Lyrics from that song from Cabaret by Kander and Ebb (on Broadway in 1966) make me think of our current political system. Our government is being purchased – probably to some extent at all levels from city and county officials to the highest levels of office. Unnamed individuals make up Super PACS and corporations are identified as individuals solely for the purpose of enabling large sums of money to be given to candidates. In this, my first political statement, I am not aiming at either major party. With some notable exceptions I believe this goes for the whole shebang. Certainly seems so, especially in Kansas.

“Sorry school kids, folks with physical or mental disabilities, struggling families, unemployed and under-employed, we can’t help you.” Meanwhile billions (yes, billions with a “b”) of dollars are spent to fill the offices of elected officials who then cater – not to ‘all the people‘ but to ‘the people‘ who wrote the checks, hosted the fund-raisers, bought the ads. Many of those elected use their positions to promote passage of legislation favoring their financial supporters and in doing so increase their own wealth and ultimately that of the funders. While they are supposed to be working for all they seem to grow their own wealth by garnering speaking fees higher than many of their constituents make in an entire year, writing books, enjoying lavish ‘perks’ from the moneyed. The primary motive – “get re-elected” – is the first priority regardless of needs of constituents. Some, I’ll admit, have altruistic motives, especially in their early years in office. However, after a time many seem to let altruism be outweighed by the “get re-elected” mentality. If I remember my history correctly the government offices held by those elected were not expected to be life-time positions.

Meanwhile as taxes are being cut ensuring that those who ‘have’ will ‘have more’. Individuals and companies avoid and/or lower their tax obligations through inane tax codes, off-shore banking, mammoth ‘loopholes’ and semantic manipulation as the gaps in income and economic status widen.

It is now less than five months before Americans go to the polls to elect a president and some members of Congress. We have already been inundated for over a year with campaigns, announced and unannounced. Speeches, rallies, meetings and pundits filling the airways with chatter. Unfortunately, there isn’t much worry about truth. Commentators are only beholden to the media outlet which employs them. Some purport to know what the candidates are thinking, what ‘hidden agenda’ they may have. And of course, all this takes money. Money that could be used for improving schools for all; establishing and supporting education and training programs for the disabled, unemployed, challenged citizens; for sorely needed improvements to our infrastructure and for giving everyone the opportunity for medical care that could lead to a healthy life. What happens instead? Time and money are spent looking at ways to enhance personal agendas.

A household budget relies on common sense. Those dealing with household budgets know that a lower income will not improve circumstances and that spending more than you are taking in leads to a dangerous financial situation. Why do elected officials fail to understand this logical progression. They don’t need to understand. They are supported with incomes high enough to live comfortably, with enough time to pursue other paid activities, with perks and gifts to enhance their lives, with excellent health care, with the possibility of high-paying jobs after their terms (e.g lobbyist) and the promise of a lucrative retirement.

There must be a better way. Please vote.

Valentine’s Day brings us new and more alluring commercials. More perfume, more candy, more flowers, even an ad to indicate that the couples pictured should “Get A Room”.

Ahhh, commercials. Did you ever wonder who writes these things? Who approves them? Are there so few bright, intelligent individuals in that business that stuff gets to broadcast before anyone sees the unintended messages being sent?

I remember doing a local radio commercial once where the premise was a female character as stuck in a ditch somewhere wanting to get to an event. I mentioned to the producer that only the day before a woman had been found dead in her car in a ditch along the highway in that same town. She had been injured but her car was not visible from the road and help didn’t get there in time. Perhaps this wasn’t the best premise for a local commercial. A change was made.

One recent commercial shows a man driving golf balls off a high rise terrace in a large city. Well, wonder how many folks down below might have been greeted with a knock on the head.

At one time I saw back-to-back commercials both featuring the same drug. The first was the basic lawyer’s ad for a class action suit pointing out the danger in the side effects that people had suffered. The second was the ad promoting the positive efficacy of the very same drug. Hmmm, who should I believe.

I’ve written before about the ads proclaiming “real people, not actors”. I presume that is meant to impress the viewer of the authenticity of the product. But, the advertisers will use well known actors for products, assuming we believe that this particular STAR takes some pill, uses some lotion, drinks a certain beer, etc. The underlying message to my mind is: Real People (not stars) and Real Stars (not people?) are the people who will make the best impression. The fact behind the hype – a paid spokesperson – whether well known or just well paid, will say what they are paid to say. The question is, would I? In almost every case, the answer is yes. (I have a few scruples.)

So, watch with a discerning eye, chuckle at the more inane ads. Many are more interesting than the commercial programs they accompany.

Signed: A person not real enough to land a commercial.

     Since about age six, I wanted to be an actor. Time passed and after 12 years of school I had only ever done one high school play. But that dream stayed with me. After another #%#@# years, without having studied the field at all and not really interested in “going back to school” I decided to get involved in Community Theatre. What great experiences I had. I enjoyed meeting new friends while learning a lot about the language of theatre, the history of some forms, the different approaches actors took to do the job. Always listening, learning and – practicing my own formula for the stage. It worked. I was fortunate to be cast in a number of different community theatres around town and so I built a resume. Small roles, leading roles, walk-on roles. It didn’t matter to me I simply wanted to be involved and learning.

     Since audition notices were not always published in the newspaper I decided I would ask the local community theatres to send me their notices and I would pass them along in a monthly newsletter. One evening while having a conversation with a fellow actor backstage during intermission I was backstage having a conversation with a fellow actor when an inspiration came to me and I knew what would be the name for my newsletter. Greenroom Conversations was born.

     As time passed a very talented friend who was a writer and artist, contributed articles, helped with cartoons, wrote reviews and helped the newsletter grow from a one-page photocopy to a larger newsletter and larger subscription base. Issues fluctuated between 4 and 8 pages with columns of opinion as well as the aforementioned cartoons, reviews, etc. For nine years I did it all.  I wrote, edited, did the layout, photocopied, folded, stamped, affixed mailing labels and mailed copies. For the most part I enjoyed this time-consuming task. But,  when another source for this kind of information was established I was very happy to let go of the responsibility I had felt to my readers all those years. I was ready to move on.

     There was one aspect of the community theatre experience that I didn’t care for. It was evident that ‘cliques’ were present in some of the theatres. Mostly the same people were cast in the major roles. Often these were the ones who partied together, who had worked together on many projects, were well-known and favored. Some of this was certainly understandable, you might choose to work with someone who has a solid track record, someone you knew was reliable and punctual. However, some things were not so clear, as when one of the “clique” members was cast in a major role so obviously wrong for him/her it seemed clear that the production was not the main focus.

     Later, I decided to concentrate on professional theatre and have been fortunate to have had wonderful experiences in that sector. I must say however, there are many of the same troublesome kinds of things occurring in local professional theatre – the “cliques” are well entrenched and many times new faces are set aside for the familiar ones. It’s often to know who is going to be cast in a show when one hears about the upcoming production.

     I am not so naive to think that this isn’t the case in major markets and in the motion picture industry. You’ve heard it before and here it is again: It is what it is.

     However, it was this reality that inspired me to write a poem in the years when Aaron Spelling’s name was everywhere along with that of his daughter Tori. I’d like to share that with you today.

     Success 

Talent is one factor,

Good looks a real plus.

Study is important 

And discipline a must.

But, let's face it,

      Success is often relative.

That's not to say that many folks

Won't reach their goals alone.

But, kids or parents in the biz,

Can help by picking up a phone.

Just read the credits, they're a clue,

Which proves this tale I'm telling.

In my next life I think that I

Would like to be a “Spelling”.

     Let's face it, success is often relative.

Have some fun and finish the last stanza with your take. Send it to me and I’ll try to share some. Here’s a thought to get you going:

Just read the credits, they're a clue

 To some folks giving thanks,

 In my next life I'd like to have

 My surname changed to “Hanks”.

Spring has been a plethora of flowering trees and plants. Makes one want to really get out and smell the roses and other blooms as well (on the way to the theatre of course).
I recently attended a performance of Tosca and was reminded of the importance of body language in theatre. For me it conveys much of the meaning in the plot when lyrics are sung in an unfamiliar language. The language of most operas is unknown to me and perhaps to other audience members as well and so story interpretation relies on much more than lyrics. Earlier in my life it when I attended the opera I would rely on the actions alone to follow the story. Fortunately, the beautiful music was enough to draw me back often. Meanwhile, while some would see the exaggerated movements of the characters as examples of “over-acting”, I would say that in this genre, it is important.
Now, with the advent of different means of projecting a translation of the lyrics, patrons have a choice of following the plot line by reading, watching the action or, do as I do, a combination of both.
It makes me wonder if/when that kind of technology might be available for legitimate stage. My fear is that it would be an unnecessary distraction – perhaps knowing a line was bobbled would become the focus rather than the play itself. I have been informed that some movie theaters currently offer closed captions but not yet legitimate theatre and probably rightly so.
CAVEAT: While body language is an important part of any communication, live or filmed, its exaggeration requires consideration of the medium. In film and stage it can be a distraction if overdone.
AND here’s another pesky observation from a inveterate theatre goer – me. Too often when I attend a musical theatre production I find that the musicians overwhelm the singers. Even small combos are often too much. Miking an instrument trumpet may enhance that instrument’s already strong sound and thus overpowers the vocals. Even when singers are miked, it seems that certain instruments take the focus from them. My request to sound technicians as they are setting levels, please understand that I came and perhaps the much of the audience came primarily to hear the voices and understand the lyrics. I love the music of the orchestra. I greatly appreciate the overture and am in no way denigrating their importance to the production. But, I really want to hear and understand the lyrics.
Those are some of my May observations. Looking forward to begin rehearsals for a Fringe Festival production.
STOP – and smell the roses. Happy spring/summer to all.