arrived with last Thursday,” James McLindon told me over cocktails at the TPF funder at the Onyx in the Capella Telluride.
My personal experience two years ago was much like what I learned from listening to James Still. “Unlike a typical one-day reading/workshop… Being given the gift of immersing yourself in your play for 10 days is like finding yourself in a waking dream. The dream is the play you’ve written and are most often rewriting. There’s a tension for me in the fact that the writer’s creative life is a strange combination of the ‘private’ and the ‘public’. Unlike novelists who spend almost all of their writing lives alone (and then later go on book tours and readings in which they interact with their readers), a playwright spends a lot of time alone with his play, and then suddenly finds himself spending time with a big bunch of people and his play. It’s in that moment that the play becomes something else, something more. And that’s what’s happened to me this week in Telluride… I’ve spent time around a table with actors and other TPF members listening to LOVE ME SOME AMNESIA being read aloud, asking it questions, poking it, prodding it, begging it, threatening it, loving it, being mystified by it… And after several days of that, I took the play and retreated back to myself for a couple of days, shutting myself up in the condo where I’m staying and going back to that original relationship: just me and my play. It’s kind of like that moment when you’ve had house guests and you stand on the front porch and wave goodbye, watching them back out of the driveway. You go back inside the house and it’s… quiet. And different. So I’ve been back inside the quiet house that is also my play and is also not so quiet anymore. And I’ve cleaned up some messes, changed some wall colors, rearranged some of the furniture, and even discovered a few rooms I didn’t know were there! Rewriting. Tomorrow I’ll throw the doors open and invite people back in… more time around the table with actors where we’ll read the newest draft, more changes overnight, and then the reading on Tuesday. Private to public to private and back to public. It’s this writer’s life.”

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