Saturday, October 18, 2008

Updates of Late: The Lattice Crashes

So October is moving into its last half, and a lot has happened. For starters, the River View Players presented a reading of the The Lattice Crashes at the end of September.

If you’ve been fortunate enough to evade my babblings about this piece, The Lattice Crashes is a play in two acts that looks at contemporary times from, like, a thousand years from now—race, gender, politics, it’s all different. And trying to make sense of our world is a real humdinger:

Unless a computer technician can uncover “the facts” about a college hate crime in 2002, the incident will be deleted from a vast, futuristic supernetwork--the Lattice. But no one is telling the truth: not the victim, not the assailant, and certainly not their parents.

I directed the piece, with a talented set of performers:

* Mercedes - the network technician - was played by Ms. DuEwa Frazier
* Kitty - the archival computer - was played by Ms. Teresa Michelle Lasley
* Patterson - Junior Member of the Council on Historical Integrity (Mercedes’ Boss) - was played by Mr. Rhonney Greene
* Sean Robertson, III – the victim – was played by Mr. Kelvin Summerhill
* Avery Harrison Cole – the assailant – was played by Mr. Clinton Lowe
* Debra Robertson – Sean’s mother – was played by Ms. Shanae Sharon
* Charlene Morris – Avery’s guardian – was played by Ms. Tanya Hartwell

Esteemed playwright, Laurence Holder, narrated the piece.

The Lattice Crashes strives towards emotional integrity, even if the characters themselves are challenged by the notions of truth and fact. Lots of fun, and the cast did a great job, especially with such limited prep time. The performance was lively, and the audience was engaged. During the talkback and a few after-show chats, I got a lot of useful feedback. I'm always grateful for that.

I’d say all in all, The Lattice Crashes has passed the essential audience test. Of course there’s still a lot of work to do. I just finished the core rewrites, and I’m looking forward to taking the next steps with this piece. It’s already opening up other opportunities on other projects, so I’m quite pleased.


In other news, I saw a few other plays and creative pieces that I, of course, have strong opinions on. I won’t name them at this juncture (liked one, had some problems with the other), I’ll just end this entry with a cautionary tale:

Be careful on the streets of New York after you have watched a play you weren’t necessarily impressed with. Yes, you paid your ticket and have a right to be critical, but be mindful—those streets are public. You never know when someone sensitive-- an audience member, or producer, or actor, or whoever--might be lurking right around the corner just as you get into your most dastardly disparaging derision.

But you know what else, I don’t take it back. Nope. I don’t. I just need to watch my mouth.

That’s all for now. I’ll get into detail after there’s been a bit more distance so those who know me, or know what I’m talking about won’t be able to figure it out as easily.