The Last Dog

June 23, 2008

Short Fiction/Part One

Ronnie claimed he learned to lie good from crime movies. “The best way, Andy,” he said, “is fast and furious with a straight face. Do it speedy so they believe you believe it.” He was perfect at it. When Ronnie said bats were just short fat snakes with wings, I bought it. Later, he got me again saying bats were night birds grownups don’t like ’cause they don’t sing. Yeah, Ronnie loved bats. He had stacks of bat books all over his bedroom. “I worship the god Zotzilaha,” he said, “human body and the head of a bat.” That was pure bullshit of course, but I let it roll off me like it would a duck’s back. I had to sleep in the same room with the jerk. See, Momma sent me to live with Ronnie’s mother, my half-sister Alice, while Momma ran off someplace else. And since she had kicked Daddy out—I didn’t know where he went, or why—I was sort of an orphan. Anyway, after supper Alice was mad about who knows what and made us come up to Ronnie’s room. He was on his bed with a book about zoos, Fred Waring music on the radio. I sat on the edge of the army cot Alice put in for me and used the seat of a wood chair to draw on, trying to make the picture I’d promised Ronnie. Now and then I heard snatches of Alice and her husband Ted come up from down stairs, all hollow and bent out of shape. Ronnie made out he didn’t hear his folks fighting and kept at me with, “Andy, you can’t fool an animal.” That statement was just to hear himself talk. I went on about my business. “Now you take Tarzan.” Right there Ronnie made a big pause for me to say something back, like I was fool enough to bite. He knew Tarzan was my all-time favorite, but I stayed quiet. “All the animals,” Ronnie said, “they love Tarzan. So you know he’s a good guy. A chimp like Cheetah, or an elephant—a man can’t bullshit ‘em.”

More talk from downstairs. “Yeah, and then what?” That was Alice, her voice soft, mostly mumbles.

“If Tarzan wasn’t a good guy,” Ronnie kept on, “animals wouldn’t rescue him from quicksand.”

“More gratitude!” Alice again, loud and sarcastic to beat the band. Ted said something back I couldn’t make out, then Alice said, “Easy for you, you don’t have to put up with—” something, something, “—or wash his stinky socks, or—” then she said something else I couldn’t make out, talking about me, I figured. Ted came back at Alice with something.

“Now, you take a baboon,” Ronnie said. “Big exception. Ain’t seen one yet gives a damn about any human.”

“Yeah, Ronnie, you’re the expert.” I said it just to be mean so a normal person would notice, but not him.

“My house always looks nice!” Alice again, hollering. Ted came right back at her, but real low—some stuff about money, I think.

Alice yelled, “Not if I can help it!”

“A baboon’ll screw his girlfriend in public,” Ronnie said. “Then he’ll throw shit-balls at you, then turn right around and play with his food. Then he’ll look you in the eye—no blinks—like he’s saying, ‘I’m having a good time!’” He laughed. “Man, baboons don’t give a damn!

Ted’s voice came upstairs strong but not loud. “Yeah, well, I’ll be here ’til the last dog dies.”

“Can’t have it both ways, Mr. Man,” Alice said.

“Gorillas are almost human.” Ronnie still ignored his momma and daddy. “Same family arrangements we got. Apes use eyesight for identification, like us. Four-legged animals, they use scent markers.”

“What?”

Ronnie tapped his book. “What it says. Apes tell different individuals by eyeball, not like a dog who looks for assholes to sniff.”

“Go ahead!” Alice hollered. “Get gone!”

“How long’s my leash?” That was Ted.

Then something slammed downstairs and Ronnie cut his eyes at the bedroom door, but he didn’t say a word, didn’t lift his head, just eyed that door like he had Superman’s x-ray vision. Then he went back to his animal book, quiet for a change.

Meanwhile, the naked fat people I was drawing for him, they were giving me stagger-fits. Some parts didn’t look right—legs, mostly. Pretty soon I got disgusted and tore the picture into five hundred pieces. More like five thousand pieces. Ronnie looked up, surprised. I just shrugged at him. “Didn’t look natural.”

Shit, Andy!”

“Lousy pose,” I said. “They just stood there all stiff.”

“You had ‘em holding hands!

At first I thought he was going to bust out crying. “I’ll start over, Ronnie. Make ‘em move. Maybe have ‘em dance around some kind of way.”

“Shit, shit, SHIT!

“You’ll get your picture before school starts tomorrow. I’ll come up with some kind of idea.”

Ronnie hollered “SHIT!” one more time.

Right there I got my idea, it popped into my brain like it was hiding in there the whole time and too shy to come out. The picture was going to be three fat women and two fat men, a whole bowling team, and ever one of them naked. The picture wasn’t just for Ronnie anymore, but more for my own sake. It was something I just had to try and see if I could draw it. But not right then. Right then I was tired, so I put the pencil down and pitched back on the cot. My eyes went out like one of those movies where the person’s in a daze. I saw pictures in behind my eyelids—balloons and clouds and Army trucks—big faces of girls came and went—voices, too—all of it in my brain somehow. At first I couldn’t tell who was talking, but pretty soon it came clear, like when you tune a radio around the dial. Those voices got to be my own Momma and Daddy somehow—and those sounds?—they were ghost sounds.

Did I mention that Ronnie was some kind of crazy and stupid at the same time? Like, he collected yo-yos and empty cigarette packs and special rings. He’d wear two rings on the same finger and change them every week, to show off. His main ring was the Green Hornet one that his daddy gave him when Ronnie was still tiny. It was Ted’s from when he was little, and it had a secret compartment for magic codes. Also, it glowed in the dark. You couldn’t get them no more. The Lone Ranger atom-bomb ring was Ronnie’s favorite that he sent away for off a corn flakes box. It cost him ten cents plus five box tops and he stole the money from Alice’s purse. I had Ronnie in my brain ‘way too much. See, he was this momma’s boy who couldn’t do any wrong and he knew it and took advantage of it. Meanwhile, Alice was my half-sister but old enough to be my momma and liked to remind me of it ever chance she got. Sometimes I’d tell lies on Ronnie to get back at the both of them, but Alice, she’d never bite. She’d just smile and shake her head and move on. What Ronnie got away with was no fair. Alice trusted Ronnie just because he was her precious son, without any sense to it, and him lying with every other breath.

When we were done our homework and such, Ronnie got his cigarette’s from under the mattress. Had them stuck up in the springs so Alice couldn’t find them. He brought the “Lucky Strike” pack to me cupped in his hands like it was pure gold. Right, like I never saw Luckies before. I just nodded. “Try one?” he asked. I shook my head. Ronnie went to the window and pushed it up as far as it would go. “C’mere,” he said. I didn’t move a muscle. Ronnie tapped the pack on his hand and a cigarette popped out. He tilted the table lamp on his night stand and reached up under it, undid the bottom and pulled out his Zippo. He held the lighter and cigarette up and smiled his evil smile. Then Ronnie motioned at me with both hands to come on, like Dracula in the movie where he meets the Wolf Man. Another dumb temptation. I shook my head again. “Don’t know what you’re missing, kid.” That last word was a sneer like I was pure pussy. Ronnie tossed the Luckie in the air and caught it in his mouth. He looked to see if I watched— which I did, couldn’t help myself. He flipped the Zippo lid and stuck sparks against the night sky out the window. The flame flared up yellow-orange five inches high, seemed like, and he had to come at it sideways or burn his face off. Ronnie pulled the first drag real big, then let part of the smoke come out and go up his nose. His tongue sucked the trail of smoke back in like a frog catching a fly, and his head jerked back with such pleasure I never saw before or since. He made a click-noise too, just like a frog. Beautiful. Ronnie kept at it—pulled big drags, inhaled, smiled. He blew the smoke out the window and watched me out the corner of his eye. He knew he had me hooked. After a while Ronnie said, “Andy, you seen any Alan Ladd movies?”

“Nope.” That was a lie. Alan Ladd wasn’t no favorite of mine—too sissified—but I did know his stuff.

“Best smoker there is,” Ronnie said. “Watch this.” He hit the Zippo with the back of his hand, which somehow flipped the lid and struck a spark to light it, all in one slick move. He smiled and closed the lid over the flame. “Alan Ladd,” he said. I kept quiet. “How about Dark City,” Ronnie said. “Seen that, with Lizabeth Scott?”

“Nope, ain’t seen it.”

“She’s good too, great smoker for a woman. Stupid mouth, but she’s special. The best smokers are movie stars and sluts.” Ronnie took another fancy drag on his Luckie and blew perfect smoke rings that floated out the window. The warm breeze bent and smeared them in with the dark. He flicked the cigarette outside. “See how I did that?” Ronnie smiled. “Pure Alan Ladd.”

He tapped another Luckie out of the pack and offered it to me. I felt how crinkly and stale it was, but when he went to light it I said, “Later,” and stuck it in my shirt pocket. There was a loud bang downstairs. The front door? A ghost? Whatever it was, the sound made me jump. Baby Elizabeth started to cry. Ted’s old dog barked. Ronnie kept quiet. Finally I said, “What was that?

“What was what?”

“You know damn well, Ronnie.” He just shrugged. Right. He knew it wasn’t Baby Elizabeth or the dog did that. Ronnie knew a noise that loud had to be Alice or Ted.

Part two of The Last Dog will post tomorrow.

Copyright © 2008 Jim Sizemore.


Today’s Gag

June 20, 2008

To purchase reprint and/or other rights for this cartoon, buy a framed print, or have it reproduced on T-shirts, mugs, aprons, etc., visit the CartoonStock website by clicking the sidebar link.

Copyright © 2008 Jim Sizemore.


The Adventures of Morton

June 18, 2008

Click the image for a larger view. To purchase reprint rights for this comic strip, buy a framed print, or have it reproduced on T-shirts, mugs, aprons, etc., visit the CartoonStock website by clicking the sidebar link. If you would like to own the original of any of my selection of more than 500 cartoons, contact me for information about price and availability. My email address is: jimscartoons@aol.com Copyright © 2008 Jim Sizemore.


Audrey’s House

June 16, 2008

Audrey Herman 1920—1999

When my friend Jacquie Roland read a recent “Today’s Pic” caption which mentioned the death of Audrey Herman, founder of Baltimore’s Spotlighter’s Theater (see May 26 post), she was inspired to write another of her epic comments. Of course I recognized Jacquie’s piece for what it was, a neat personal essay about her experiences as a community theater actress which—in addition to cartoonist, clown, painter, writer, etc.,—is another of Jacquie’s creative incarnations. Her memoir appears below, illustrated with several of my “Zorba” rehearsal images. In the photograph above, also taken at that production, I simply asked Audrey to “play to the light,” resulting in a wonderful “drama queen” pose. Behind her hand is a fragment of one of the wallpapered corner “poles” mentioned by Jacquie in her essay.

Having moved away from Baltimore a long time ago, I was unaware of Audrey Herman’s passing. People like Audrey, and John Waters’ “Edie the Egg Lady” and “Divine,” still represent Baltimore for me. Audrey kept her theater going through thick and thin, and sometimes—the thin times—there would be more actors on stage than out front. Once, we went on for an audience of three, but I also remember people doing the damnedest things to get in to see a show. During the “Zorba” production, for instance, an older Greek gentleman came to see the play who didn’t speak much English. Tom Karras, our director, and Greek himself, went out front to explain—in Greek—that we had no seats left. “Ahh,” the old fellow said, and nodded. He went away and in a few minutes he was back, all smiles, carrying one of those plastic and chrome kitchen chairs from the fifties. Tom placed the chair as close as he could to the stage without it being in the actors way, but for the rest of that performance we all had to “cheat”—that is, fudge our moves—around it.

Audrey was phenomenal as the older woman in “Zorba.” I remember another thing about her—the PERFUME. In the small Spotlighter’s theater we didn’t need to see her coming—her scent preceded her. One evening, when told that a newspaper reporter wanted a backstage interview with photos, Audrey said “sure Hon.” Without checking her hair, or adding more lipstick, she just splashed on more perfume.

The Spotlighter’s was a real theater with real actors who gave their all—and without pay. We had our stars, and some were as accomplished as any you’d find on Broadway, and sometimes as temperamental. Sharon Weaver rehearsing a song for the Spotlighter\'s production of \But if you had one of them in your show you knew you’d draw an audience for every performance. Joe Ciminio in “Zorba” or the “The Night of the Iguana,” his wife Audrey Ciminio in “The King and I,” Sharon Auerbach Weaver (pictured at right and below, rehearsing her featured song from Zorba) in any damned thing. More than a few went to bigger things in theater and film. Just three examples: Bess Armstrong worked in movies with actors like Alan Alda and Tom Selleck. Howard E. Rollins, Jr., starred in the films “Ragtime” and “A Soldier’s Story.” Josh Charles was in “Hair Spray,” “Dead Poets Society” and is currently working in a hit television show with Gabe Byrne. We always had two shows at a time at “Spots,” one in rehearsal and one running. The rehearsing show had the theater during the week and the latest production owned the weekend. Also on the weekend were auditions for upcoming shows (early afternoons only). Once or twice I was in a show, rehearsing for a show, and auditioning for another show—all in the same week. I also had a day job and worked as a freelance cartoonist on the side. For ten years I barely went home. When not rehearsing or performing, we all hung out in the local watering holes. A favorite spot in Baltimore’s Mount Vernon area was called “The Great American Melting Pot,” or “Gampy’s,” and we’d often share that space with local TV people. Like Oprah, for instance. During her years in Baltimore Oprah was a regular at Gampy’s after her evening TV weather spot. The casts of other shows would sometimes meet at the “Hippo,” a gay bar in Mount Vernon, or at a disco called “Girard’s,” which some claimed looked just like “Studio 54.” Once at Girard’s Oprah was a judge and I was her pick for the final costume parade. I was dressed as a naked transvestite dwarf wizard. (Don’t ask. Anyhow, I came in second.) Oprah even picked my music—”Da Ya Think I’m Sexy,” by Rod Stewart. Add to all that activity the cast parties, birthday, Christmas, Thanksgiving and Halloween parties, and dining in the Inner Harbor area of South Baltimore, it’s no wonder I got the idea the term “party animals” was coined for us.

When we weren’t hanging out, or visiting each others shows, we were cementing our relationships by attending everything theatrical that came to Baltimore (we had season tickets). Trips to New York to see the “pros” act, were somehow sandwiched in. When a Spotlighter’s show closed you felt as if some part of you was lost forever. And sometimes it was. We all performed at other theaters, but the “Spot’s” was home. We were like each others family. (Wait, a minute—did that make Audrey the MOM?!! That sexy lady of a certain age would have hated to think so.)

We say that Spotlighter’s is a theater “in the round.” That’s a misnomer. The stage is actually square, with square, weight-bearing pillars—we called them “poles”—at each corner. Those poles were an integral part of the theater not just because they held up the roof. We walked around them, stood beside them, made them part of the decor. They were wallpapered, sanded, painted and tiled. They were stained from years of actors grabbing them to keep from falling off the stage, and blood stained at times from actors tearing into them at full force during dark entrances and exits. In one play Joe Cimino ran into a pole during a fast exit but no one in the audience knew because the lights were out. When Joe burst through the curtains backstage, however, his face was covered in blood. He had a cut over his eyebrow, and it bled like a—well, let’s just say it bled a lot. But, as some dingbat once said, “the show must go on,” and it did.

Accidents happen, problems occur, but for whatever reason theater people seem more adaptable than most. They can also be more volatile. Joe Cimino, for instance. In “Zorba” he was one intense, focused actor—he WAS Zorba. For one scene in that production Tom Karras hired, out of his own pocket, a real belly dancer to tempt Joe’s character. She performed barefoot, and in the preceding scene, Zorba smashes an old style vinyl record. The prop record had been preset—carefully broken into three pieces—then glued back together. At the scene change I was one of two women singing to, and taunting Zorba. Part of our job was remove the three pieces of vinyl from the stage floor so the belly dancer could come on and safely do her moves. No problem, until one night Joe—so into the moment—smashes the record into not three but what seemed like a thousand pieces. We were in big trouble, with no way to clear the shards before the barefoot belly dancer’s cue. I turned to the other Zorba “taunter” and said, “whatever I do, go with it.” When our song began I twirled straight to Joe, grabbed him and suggestively slid down his front. I spent the rest of my impromptu and self-assigned, “star turn” singing and “tempting” and at the same time sweeping the entire stage with my glittery net gown. I rocked, rolled and writhed, and swept the shards off the apron. Tom didn’t know WHAT it was all about until he got backstage and the crew told him. (Until that point, he thought I had lost my mind.)

Once I saw a Broadway play starring Carol Channing and Christopher Reeve. Carol’s part made her out to be meticulous in her person and fanatically clean in her home. At some point, a piece of crumpled paper not in the script had fallen on the stage. Channing and Reeve spent the entire scene kicking it out of their way and walking around it, which only pulled focus and made the audience stare at it. Neither of them would “break character” long enough to get rid of the damned thing. They were too “professional.” Well, that ruined the play for me. At the Audery Herman’s Spotlighter’s, we’d have picked it up with our teeth, if need be. We’d have made Audrey “Mom” Herman proud.

Copyright © 2008 Jim Sizemore.


Bad Mickey

June 14, 2008

(Click images for a larger view.)

For fifteen years I presented a one-hour program called “Cartooning for Kids” at libraries and schools in the Maryland, Delaware, Pennsylvania and Virginia region. The target group for the “interactive demonstration,” as described in my promotional materials, was six to twelve year old children. During the same period, from 1991 through 2006, I also offered extended workshops (three to fifteen hours, depending) for older groups of elementary, middle and high school students. An exercise I employed at the start of each of the older group’s workshops, and one that I found to be very effective for getting them involved in the program quickly, was to ask what basic shapes Walt Disney began with when he drew Mickey Mouse? Not a tough pop quiz at all, nor was it intended to be. The kids always managed to reply to my question quickly, loudly and in unison with cries of, “circles!” At that point I would write the title: “Bad Mickey” in large cartoon letters on the chalkboard, or on my easel pad. The brief delay intrigued them, pulled them deeper into the program. Then I would go on to explain that we would use circles, too—sort of—to make our own version of the famous mouse, one that would give Walt nightmares if he were still alive. The one rule was this: We weren’t allowed to use “perfect” circles. Our circles—or ovals, or even shapes that wound up to be rectangles—had to be stretched, bent, bloated, blown up, squished, squashed, smeared—anything, as long as they were distorted in some way—and the more grotesquely the better. (Very early-on in my teaching career I discovered that kids bordering on—or in—the teen years, enjoy a bit of “edge” to their education.) These three sketchbook pages will give you an idea of the images that resulted when be began by using basic shapes that were themselves bent out of shape. The unique proportion shifting building blocks became the device to create the cartoons which helped us claim “Bad Mickey” as our very own.

Copyright © 2008 Jim Sizemore.

 


Today’s Gag

June 13, 2008

 

 

To purchase reprint and/or other rights for this cartoon, buy a framed print, or have it reproduced on T-shirts, mugs, aprons, etc., visit the CartoonStock website by clicking the sidebar link.

Copyright © 2008 Jim Sizemore.


The Adventures of Morton

June 11, 2008

Click the image for a larger view. To purchase reprint rights for this comic strip, buy a framed print, or have it reproduced on T-shirts, mugs, aprons, etc., visit the CartoonStock website by clicking the sidebar link. If you would like to own the original of any of my selection of more than 500 cartoons, contact me for information about price and availability. My email address is: jimscartoons@aol.com Copyright © 2008 Jim Sizemore.


Family, Friends, and Neighbors

June 9, 2008

September 16, 1982

This is a picture of my friend Jacquie Roland, on the right, in a scene from one of her many community theater acting gigs. (In this case the play was a Baltimore Playwright’s production of “The Gathered Rose,” by Kathleen Barber, another friend.) When I composed the image I was interested in the relationship between the two characters at this particular moment in the play when Nora Meyer, on the left, was dominate—if memory serves she was delivering a monologue—so I went for an angle that would visually represent the fact by foregrounding her in the frame. (Sometimes photos do lie—Jacquie was the star of the show and the two women were actually very nearly the same height.) On a personal note, Nora Meyer was a coworker of mine when I worked for the Social Security Administration and is referred to—but unnamed—in my “Bad Actors” essay, the fourth and final installment of which appears below this post. Nora, like my cousin Phyllis Jean, was the victim of a brutal murder committed by her husband. Copyright © 2008 Jim Sizemore.


BAD ACTORS

June 9, 2008

Final Part

My second and (so far) final attempt to get into the head of my cousin’s husband and killer, came in a play titled “Joe Pete,” which was staged in August, 1999, at Fell’s Point Corner Theater for the Baltimore Playwright’s Festival. The play’s title character is the same as he was in “Cecil Virginia, 1964″—a working man, inarticulate, violent, and someone we come to know (if not understand) through a web of conflicting stories, arguments and verbal games played out among his drinking buddies, and during interviews with a prison doctor. My goal with the new play was to use drama with darkly comedic shadings to deal directly with the killing, to move in on Joe Pete, force myself to examine his behavior in detail. And this time I promised myself there would be no off-stage climax.

The following lines are from a scene in a local bar the afternoon before Joe Pete kills Kitty. The tavern is a hangout for workers from the paper mill, and here we find Joe Pete’s coworkers, Ray and Byron, and Jack the bartender. Ray and Byron are waiting for Joe Pete to show up so they can make final plans for a hunting trip. We begin with a stage direction:

BYRON, thirsty, sips from his glass several times and then smacks the half-empty down on the table, splashing beer.

RAY (Pointing to the glass.): See there, I’m writing a song about that.

BYRON: My damn beer glass?

RAY: Not just the glass, no. It’s really about a guy drinking in a dim joint in the bright afternoon. Just sitting and drinking and talking. Maybe playing some pool. (Pause.) Bright sunlight outside, dim bar light inside. (Pause.) All stuff like that.

JACK: Yeah. Sure.

RAY (Defensive.): Well, I am. (Pause.) See how the light reflects off the glass, how pretty that is?—and look at that bottle! Ever see anything so—

BYRON (Overlapping.): What’s that song of yours called, Ray?

RAY (Mild pride.): “She Took My Love and Took Off.” (Pause.) But all I got so far is—

JACK (overlapping): Ha! Shiiiiiiiiiiiiii-IT!

JOE PETE enters.

BYRON (Overlapping, waving.): Hey, Joe Pete, old buddie!

JOE PETE (Ignoring BYRON, ranting.): That Todd is one sorry son-of-bitch! (Pause.) Sorriest son-of-a-bitch that ever lived!

RAY (Lightly.): What’d that bastard do this time?

JOE PETE (Dismissive.): Just his usual sorry-assed shit.

RAY (Remaining positive.): Todd get you straight day work yet like he said?

JOE PETE: Even if the man gets me off swing-shift he’s still a scheming, no-good sorry-son-of-a-bitch.

BYRON (Gently.): Word at the mill is Todd put you in for a raise and—

JOE PETE (Overlapping.): Look, if I get any of that it’s ‘cause I deserve it. (Pause.) Don’t have to kiss Todd’s ass for what’s rightly mine.

BYRON (Still trying to calm Joe Pete.): Well, Todd’s a fair man. He’s—

JOE PETE (Overlapping, ignoring BYRON.): Son-of-a-bitch calls me in his office. Says he’s talked to the big bosses. (Reciting.) “Told ‘em your situation, Joe Pete,” he says. “It’s up to you now,” he says. “Can’t protect you no more.” (Pause.): Ha! Who the fuck needs ‘im?

RAY: (Gentle.): He just wants to know what it is you’re after.

JOE PETE (Sarcastic.): Ain’t what I want. I don’t care. It’s what Kitty wants.

BYRON (Innocent.): I’m sure Todd knows what that is. I’m sure he—

JOE PETE (Overlapping, suspicious.): What’s that?

BYRON: I’m sure Todd has the best interests of you and Kitty at—

JOE PETE (Overlapping, cold.): How would that sorry-son-of-a-bitch know what my wife wants?

The scene goes on to establish Joe Pete’s insecurity at home and at work, his jealousy of Kitty—especially regarding Todd—and his free-floating rage at what he perceives as the unfairness of his life. During the years I was trying my hand at play writing (1983-1999) I discovered that if I had an overarching concept, a shape or theory—a conceit of some sort—it helped me to proceed without getting too stuck. Picasso said of painting, “You should have an idea of what you want to do, but it should be a vague idea.” I found that for me the same holds true with writing. My vague idea with Joe Pete the play was that the characters Joe Pete, Ray, and Byron each represent distinct stages in the evolution of the human male (primitive, transitional, evolved). In a sense, the characters grew from three parts of my own split self. But I soon realized that Ray was the more interesting character. He’s the good guy in that he matures during the course of the play and becomes a thoughtful, creative doubter who isn’t sure the old “manly” ways stand up too well, even while he’s still attracted to them. Ray is willing to change. He is confused (like me), but the confusion is expressed in positive ways, as a wannabe singer/songwriter, rather than in anger and rage.

Joe Pete was my third amateur production. Over the years an important lesson theater had taught me was that collaboration must include tact, something that doesn’t comes easily to me. I have had a long history of getting into scrapes (mostly verbal) with coworkers. (My mother liked to say that I was the only one of her four sons who was born with his foot in his mouth.) Even now, what tact I can muster has been worked at (rehearsed) over a long life. So when I noticed problems in the Joe Pete rehearsal process, I made a conscious effort to be gentle about getting them resolved. The one problem I found especially troubling was the lack of obvious positive development in the character of Ray. The following is, I think, a tactful note about the situation from me to my first-time director.

“I see Ray as a mixture of Joe Pete (lost soul/caveman) and Byron (older/evolved/sweet). Ray, at this age, is still more ‘Joe Pete’ than ‘Byron,’ but at least he’s headed in the right direction, evolving toward the gentler Byron model. Ray’s tough, but shows softer tendencies as well. I’m not sure I’ve captured this very well in the text. If you dig deeply enough in my words I think you’ll find places where—through gesture, expression, body language, reading emphasis and clever blocking—you can point up Ray’s humanity and his movement away from the ‘Joe Pete as lost soul’ model.

“One example comes when Ray talks about how his wife says their baby is afraid of him. We need to see real sadness in him over that. Another opportunity is Ray’s monologue about throwing their decorated Christmas tree across the room in a rage. He talks about it as sort of funny and sad—I think we may want to show him more sad than amused. There are other places in the script where we can emphasize Ray’s sweeter side. (I can point them out if you think it would help.) Finally, the actor playing Ray is doing a good job but I would like to see the portrayal come across as less consistently menacing, with more softness—and have this become stronger as the play proceeds. Let me know if I need to do some rewriting to help you to achieve this.”

Despite my best (evolved?) efforts, the critics had problems with Joe Pete’s meanness and were not always tactful in saying so. This review excerpt is from our local weekly newspaper, and, while fairly positive, you will note that it amounts to damning with faint praise. “‘A man with a rifle is as likely to use it on his wife as on a deer . . .’ (is) basically the attitude toward the male gender in Joe Pete. The titular character even says, ‘A man who ain’t tough with his woman just ain’t a man.’ . . . . the playwright’s knack for naturalistic banter proves to be a mixed blessing . . . . the mostly comic bull sessions are meant to incrementally build until the underlying tensions finally explode . . . Joe Pete has a strong theme and solid performances (but) some rewriting could whittle down the redundancies, make the characters more than the sum of a few defining masculine traits, and smooth the transitions.”

On the other hand, one Baltimore Playwrights’ Festival judge rated my play a 4.75 on a scale of 5.0 and said, “The Appalachian bar . . . could have been a camp in the Gulag for all my familiarity with it, but one point of art is to take an audience where they have never been or could never be. Joe Pete is a play that intends to show the milieu that produces a senseless murder: a male drinking world consumed with rage against women, with class resentment, and with the helplessness working men feel with an economic system that keeps them poor. The barroom is the classic American dramatic setting for revealing truths . . . where beer is consumed, the talk is aimless and circular, and posturing is elevated to performance art . . . (the playwright) balances the ugly, male swaggering with a rich vein of humor. The oddly catchy language was quoted widely on the sidewalk during intermission (‘available pussy’ seemed to be the favorite) . . . ”

The following partial review, from a local “arts” newspaper, is easily the least nuanced (read “negative”) of any the play received. “Certainly it is possible to write a good play that deals with male bonding and the veritas traditionally attributed to vino, but (the playwright) hasn’t managed to do it with Joe Pete . . . Don’t look for sensitivity; these are anything but sensitive New Age guys . . . While Joe Pete isn’t much of a play, there is redeeming social value in that it succeeds in raising our collective consciousness a bit.”

While writing Joe Pete my own consciousness was certainly elevated. I came to realize—was forced to face—that while I’ve made progress in my own evolution I still have the capacity to become instantly angry in certain contexts, mainly when I feel cornered, and especially when convinced I’ve been unfairly treated. The least perception of mean treatment and/or disrespect can still get a knee-jerk and potentially violent rise out of me. (The curse of the eternally insecure, I suppose.) In my adult life so far I’ve punched, slapped and/or kicked people on only a few occasions, but the fact I have done that at all is troubling, especially since each time it happened I also detected, very close to the surface, the icy desire for blood. With hindsight, I now believe that I made the character Ray too goody-goody, too evolved too soon; not knee-jerk enough. But Ray is still the character to whom I relate the most—not Joe Pete. Perhaps if I had the opportunity to rewrite Joe Pete the play (with a different title, of course) I’d somehow make Ray the focus since his growth represents the path to a higher plane of behavior toward which I’ve been blindly struggling myself these many years, albeit with less than perfect results.

In 1967, when I was thirty, I slapped my wife of seven years for accidentally seating our youngest son in a tub of very hot bath water. The incident was simple oversight on her part but my reaction was instantly violent—and in that moment I really wanted to kill her. Once I calmed down I must have realized that my behavior was symptomatic of a problem in me, not in her. Fearful of what I might do if tested again, and with the knowledge of a bunch of other problems in the marriage, I finally found the courage to leave. Over thirty years later, in 2002, I slapped a girlfriend twice during heated arguments in which I perceived her treatment of me as mean, aggressive, at times physically abusive on her part and—worst of all—unfair. During the last of several verbal battles it (I) turned nasty and I wrestled her to the floor and kicked her—not hard, but hard enough for her to know she had been abused, and for me to realize that my behavior was once more headed in the wrong direction. So, feeling unable to change enough, fast enough—and very much doubting I could change at all—I took the incident as my cue to exit the scene. Once again I’ve moved on, out of range—alone, at least for now—where the bad actor still left in me is in no danger of being provoked.

The two community theater actor/killers I knew never harmed a stranger, but each brutally murdered people very close to them. The fact that they both acted as they did at a specific intersection in their lives suggests to me that, given the right (wrong) motivation, I might behave as they did. But I also know that compared to them, at least when it comes to lethal violence, I am—thanks to my still evolving “Ray-like” self control—very much an amateur.

END

Copyright © 2008 Jim Sizemore.


The Adventures of Morton

June 9, 2008

Click the image for a larger view. To purchase reprint rights for this comic strip, buy a framed print, or have it reproduced on T-shirts, mugs, aprons, etc., visit the CartoonStock website by clicking the sidebar link. If you would like to own the original of any of my selection of more than 500 cartoons, contact me for information about price and availability. My email address is: jimscartoons@aol.com Copyright © 2008 Jim Sizemore.


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