It’s funny how sometimes it can take forever between the time you write something and the time it winds up on stage. I think I was just lucky with my first two full-length plays, which were produced within two years of each other and, more importantly, not long after I finished them to the point that I felt like they were shareable.
Two others, no, not so much. Bill & Joan, my play about William S. Burroughs and the fateful night he shot and killed his wife, I actually finished writing not long after that first full-length went up and I finished it before the second one was produced. I had a lot of readings at the time, and some interest, but nothing happened until years later, when one of the actors involved in those readings got in touch with me and said, “Hey, can I pitch this to my theater?”
I said yes, and we pitched it to the current board for that year, meaning that I got to sit face-to-face with French Stewart, whom I absolutely adored from 3rd Rock from the Sun. And… he and the other two turned us down. I still think he’s awesome, though, and it was clearly a case of, “Yeah, I don’t see a role for me in this,” which was absolutely true.
Nevertheless, my actor champion persevered, and when we pitched it to the new triumvirate board the next year, they said yes. And so began the very, very interesting process of suddenly collaborating on a play with the most difficult of co-writers of them all: Myself, from the beginning of my career, looking back from the well-established middle.
Oh boy. It was going to be a difficult job overhauling this one and, in fact, I’d have to say that I threw out at least a third of the original script, if not more — a lot more — and rewrote vast swatches of it. Now it might seem paradoxical to do that. After all, if it was good enough to get picked up to be produced, doesn’t that mean it was good enough as it was?
Short answer: Hell no.
That’s what’s so amazing about the process of rehearsal and working with a director and an amazing cast. It’s all about discovery, reconnecting with why you created a piece in the first place, and (especially with the perspective of so much time between origin and outcome) the ability to suddenly see the flaws with utter clarity.
One of these days, I may go back and do a comparison of the draft we started with and the one we ended with, but I know that we got to the extreme of me combining characters in different ways, adding some and dropping others, and this play was even my incentive to go back and re-learn Spanish to the extent that I am now pretty damn fluent in it.
Why? Well, the main action is set in a jail in Mexico City, and from the beginning, the two cops doing the interrogation spoke a lot of Spanish. However, when I first wrote it, it was my badly-remembered high school Spanish that had abandoned me some time during college. With the help of two Hispanic actors in the roles and a lot of self-study, it suddenly felt like I was crafting those lines as carefully as I crafted the English.
And the entire time, it was an experience in confronting my younger self every day, understanding why I’d written what I’d written, but then realizing, “Wow. I really have learned a lot since then, haven’t I?”
Early last year, rehearsals had just begun for another play of mine that isn’t quite as old as Bill & Joan, but which I did write in another lifetime and which is also very different than my other full-lengths, which are all either based on real people or set in historical periods.
This one, Screamin’ Muskrat Love!, is a modern day farce with the tag line “Sex, money, real estate. That’s what family’s for.” There was actually an attempt at producing it with the same director back around the time I wrote it, but that fell apart unceremoniously only for the attempted new production to be stopped dead by COVID..
In this case, re-reading the thing in preparation was a lot less cringeworthy. Then again, this play was more mid-career and benefited from coming after the time I’d spent actually working in film and TV and after multiple professional stage productions.
The weirdness in this collaboration, though, really came more from the inspiration rather than the execution. Unlike my other plays, as I’ve mentioned, this one is set in the modern day and was inspired by events in my own life, not to mention that the primary motivation I gave to one of the lead characters happens to be my own as of yet un-obtained dream.
Not to mention that real-life tragedy intervened and put me off the thing for a while only five months after our ill-fated first attempt.
The thumbnail version of Screamin’ Muskrat Love! Is that it’s a story about two brothers who both want to inherit their father’s house and secretly conspire to do so. The older one hires a woman to pretend to seduce the father in order to marry him and take over the place in the traditional way — either she bangs Dad to death or takes it all in a divorce, but then turns it over to other brother per an agreement they’ve made that I won’t say too much about lest I give away too much of the plot.
The inspiration for the whole thing was finding out that my father, in his 80s, had met a woman, in her 20s, at the grocery store, and she had gotten flirty and whatnot with him, and this sent up red flags and alarm bells for my half-sister and me.
Hey, I know what personality traits I inherited from my dad, and it was clear that we had to act fast. It was also very clear that she was probably Romani, and they are known for this kind of thing: Meet old man shopping alone in grocery store, assume that he’s a widower with means, make a move.
The other inspiration was, of course, is the fact that I have always wanted to own a house but, being a Gen-X person in Los Angeles, that was never at any point remotely in reach without me having been a venal and heartless asshole at some point.
So… combine the two elements, ta-da, there’s the play. The first attempt went well until it didn’t, and then six months later, my dad died and evil half-sister announced, “Oh, by the way, his house is in my name. Don’t even try.” Never mind that she had taken advantage of his Alzheimer’s to convince him that I was invading his home every night with friends and slowly making him paranoid about me. But that’s a completely different play that I might write one day.
The house in question would be the house that I grew up in and she didn’t, incidentally. The only possible house I could have ever owned, and her absolutely (pardon the expression) cuntiness in this moment turned me against her forever and, frankly, made me shelve the play because… bad memories.
I guess that time heals all wounds and, if there’s real justice, time will wound all heels, so jumping back into this play, was just a romp and all of the darker connotations had fallen off. So the challenge there was to collaborate with my younger self while being able to ignore the crap that I know younger me went through right after, all while younger me had no idea that he would.
I did give myself a distraction from that one, though, without even knowing it, because one of the intentions I set for myself in writing the piece was to hat tip two of my playwriting idols, Joe Orton and Oscar Wilde and, in fact, the entire finale of this play is an intentional nod to The Importance of Being Earnest in more ways than one.
Still… the glibness of my younger self in tossing this one off did give me pause at a few points when I had to stop and ask, “Damn, too harsh?” Until I remembered, “Nah. Not the audience’s family, and too long ago for me to really care. Proceed!”
Except, of course, we didn’t, and only a couple of weeks before the scheduled opening on April 3rd, everything shut down. So Screamin’ Muskrat Love! became the only play of mine to actually be in production and not happen. Twice.