Personal Essays

Those Who Wait

By Padraic Lillis

When I consider how my light is spent

Ere half my days in this dark world and wide,

And that one talent which is death to hide

Lodg'd with me useless, though my soul more bent

To serve therewith my Maker, and present

My true account, lest he returning chide;

"Doth God exact day-labour, light denied?"

I fondly ask. But Patience to prevent

That murmur, soon replies: "God doth not need

Either man's work or his own gifts; who best

Bear his mild yoke, they serve him best. His state

Is kingly. Thousands at his bidding speed

And post o'er land and ocean without rest:

They also serve who only stand and wait."

 – John Milton

 

This poem has been gnawing at me since this period of self-isolation began.

The first half of the poem Milton is asking “How do I serve my calling as a poet now that I’ve gone blind? Seriously, what am I supposed to do? I want to serve. I want to honor my calling… but I can’t see…are you expecting me to still show up and work?” 

And the answer he comes to is “You are serving your artistry if you are willing, regardless of ability.”

We have not all gone blind, like Milton, but we have experienced loss. We have lost financial security. We have lost physical contact. We have lost a sense of safety in the day to day. We have lost normalcy. 

There is a feeling as artists that we need to take advantage of this time and create. To make things, anything, because we are artists and that is what we are called to do. We’ve all heard by now that Shakespeare wrote King Lear while he was in quarantine. And that’s amazing. If you can write King Lear or the equivalent – go for it. I look forward to seeing it. I do not believe King Lear was the only play written during that time. It’s just the only one we know. Because he was Shakespeare…and it was King Lear.  There will be thousands of plays written during this period and I fear for the inboxes of literary managers across the world that will be filled in the coming months by those of us who are not Shakespeare’s peer. Hopefully there will be one that is the equivalent or better.

It is impressive how many in our community are creating and sharing work. There are virtual readings, productions, audible plays, classes, songs, sketches – from celebrities, students, and peers (mine, not Shakespeare’s). There is a ton of content. Technology makes it easier and easier to share with one another and to remain virtually connected. It is as though in this isolation we need to let people know that we are here. We are alive. We are creating. I’m not sure what the intent is…or if there is a conscious intention to all of it.  There does seem to be a frenzy to create and to get things out in the world…as if we’re afraid we’ll be forgotten. 

I know I fear that.  

That’s one of the reasons I am writing this essay – so you’ll remember me. Also, because I recognize that to an artist audience member who may not be creating, the amount of content that is being shared can also inspire the feeling of being left out, or left behind, or failing. And it’s not true. It is not a failing if you are unable to create during a global pandemic. It’s human.

This time allows us to appreciate our humanity. Appreciate that we’re staying in, wearing masks, and applauding our health care workers. Appreciate that some days are easier than others to be productive, positive, - to shower. Appreciate that when I watch the original cast of Hamilton sing to a nine-year-old for her birthday that I am moved to tears; and simultaneously realize that this generous act was recorded so that it could be viewed by millions of people. And I fall into worrying if I’m doing enough. Creating enough. Writing enough. Is what I’m doing being seen by enough…what is enough? 

I am developing The Farm Theater’s College Collaboration play that will be presented on Zoom and live streamed on The Farm Theater’s Facebook page Sunday, April 19th at 7:00PM; producing the Bullpen Session podcast (the most recent episode is with playwright Rajiv Joseph) – check it out on iTunes or wherever you get your podcasts; writing, teaching classes… I did an interview for Dramatists Guild Live about the value of presenting plays on Zoom. That whole paragraph is so you’ll know I’m here.

Also, I have had four projects, which make up two thirds of my 2020 income, put on hold indefinitely. And…three weeks ago I was creatively paralyzed for four days while I was trying to figure out where I was going to go at the end of my time as a guest artist at Shenandoah University in Virginia. Should I go home to Brooklyn, the epic center of the virus, or go stay with my mom in Rochester? I was worried about staying in my own apartment because I don’t really know how to shop for two weeks-worth of groceries and I would’ve ended up going to the store, the pharmacy, the Chinese take-out place like twice a day. And I was anxious about going to my mom’s because I didn’t want to get her sick. I wasn’t sick, but what if I carried the virus? I decided to isolate in a hotel for a week and then stay with my mom. 

We are all doing our best to care for ourselves – physically, emotionally, and mentally. Some are creating artistically. Some need to create silence from the chaos. Some need security, some a word from a friend, others just need time. 

There is virtue in stillness.

We don’t have to do more than we can, we just have to remain willing to answer the call when it comes.  

And as always, 

You are enough.

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Gargle Vinegar

By muMs

I’m gargling vinegar. I sip special tea every few hours. I'm eating oranges and spinach, stretching, breathing and meditating. I go to sleep when I'm tired until my body is ready to get up. My partner and I move in shifts with us passing each other on the stairs. We’re relieved to not be alone. But we give each other space. Mostly the TV is on only in the morning for news and when we decide to catch an ep of one of our shows. we’ll do maybe 2episodes, not really binging anymore. We’ve been very productive, between long stretches of doing absolutely nothing. But when something hits it pours out. Jennie’s got paints, brushes and canvas. She’s writing and making beats. I'm handwriting, and just downloaded the Adobe suite. We're doing a slow, deep cleaning of the house- pick a room and go hard till it's crisp, then take a nap, or have some special tea and relax on the couch. We're scrubbing with Frankincense daily, for the most part. We're not really adhering to a defined schedule at all. That was too hard to adhere to so...  We're listening to ourselves and each other, and boom, things get done. We talk about what’s going on until we can’t, then stop.

We focus on time. I forget what day it is but I do know the time. 

it'd be too simple to say 'we're good' cuz the truth is, some days we are not good. Emotions are all over the place. Recently, I started crying from out of nowhere while scrolling fb, reading about people I know, suffering. Afterward, I stayed in bed the entire day.

Sadness is hard.

We talk. We create.

I woke and wrote, and immediately felt better. I knew I would. We talk about emotions and purpose and art. Sadness, fear. All of it is what it means to be alive.

We talk. 

We’re grateful.  

I’m realizing how much money I spend on things I don't need. I’m still kicking myself for the shoes I bought just before my gig got canceled. 

I breathe.

I’m writing down the dreams I can remember. I'm listening to the birds chirping. I'm writing. I’m working on keeping my mind flexible because... even if suddenly everything goes back to normal tomorrow, the next day we ALL will be new. 

Oh, I’m trying hard to understand Westworld on HBO, loving DEVS and taking my sweet time (ah time) with Ozark. 

-muMs

@sirmumsila

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LUDICROUS SPEED!

By Joey Palestina 

“I’ll laugh until my head comes off.”   

That stomach-pain-laugh. Bent over, holding onto a railing because of something stupid your boy did. Then it creeps to the chest, your eyes water. You sprint five steps, out of breath. You can’t contain yourself. You’re acting like the jerk-off kid in class that is about to be sent out. Only you’re 40, and you’re bald, and you can’t eat peppers anymore. That’s the only difference. Other than that, you’re still dying over the same shit with the same people. The same feels good. We need the same while we change, or we’ll lose our footing. 

One question has been looming above my sponge: How is it possible that I’m getting closer to people that I already talked to everyday? I think of Spaceballs. My friendships have gone to Ludicrous Speed in a matter of weeks. What the fuck? I thought they already were. Group texts with bad grammar. Morning calls on the shitter. Night calls while watching a show you don’t care about. This was already the routine, but something is foreign about it now, of course. Like that stage in a breakup, where, out of nowhere, while making eggs, it’s all different...everything, finally. This wave of epic gratitude slips into your belly. You’re still here. You’re still a psychotic-goof-ball. You still have your people. Your movies. Your music. Your memory of all things sad and happy. And it still has you. But the room has changed, and so have your eyeballs, and your ears, just a little, just enough. You’re sensitive about shit you weren’t before, and blase about shit you were sensitive about. Your boys too. You let them rant. Then you rant. Then you hang up. Then you laugh on the couch. Then you cry near the window. Then you call back, and they know why. On repeat forever. Come pandemic or come shine.

This is a reminder. This thing we’re in. Remember what your people are to you, and with each day, perhaps dig deeper into your timeline. Outside of the core. Find that 3rd grade motherfucker who made you do stupid shit in gym. Find that neighborhood partner in crime that fell into drugs. An ex who should’ve been a friend from the jump. There was something there that made you something now. Call him/her. See how they’re doing. Bless em up. 

It’s all one big thing. 

Return to the guide.

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Podcasting for Theater Folk

By Alex Barron

Alex Barron is a dramaturg and literary manager based in New York City. He is a program associate with the Sundance Institute Theatre Program and consults with a number of companies, including SPACE on Ryder Farm and Scott Rudin Productions. He has been a member of the artistic staff at the Playwrights Realm, Manhattan Theatre Club, the Eugene O'Neill Theatre Center, and the Playwrights Theatre of New Jersey. As a dramaturg, he has developed plays by Dominique Morisseau, Matthew Lopez, Rachel Bonds, Lauren Yee, Sarah Burgess, Jen Silverman, Branden Jacobs-Jenkins, Martyna Majok, and Elizabeth Irwin, among many others. Alex previously produced Naked Radio, a new play podcast, for Naked Angels and currently produces podcasts for The New Yorker. He is a graduate of Drew University.

Click the image to read the essay.

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