PARIS – I have no idea how many years it has now been that Nicholas Ullmann has been hosting his Kararocké at the Bus Palladium, but I do believe I discovered it in 2010, and have been going occasionally ever since. I returned on Saturday evening – it runs every first Saturday of the month – to find his institution still alive and more than well. And this, despite the recent sad death due to cancer of the regular bass guitarist of the band, Erik Fostinelli, also known as Guy Pop.
In fact, I believe the Kararocké has been more than a decade that this formula has been working for Ullmann, the master of many disguises and above all, master MC. (Master master of ceremonies!!??) That the formula works is no surprise: It is a super karaoke, with a live band on a large stage in a large room with great sound, spotlights, and just absolutely everything to make the spectators that get on stage feel as if they are rock stars for a night.
On Saturday night, it was the turn of Yann Destal, known for his hit song, Lady (Hear Me Tonight), which was a worldwide success in 2000 when he was just 20 years old and in his band then called Modjo. Yann continues a strong musical career, but one that is out of the limelight compared to the days of early success. He plays around Paris all the time, and recently even starred in a musical about Woodstock.
I myself did not even try to get on stage, for two or three reasons: 1) I am usually crap at doing Karaoke because when I play and sing cover songs, I usually do it with my guitar in my hands, and I do it my own way, (they call this “interpretation,” but I prefer to think of it as making felicitous mistakes when it works, as I inevitably try to imitate the real thing but fail); 2) I did sing once with success at this kararocké, when somehow the band played “What’s Up” in my key, but I made a horrible failure of singing an Arthur H. song just a few weeks later, as it was neither in my key, nor a style I can do!, and 3), in fact, I was wearing my contact lenses and cannot read with them, so I’d have to know all the lyrics by heart! Oh there was another reason too: Ullmann, in his fair way, was asking all night long only for singers who had never before sung at the kararocké. And I did not fit that category, obviously.
This was a beautifully chosen song for the night, because it was written in protest and disbelief of the horrible American politics of the day…plus ça change….
But it was well worth the night. On the less good nights of this formula the music has tended to be too much hard rock. But on Saturday there was a broad, broad cross-section of sounds. I regretted enormously not having brought my Zoom recorder in order to get great sound, as we have to settle for the terrible sound of my Galaxy S8….
PARIS – At a recent party of a friend in Paris, I met a guy from Detroit who has lived in France for a couple of decades. We started talking about various personal projects, specifically film and theater. He had made a documentary film about a century of his family’s life in Detroit. His wife was playing in a one-woman show in Paris, the director of which also had his own one-person show. The man invited us to see first his wife’s show, then the director’s. Little did I realize that it was the beginning of a long string of attending one-person shows, readings, theatrical productions – and film – that would keep me musing for weeks on the meaning of one-person productions on stage, in film, with texts, without texts, the physical versus intellectual and emotional theatrical representation and other profound and less profound thoughts. Let me get to specifics:
The man we met at the party was Steve Faigenbaum, who has had a long and varied career in film and video, but whose recent documentary is his first full-length personal, big production. His wife is Yannick Rocher, a French actress, starring in “La Voix Humaine,” by Jean Cocteau, at the Théâtre de la Contrescarpe. The director of the play is Charles Gonzales, who is starring in his own one-man show in Paris, at the Théâtre de Poche in Montparnasse.
The idea of comparing these two linked shows was too enticing not to try. So it was that after Rocher’s show we then attended “Charles Gonzales Devient Camille Claudel“…and, as you may have realized, this might be called a one-woman show as well… or whatever. (Which set up more strands of musing.)
In between those two shows we saw Steve’s film, “Internal Combustion,” (called “City of Dreams” in France) a story based on his return after 25 years to his home city of Detroit, where he retraces his and his family’s past, but simultaneously tells the history of the city and especially its black and Jewish population. (And, through these, a certain history of the United States itself.) The documentary is in some ways a one-man show, since it focuses on Faigenbaum’s look at his own world where he grew up in Detroit; but it is obviously made thanks to a cast of hundreds, including the crew and the many interview subjects and people of Detroit, dead and alive.
Steve Faigenbaum from Internal Combustion
As a grand finale to all of this, we went last Saturday night to the Théâtre des Mathurins to see another one-man show, “Imagine-toi,” of Julien Cottereau. One of the reasons we chose to attend this was to have a direct comparison to the other shows: Because it was a performance told entirely through the movements of the body, and not through spoken language. Having said that, it turned out that Cottereau depends hugely for his communicative effects with the audience on sound. But I’ll get back to that in a moment.
I now want to return to look a little at each of these shows in the order we saw them, and in the spirit of my Not-Reviews.*
Yannick Rocher at the Contrescarpe Takes the Neutral Approach to Cocteau
Yannick Rocher’s “La Voix Humaine,” written by Cocteau, and here directed by Charles Gonzales, was the first of the bunch for us. It was in the small, but very cool Théâtre de la Contrescarpe, off the place de la Contrascarpe (Hemingway called this “the cesspool of the Rue Mouffetard,” but it has changed since then, going somewhat upscale). The play is about a woman who has ended her relationship with a lover and is reminiscing with him on the telephone, in a call, or a series of calls. It must have been technically an original concept at the time Cocteau wrote it, to use the telephone as a device for a one-person show.
Well, it still stands up today, entirely. The first performance of “La Voix Humaine” was in February 1930, in Paris, at the Comedie Française, starring Berthe Bovy. One of the original aspects of Yannick Rocher’s production are the decision to portray the role in as neutral a manner as possible. Her voice remains mostly neutral throughout. It gives a modern sense of gravitas to the play that the original production does not have in the same way.
And that leads to the other bit of originality: The use of a recording of the voice of Berthe Bovy in the original production as a kind of backdrop, or dramatic ploy, which makes its “appearance” several times throughout. It’s an interesting concept, that forces the spectator to compare Rocher’s performance with that of Bovy’s. In other words, you have the lines being spoken by the creator of the role, and then you have the same lines being spoken by the actress in front of you, but in a completely different way. That is quite a courageous thing for any actor to dare to do, I would think, being compared simultaneously with the creator of the role. So kudos to Yannick Rocher.
Yannick, I learned later, has done the role elsewhere in recent years, including in the U.S., and she did not do the neutral approach – which fact I found interesting as well, as I thought it must be like trying different ways to sing and play a song I’ve been doing for years in a certain way, and just completely change it. Not easy.
And then we saw Faigenbaum’s Film about Detroit
The story behind Faigenbaum’s film “Internal Combustion,” is fascinating on its own: This is a film all about the city of Detroit and the life of its black and Jewish immigrant population. It is done entirely in English. But it was funded and produced entirely in France. As I indicated, this is a film that might in some ways also be called a one-man show, as Faigenbaum goes on a personal quest back to his hometown and relates his family life through his own words, and above all, those of other family members and local personalities he interviews.
Internal Combustion trailer
But the brilliance of this film is the way the director manages to go from the personal situation into the general one of the history of the city and the life of all of its inhabitants throughout the 20th Century. He charts the movement of the Jewish and black populations, as they move from neighborhood to neighborhood depending on the social developments. A previously Jewish neighborhood becomes a black neighborhood. Some neighborhoods then get wiped out for new projects, highways, modern life that leaves no trace of the old, of the past.
Through it all, is a path of integration – or not – and for me it was absorbing to see an historical presentation – along with the family’s point of view – of the race riots of the 1960s, which I was aware of as a child while visiting relatives on the other side of the border, in Windsor, Ontario, putting a lot of things into perspective for me on a personal level. But I felt the biggest success of Faigenbaum’s film was that fabulous marriage of the personal with the universal, along with Detroit’s story mirroring that of the U.S. as a whole.
And off we Went to the Théâtre de Poche and the Camille Claudel One-Person Show
After the experience of seeing the one-woman show – although I’m not sure that’s the right term for a play with just one actor or actress – we were curious to see how the director, Charles Gonzales, would act and direct himself in a one-woman show starring himself, a man. For I think in some ways it has to be called a one woman show, his “Charles Gonzales Devient Camille Claudel.” Yes, it is a man performing the role of the lover of the sculptor Auguste Rodin, and sister to the writer Paul Claudel. But Gonzales is clearly trying to live in the skin of a woman throughout.
Or maybe not so clearly. In any case, the story of Camille Claudel is one that has a particular resonance in France in a way that it does not elsewhere in the world. She feels in some ways like one of the great women heroes of the country, like Joan of Arc. And yet Camille Claudel’s story is not one of any sort of heroism that saves the republic. It is more some kind of tale with which the whole country identifies and feels pity and sorrow for. A sense of collective something!
A highly respected sculptress herself, the lover of Rodin ended up spending the last 30 years of her life in an asylum. And with a 19th Century twist to it, this 20th Century story is one suspected of having a grotesque lack of humanity attached to it on the part of her family – and society. Was she really crazy or just locked up for convenience?
The piece was written by Gonzales and has been performed in various different locations – he has become recognized as something of an expert in Camille Claudel. And as I understand it, he had special access granted to him by the Claudel family to letters and papers, from which he draws for the text.
Of course, the originality here is that it is a man playing the woman. On the other hand, I don’t know if it was my lack of adeptness in the French language – although I usually consider myself bilingual – but I could not really see anything in the show to indicate WHY a man is playing this role. I saw nothing in the text or stage actions to indicate the purpose. So I assume it is just the passion that Gonzales has for the Camille Claudel story that drove him to this. And it is clear that Gonzales comes to life through this story, and so carries the audience with him.
The Théâtre de Poche was packed, and with about 90 or 100 seats, that’s pretty good for a play that is running for several months a couple of nights a week.
And off we Went to the Théâtre des Mathurins to see Julien Cottereau in his one-man show
Julien Cottereau has a long and illustrious career in clowning and circus, including working at the Cirque du Soleil. He has also worked much in film and theater. This show, “Imagine-toi,” was actually first performed in 2006, and for it he was awarded France’s highest award in theater, a Molière. But it is the kind of show that cannot age. Full of visual gags and audience interaction, it remains as fresh today as if it was just created.
But the most important aspect to writing about it here is that where I say this was a show that has no text, no words, a show that depends wholly on visual gags, movement, it is in fact a thoroughly modern show that could not have been performed at the time of Vaudeville when the idea of a modern sound system did not exist. In fact, it could not have existed through most of the 20th century either, as the key to this show’s main effects is the small microphone attached to Julien Cottereau’s head, and into which he makes his noises.
Julien Cottereau in his show
These noises – sounds of bouncing balls, roaring animals, barking dogs, squeaking window cleaning cloths – are also occasionally treated or added to by a sound man at the back of the room, who appears to add reverb or volume and other effects, when needed. So it may be a visual show based on movement and visual gags, but without those popping, bursting, barking, roaring sounds we would just have a mime. Granted, for me this is a mime of a much more dynamic, modern style than the classic Marcel Marceau. Cottereau’s show is just uproariously funny. And I noted that it was enjoyed equally by children, adults and others.
Together, all of these stage productions really got me to thinking about the nature of living theater. What makes a stage production. The importance of movement. The importance of voice. The importance of sound. Emotion. Of text. And, in fact, as it turns out, since seeing these productions we attended in the last couple of days two other shows that were readings of text alone, one of which in a language we could not understand. Seeing a pure “reading” was a perfect counterpoint to provide us with a comparison to the classic stage production and show the utility of memorisation and stage action in holding an audience’s attention.
* Not Reviews: This is a format I use on this blog to write about the music I am listening to, the books I am reading, the shows or films or other things that I do that are often in the habit of being written about by critics – book critics, music critics, theater critics, cinema critics, etc. And my feeling has always been that I believe in Ernest Hemingway’s dictum about book critics and how fiction writers themselves should not be writing criticism of other writers, in the spirit of the phrase: “You can’t hunt with the hare and hunt with the hounds.” My idea is just to talk about the books, plays, films and music I listen to or see. Talk about the way it affected me, everything and anything it inspires, but not to place myself on any kind of judgmental pedestal as critics are supposed to do – or are at least notorious for doing.
As usual, I removed a few defunct joints, and I added some new ones which I should have added long ago, but for some reason did not. I added Sheldon Forrest’s Osmoz Café open mic in Montparnasse, I added the new Paris Songwriters Club open mic at the Tennessee Bar (run by Paddy Sherlock) and I added the Paris Spoken Word night at the Chat Noir, which I was surprised to discover I had not put on the list, since I had already performed there years ago!
PARIS – It was time on Sunday night and Monday to visit the spoken word places in Paris again with Ornella Bonventre and our TAC Théâtre monologue routine. The only problem was that we could not find a spoken word event on Sunday night…until we realized that Paddy Sherlock’s fabulous new Paris Songwriters Club evening is also open to poetry and spoken word, as long as it is – like the music – original material. So we performed there with great pleasure, before trying out the Spoken Word Paris event at the Chat Noir for the first time….
At Paddy Sherlock’s event, we found a perfect stage and audience for spoken word, but I was a little disappointed that there were not more musicians, poets, spoken word artists or spectators present. Oh, it was a wonderful evening, and at maximum there might have been a dozen or more people. But Paddy himself put out a word on Facebook afterwards, trying to encourage more people to come for the next edition, or he risks losing the evening. First at Paris Songwriters Club
My feeling at both of the evenings I have attended at the Tennessee Bar with Paddy was that this has the potential to be one of the best open mics in Paris, so I hope people discover it fast!
Ornella and Brad woman question
From the Tennessee to the Chat Noir and Spoken Word Paris
Although a few years ago I did try to sing a song at the Chat Noir bar’s Spoken Word Paris event on Monday night, there’s nothing like trying to do actual Spoken Word at this event, which is no doubt Paris’s most popular English-language spoken word event. So it was a natural place to try out Ornella’s monologue, with me providing the soundtrack on my guitar (and occasional vocals, and a few spoken asides). Wayne at Paris Songwriters Club
It also proved to be as much fun as a spectator as it was as a performer. And in honor of this being a Spoken Word event, I decided (thanks also to forgetting to bring my phone or other camera) to paste together several excerpts from the evening in a 5-minute podcast. So listen to the patched together medley here and above of a few moments from Monday evening’s Spoken Word Paris event at the Chat Noir for a taste of the far out kind of thing you can expect to hear….
This new bit of activity in the spoken word open mics has given me a real feeling of refreshing the blog with something slightly new, but right in line with what it is all about. I hope you agree….
PARIS – I sense a new movement on this blog toward a few uncharted territories in the way of Paris’s spoken word open mics…but also pushing the limits at the music open mics too. Is that a sentence? I mean the grammatical thing I just wrote, not sentence in terms of what lies before me. Anyway, to cut a long introduction short: Over the last week I have twice performed in a small excerpt of the monologue that Ornella Bonventre and I performed in Milan last month, and written about on this blog. But here, we have done it in Paris, first at the Paris Lit Up open mic of spoken word at the Cabaret Culture Rapide, and then at Sheldon Forrest’s open mic at the Osmoz Café, near Montparnasse.
Paris Lit Up presentation
Our first step was to translate a portion of the show from Italian to English. Then we rehearsed, Ornella – of TAC Teatro Italy and TAC Théâtre France) acting the role of the unfortunate woman of the piece, and me on the guitar providing soundtrack and a couple of acting moments. Then we went to the Paris Lit Up spoken word eventand performed it for the first time, just an eight-minute segment of the hour-long show. Then we continued to work on the translation and to rehearse. Then we performed last night at the Osmoz. The plan is to continue like this, finding new open stages that cater to spoken word, but also finding the music open mics that “allow” spoken word, poetry, etc. A fabulous adventure. Paris Lit Up reading
While I have attended and written before about the Paris Lit Up evening – which has not changed, by the way, and remains an excellent evening – I had never attended Sheldon’s open mic at the Osmoz bar, near Montparnasse. But when I prepared to go, I was pretty sure it would be like Sheldon’s fabulous long-standing
Osmoz open mic
open mic at the Swan Bar (now closed down), and I was right. But actually, it was even better in the sense that the atmosphere at the Osmoz Café open mic feels much freer, anything-goes, compared to the often slightly uptight feeling that the Swan Bar could give….
Another Paris Lit Up Reading
It was his usual deal of Sheldon playing piano, and singers taking the mic to sing their favorite pop standards. Sheldon was joined by a violin player as well, by the way. And at the end of the evening, long after Ornella and I had done our act, Sheldon invited me up to play some songs with my guitar, if I wanted to. Naturally, I wanted! It was a great way to close the evening for me, and especially since I had not been playing music in front of an audience in that way for a while…. Singer at Osmoz Café open mic
Stay tuned for the further adventures in Spoken-Word-Land….
PARIS – I have long despised the seemingly never-ending newspaper articles, books and other media devoted to the phenomenon of what I call: “Oh, the silly French!!!” I’m referring to those endless oeuvres written or played out to show how silly the French are from a foreigner’s point of view: The baguette, beret, Eiffel Tower kind of cliché in which the author feeds the audience with its own preconceptions about life in France. Write or expose something serious about real life and social problems here, multicultural happenings in the banlieue, or even just an everyday true life story in Paris or the provinces and you are not likely to find an audience for it in North America or Britain, or many other countries that know so much about the silly French to realize that only the clichés perceived by the casual tourist can possibly be true. So it was with mixed feelings that I decided to attend a one-woman stand-up comedy-cum-monologue show in Paris called: “Oh My God – She’s Parisian!” written and starring Julie Collas, at the Theatre Bo Saint-Martin. I had been prodded to go, but what really made me swallow my pride and forget what I was sure would be just another take on “Oh the silly French,” was that Julie Collas is herself French, and the show is performed in English.
In fact, another reason was that I did a little research and found that behind the show is a very interesting backstory of the kind that is very close to my own philosophy of life. So it is that I’ve decided to write about it in another of my series of “Not Reviews,” this time a “Not Theater Review.” (My not-reviews have now been done for books, films, music and theater. The idea behind this special sub-species of post on my blog is that thing that Hemingway once said about writers acting as book critics: You can’t run with the hares and hunt with the hounds. And I never wanted to pose as a critic anyway, so I decided to just write about these cultural things that interest me, from the point of view of just an everyday spectator going to a show, or reading a book – and how it struck me….)
Yes, he was killed. And Collas was struck by a revelation of the kind I have – many of us have – been visited with: Life is too short to not do everything we always wanted to do, or at least to try to do it. She had been considered the life of her office by some people, and had been told by some that her personality was such that she belonged on the stage, not in a stodgy office. So just days after those terrorist attacks of November 2015, Collas decided to quit her job and try to write a book – about the silly Parisians. About life in Paris, that is, from a Parisian’s point of view, but mostly feeding into the preconceptions of the foreigner visitor.
She had plenty of experience being seen as a Parisian by foreigners, as she had moved to England with her parents as a child for some years, and then as an adult she had studied law in the U.S. and worked briefly in New York City. So she also had lots of different worlds with which to compare to Paris.
She wrote the book, and then she began thinking about doing a show based on the book. Meeting a theater woman with experience in directing clinched that, and so with her help and coaching, she put together the original version of the one-woman show.
The show has been on stage now at the Theatre Bo Saint-Martin since September, and it seems it is selling out on its twice-weekly schedule in this cute, 70-seat theater each week. When I went, it was quite full of English-speaking tourists, and I should point out that I discovered the show while at the Roissy Charles-de-Gualle airport and finding a flyer about it at the Tourism Office there. From a marketing point of view, it is a brilliant idea, the kind of thing I cannot believe was not thought of before (or maybe it was!): A Frenchwoman makes fun of Paris in English for English tourists. The Office du Tourism backs the show because they know there is a ready audience that wants to go to a show in English, as they cannot understand French, and the cherry on the cake is that the show is all about the world they are visiting, feeding into their “Oh the silly French” preconceptions. What an amazing scheme!
And so how was it? I felt a huge amount of respect for Collas, who clearly was made for the stage: But how do you get from being a lawyer in a “classic” job to filling a theater within two years! She filled every moment with body business, vocal business, movement all around the stage, minimal props, and endless jokes. The jokes did play into the “oh the silly French” scheme, of course, but it was difficult to not be able to see the truth to much of it – the Paris driving habits, eating habits, social habits, childcare and manias like drinking wine to unhealthy levels while claiming it is as healthy as water. I had to object to some of the jokes, though, like, “Really? Frenchmen don’t wash their hands?” I thought that old idea about the French not bathing had passed decades ago. And then there was the use of Line 1 of the Metro as the morning horror story of horror stories – while I know that my own line, the aptly named Line 13, is clearly the worst …but unknown to tourists…. But while I think I was more in an “Oh the silly French” analysis mode and didn’t laugh non-stop throughout the show, there were plenty of spectators rolling with laughter non-stop throughout. It was beautifully refreshing to hear. (And speaking of “hearing” … I was unable to figure out what her “real” accent was when speaking English, since she seemed to have three or four of them, depending on the character…and that was clearly part of the charm and formula!)
In the end, personally I think what I got most out of the show – and this is important – is that I was thoroughly inspired to continue my own quest to try to live life to the full and do everything I always wanted to without ever falling into the excuse of “I don’t have the time.” Think of the vistas of self-realization that we might all have if we just took the chance. It also touched me to think of this cultural phenomenon that is a direct result of the terrorist attacks of November 2015. And from that point of view, I have to say that the French are not so silly after all – judging by what has driven Julie Collas to recreate herself….
Watch out, though, the show runs Fridays and Saturdays until 30 December. So last chances. And be on time; the theatre has several shows per day, and the slot for Collas’s show begins precisely at 7 pm, and ends just after 8 pm. Oh, and I forgot to mention: If you are one of the “silly French,” you might enjoy this show too (providing you speak English)!
UPDATE 7 February 2018: I have just learned that this show has been extended to continue until at least 30 April 2018, and possibly until August. So there is still plenty of time to attend. So clearly my (easy) perception that it was a huge success is indeed the case.
MILAN – It was a crazy few days of a classic example of performing my unfinished business for my new company called Unfinished Business SAS, created last month and truly starting business next week. But I just had to write about this weekend in Milan, as a perfect example of how my business is now about doing all the different things I ever did or wanted to do in my life, but now, all at the same time! And so it went with me wearing my 41-year-0ld, green and orange sequinned circus costume while acting the role of a glam rocker from the 70s arriving in a special part of heaven – for women only – along with Ornella Bonventre of TAC Teatro at an art exhibition in Navigli on Friday; to a jam Saturday evening on the top floor of a condo to celebrate my birthday; to featuring in a conference to present the second edition of my Colin Wilson book after a 5-actor play presented at a Red Cross event, and taking a side route as the play’s sound and light man when it was discovered that the theater had not booked their person to work that night…. The whole followed by another brief jam at the Spazio Ligera before returning to Paris today…
The weekend was also supposed to include setting up the exhibition about peoples’ dreams – Acchiappa Sogni – that Unfinished Business helped TAC Teatro do a few months ago. It was supposed to be set up for the second time at a local public library, but there turned out to be a problem with scheduling. No problem. That can be done another day. I only mention it to talk about the diversity of this weekend in Milan.
Which was the most fun? That’s my point: It was all equally fun, sometimes nerve-wracking, as well as hugely gratifying. And all of it thanks to my association with TAC Teatro. Ornella Bonventre and I first started rehearsing the Friday night show in the TAC Teatro France space in Asnieres last week. At the time, I couldn’t quite believe it would turn into the wonderful event it did. By now, I can believe anything! The story of Ornella’s one-woman-show, called “Avete mai provato ad essere donne…,” is that of a place in heaven for women who have been beaten and eventually killed by their husbands. It is all about the low opinion people have of women – but all done in good humour, as in the section about how one woman was the fourth girl in a family of no boys, and the huge disappointment of the father….
Anyway. my role turned into that of an androgynous glam rock star from the 1970s – Bowie, Bolan, Glitter, etc. – finding himself in heaven, but not sure where to go. He ends up in this women’s part, and he is accepted there, and is invited to play his music as the various women tell their stories. The role just naturally wrote itself, and the final crowning touch was when I remembered I still had my glam circus costume from my days in the circus in 1976 and it still, somehow managed to fit me! It also turned out that I have a large number of cover songs from the 1970s or earlier, touching on subjects that just fit right in – “Father and Son,” “Cat’s Cradle,” “Just Like a Woman,” etc., as well as some of my own songs that fit in, like the sad one, “Memories,” that we closed the show with.
The exhibition was a series of paintings and sculptures by the Italian artist, Roberta Stifano, who gave us a tour of the artworks in the exhibition, “Dal Tunnel…” and explained how they charted her experience in a relationship with a narcissist pervert, and the resulting road from infatuation to pain to torture to separation, and eventual slow recovery. It was clearly a good marriage between the exhibition and Ornella Bonventre’s monologue, entitled “Avete mai provato ad essere donne…”
And Then Came the Interlude of a Chef From Emilia Romagna
Saturday was supposed to be the setting up of the Acchiappa Sogni exhibit at a public library, and here I post again the video that I helped to make, and I edited, for that project many months ago. TAC Teatro and Unfinished Business plan to continue collaboration on this and other such projects in the future.
Saturday night, it was time for a break, and I was invited to a birthday party in the top floor of an apartment overlooking Milan, with the Duomo glowing visible in the distance. It was a private party just for me, for my very big birthday that actually happened on Pearl Harbour day. The main interest of this party was the invitation of a private chef from the great dining area of Italy, the Emilia Romagna. She prepared a fabulous lasagna typical of the region – making the sauce and the actual pasta herself. We had a roast porc and some fabulous fried potatoes that has herbs and spices that the cool would not reveal but said were a secret recipe of her grandmother. The dessert was a typical Italian tart, filled this time with fabulous fresh prunes.
After the meal, which by the way was watered by two different Italian wines from the chef’s region, I pulled out my guitar and two other guests pulled out some bongo drums, and we jammed for an hour or so. A better, more relaxing evening could not be had….
And from there, to the Binario 7 theater complex for the conference and play of TAC Teatro
The final evening in Milan was the very special one of my first witnessing of the TAC Teatro production of the play called Edipo Rap, written by Angelo Villa, an Italian psychologist who is also the author of many oeuvres. I have not only seen this play in preparation over the last year from auditions to rehearsals, but I have also helped to re-edit the trailer that contains the endorsement by Mogol, the great Italian songwriter. On Sunday, once again I watched a little bit of the rehearsal at TAC Teatro, and gave a little feedback to Ornella Bonventre, the director of the play. But I knew little else about it, and had never seen it performed from beginning to end.
So it was a moment of extraordinary panic when I found myself at the Teatro Binario 7 just an hour before the show and with Angelo Villa present, and I learned that I had been drafted in as the sound and lighting man! I at first refused, saying that not only can I not speak Italian, but I’ve never seen the play! It turned out that the Binary 7 had not included a technical guy to deal with the sound and light, and no one knew this until the moment the troupe arrived at the theater, just an hour and a half before the show.
But Ornella and TAC and the four other actors of the play are the very definition of theatrical troupers. So I was drafted in to do whatever I could to help, while the other actors filled in on the lighting and sound responsibilities whenever they were not on stage! To my great amazement, I managed to perform the lighting and sound function without a hitch, and when it was not my responsibility, the actors did the same, again without a hitch. No audience member – and there were between 120 and 130 of them in a full-house of the small theater – was aware that anything but a professional, smooth production was underway and went from beginning to end without a hitch.
Such is life in the theatrical lane!
And once my duties as the light and sound man were finished I was then invited up onto the stage in my official role – more unfinished business – in presenting the second edition of my book, “Colin Wilson: Philosopher of Optimism,” to the audience as part of the conference after the play. The other invited guests were two emergency workers of the Red Cross, a psychiatrist and Angelo Villa. So I was among distinguished company.
Edipo Rap, in fact, is a play that deals with the problem of drugs, and ultimately, outsiders from society – which is why there was the connection with my Colin Wilson book – Wilson being a specialist on the theme of the Outsider – and the Red Cross had paid to host the play as part of a show of its new service that it offers to people in trouble with drugs and in need of emergency psychological assistance. This service is offered in Monza and Milan, and the space between.
Yes, it was strange for me to find myself performing all of these functions in Monza! For regular readers of this blog will know that I have been visiting Monza annually since 1998 or so to cover the Formula One race – until this year! And so I was back again, symbolically NOT covering the F1 but taking care of unfinished business, in the way of running a theater performance’s lighting and sound system while then appearing and a special guest author.
The play was fascinating even for someone who understands no Italian! The actors were an eclectic group that includes Ornella, who in addition to directing the play, had a small role that opens and closes the action; Cisky, a well-known Italian rap artist (and former prisoner who turned his life around with theater and music); and Jagorart Marco, who is a fantastic circus juggler trying to turn his life around into that of actor.
After the show came the conference, as I mentioned, with Ornella acting as my interpreter. I was pleased to learn that no one in the audience had heard of Colin Wilson – despite many of his books being translated into Italian – and so I was able to give a very short primer on who he was.
After the conference came a return to our local hangout, the Spazio Ligeria, in via Padova, where over a nice meal of pasta and other things, I took a moment to take part in the ongoing jam session that had been providing the soundtrack all evening.
The weekend left a very strong feeling of no unfinished business. I hope I can have many more like it….