It’s a bit of a busy time since returning from my trip. Besides a little bit of catchup from my time away, I’ve been working hard on prepping for our annual fundraiser (happening May 6). This particular event is always a fun one, and the amount of fun had is, I believe, directly proportional to the work put into making it happen. An auction and a wine wall, dinner, entertainment, dessert, dancing… it’s a very full evening for nearly 200 people. We’re one week out. I am swamped, tired, and looking forward to seeing the fruits of our efforts.
The last two days, I’ve also had the joy of witnessing two tremendous productions: The Orestia Project, a new rock-opera written by several folks I know, composed by close friend and Fellow Imposter Cullen Vance (who also composed the music for Melancholy Play earlier this year); and Tanya Barfield’s Blue Door, produced and remounted at OCT after an earlier production at Portland’s Profile Theatre. After two intense nights of theatre, I have… a lot of feelings.
Fully committing. Taking huge leaps. Voicing the voiceless. Representing all people as multi-dimensional. Bearing the weight of history. Calling out our faults. Fighting back our demons. Finding ways to forgive. Breathing deep. Moving the earth by sharing one person’s story. We toil. We convict. We fail. We struggle. We work. We do better. We must do better.
My mind is racing with what little energy it has left. Full thoughts are few and far between at the moment. But I wanted to note this feeling: being reminded, despite heavy eyelids and achy limbs, that theatre artists create meaningful, important, life-changing work. This is why I do what I do.
Some scholars suggest the ancient Greeks were required to watch theatre before they were allowed to vote. This is why.
To my friends, colleagues, students, and collaborators: you have my deep and endless thanks.