Just a Quick Update:

I am on Team Mia.

Look, it's not hard to understand. I've known her longer, have never known her to be this low because of a person and I think it's a bit sick how you go around acting all wounded. I think it's particularly disgusting when you're really just a bitter ex who wishes he could be cool.

Well, you're not.

I really think you suck.

Now, on this whole "sharing of friends" thing that I think is ridiculous---clearly, people should feel free to hang out with whomever they want. If they want to hang out with you, great.

BUT.

I think they shouldn't. I think they're enabling an emotional leech who needs other people to make him feel good about himself. I think you treat people like video games---they're there to distract you so that you forget for just a moment that your life sucks.

I think they're there because they feel sorry for you. They shouldn't feel sorry for you, they should be crushing your testes under their collective heel.

It's why I never bothered messaging you after you guys broke up.I guess it's worked, because you've never done the idiotic thing of asking me for my help. And thank God for that.

I also hear you think Mia is a deranged psycho ex.

That's called projecting.

Finally, why do I believe her and not you?

It's simple:

Because even if she's lying, the lies are smart. And I always respect intelligence over stupidity.

Good luck with your life. It really sounds like you'll need it.

Play Attempt

Decided to attempt another play after finishing my play for Play Writing class. It's fun, challenging and it helps discipline me into thinking about scenes in my head. As a director, I think it helps to know how a scene is built so that dissecting it later on is less of a challenge.

So this is my attempt. I hope I can workshop it sometime. In the meantime, this is what I've started with. Here we go!

Breaking Up, Moving On and Other Fairy Tales


Short Scenes in Two Parts

by Mahar Mangahas

Characters:


Amber, 25.

-Petulant, spoiled and willful. A self-described “serious” girl “cursed” by a “dizty” name. Imagines slights far too easily. Secretly fond of being taken for granted early in a relationship if only to gradually demand for more beyond necessary to compensate for early “neglect” from a partner later on. Needy. Hardly admits to weakness. Capable of great acts of generosity. Compassionate, but selfish. Erratic.

Francis, 25.

-Gentlemanly, cultured, well-meaning, but emotionally disturbed and torn by shrewish grandparents and internal drive to succeed. Suffers from low self-esteem. Wishes he could do more for his fellow man but disgusted with existing establishment. Simply trying to get by, but increasingly difficult due to tempestuous relationship with erratic Amber.

Petra, 21.

-Sweet, kind, patient, though sarcastic and caustic to individuals that annoy her. Unconventionally pretty, but suffers low self-esteem due to frequent comparing of self to conventionally spectacular looking siblings. Frighteningly intelligent. Amber's shadow.

Martin, 22.

-Quiet, sarcastic. Immensely talented, but unable to capitalize on his talent due to unfortunate circumstances. Circuitous love life prevents/distracts him from realizing his dreams. Has difficulty sharing emotions. Constantly wheedled by Petra to share said emotions, who he likes, but disapproves of her friendship to Amber. Prone to disappear without notice.


Act 1


Time: Now.


Setting: Here.


Lights up on AMBER. She is reading letters, sifting through photos, cards and other paraphernalia. A dusty object catches her eye---it is a yearbook. She leafs through it, shuts it rather forcefully and sniffs at the cloud of dust that erupted with her shutting of the book. She sighs rather forlornly for a moment, then collects herself. In an instant, her forlorn look is replaced by a mask of cold, indifferent confidence. She holds this mask for a few moments, but soon struggles to keep it. The forlorn look returns. Once again, she opens the yearbook, and takes out a pen and paper, occasionally glancing at the yearbook as she begins to write.

AMBER


(Starting a letter) Dear Francis, I miss you....I was wrong. No, no. (Crumples paper, begins a new letter.) Dear Francis...these things happen you know? No....(Another attempt) Hey Francis, how's it hanging? Ugh, no...(Yet another attempt.) Dear Francis...how do I make this right?


Lights out.

Lights up on PETRA, who is playing a few keys on a luxurious grand piano. The melody is simple and pretty, but she struggles with the tune. She keeps trying and trying but her skill is clearly lacking.

A phone rings. PETRA stops her playing to answer it.


PETRA

Petra speaking. (A garbled voice is heard from the other end.) Oh. Oh. I see. (Stoically.) That's very nice. Thank you. Good-bye.


PETRA continues to play from where she left off, but the errors are coming more rapidly now. She is crying. The melody is barely discernible. Finally, she slams the keys and rests her head on the piano. She wipes her tears, and puts her fingers to the keys, but her hands won't move.

Lights out.

Lights up on FRANCIS, who has a letter in his hand. He snorts as he realizes who sent the letter. He gingerly opens the envelope, takes out the letter and begins to rip the letter slowly into smaller pieces. He stops as he reads the last line, and he looks ashamed. He reassembles the letter, reading aloud as he pieces it back together.


FRANCIS

Dear Francis....I was wrong. I didn't...mean for this to happen. How can I... make things right? Love.. Amber.


Lights out.

Lights up on MARTIN, who is seated before a much humbler piano than PETRA. He plays a much more advanced piece than hers, but it is soon revealed to be a beautiful rendition of PETRA's theme. His face is rapt as he plays the music; he pays attention to nothing else. A phone rings. He doesn't answer. It rings and rings and rings, but MARTIN simply plays louder.

An Open Letter to Sally Kern.

I disagree with you.

I am gay.

I did not choose this. If it is a question of nurture, I did not choose the way I was raised, nor did I choose the environment I was raised in. If am I who I am because of my environment and the way I was raised, and my "choice" was sinful, then you are saying that my parents and the loving education that I received were immoral. I resent the implications of your statement and the the emotion you have behind it, be it well-meaning ignorant pity at best or malicious rancor at worst, for you know nothing of the background that nurtured the person who I am.

I am happy and comfortable in my own skin though I've had to look at the world through the eyes of someone who has suffered for who he is. This is in large part to similar agenda on the part of members of your party and sect who routinely quote scripture and so-called moral law as a reason to punish me for a "crime" that I did not choose to do.

I do not see compassion in the way you act and are afraid to question your faith. Please note that I am not asking you to give up or doubt your faith; I am asking you to question it. The very process of reflection is premised on finding answers to deep questioning.

I doubt your decency as in the discussions I have seen you in show your behavior to be that of a person who literally tries to talk over another person while he is explaining his point. It shows you do not want to listen. Your inability to enter dialogue regarding this issue reveals a weakness as a legislator; I fear for the minority in your constituency.

I am not American, but your words affect me as the world looks to countries like America to set precedents and examples in good governance. I wish the politics of your country would not affect mine, but that is wishing for disappointment. I hope other Americans remember to take up the causes of people outside their borders who depend on them. This means that I wish Americans would not be insular to how the world works, which I sometimes fear is the case whenever I watch you, Ms Sally Kern, on the television.

In truth, I find it very hard to stay calm while I type this. I am livid. I am unhappy that opinions like yours continue, that you have an agenda that deliberately seeks to hurt other people or deny them rights that they are entitled to. I despise your position that the homosexual agenda, whatever you think it is, be it seeking civil unions or marriage or easier adoption of children for gay couples, is that it is worse than terrorism. I believe your idea of the moral fabric of America is a moth-ridden one, for it willingly only covers individuals who do not fall through the holes in your logic or sense of decency.

I am of the opinion that you are a reprehensibly misled human being. But I do not believe you are worse than a terrorist. I believe you are not someone out to kill and murder other people because they have a different world view than yours. I do believe however that you are only but a few steps removed from the kind of extremism that defines those willing to undertake terrorist actions, for your unwillingness to enter dialogue, the lack of compassion and unwillingness to reflect is behavior eerily similar to theirs.

I am sorry that people want to hurt you. Apparently you get many hateful messages. I am sorry. These are message born of anger. I am trying not to be hateful now, but I find that many of things I am saying must sound hurtful. I will leave it you to figure out if these are hurtful simply because they are born of frustration and anger, which I admit to feeling, or because the truth hurts sometimes. I am hoping it is the latter.

That is all, Ms Kern. I hope we find something to agree about, for as much as I would like to totally dislike you I still think you are a well-meaning human being. On this issue though, we are most definitely on opposite sides of the fence.

Interesting (Tonys) Trivia

Gilmore Girls fans...

Kelly Bishop (the mother/grandmother) is the SAME Kelly Bishop from the original cast of A Chorus Line. She played Sheila.("Daddy always thought that he married beneath him, that's what he said, that's what he said") She has a Tony award for Featured Actress in a Musical, as a Drama Desk award for the same character.

Amazing how some of my favorite performers have something to do with Broadway (particularly Tony Awards), and I didn't know it...

Other shout outs:

Sara Ramirez of Grey's Anatomy fame won a Tony as the Lady of the Lake from Spamalot.

Bert Lahr (the Cowardly Lion in The Wizard of Oz, one of my all-time fave movies) won a Tony in 1964 for Foxy.

Kevin Kline (of In & Out) won a Tony for The Pirates of Penzance in 1981.

Jason Alexander from Seinfeld won a Tony for Jerome Robbins' Broadway in 1989. He also originated the character of Joe in Merrily We Roll Along.

Harvey Fierstein, who I've loved since the movie Torch Song Trilogy (which showed on the i Channel all those years ago) won 4 Tonys in different categories.

Movie actors with Tonys: Al Pacino won the Tony in 1977, while Ian McKellen did in 1981. Jeremy Irons won his Tony in 1984. James Earl Jones has 2 Tonys! Ralph Fiennes won his in 1995.

I know it's mostly men, but I only got so far before getting timed out from the Internet Broadway Data Base (www.idbd.com).

Yay!









Brothers & Sisters

I've been watching this show and it's only been 3 episodes, but I'm already in love with it.

Quotable quotes:

On relationships: "You can't be faithful until you know what you're faithful for."
On seeing people you like: "Whenever I see you, I drop ten stories inside."
On responding to the statement about seeing people you like: "It won't work, we're not a Julia Robert's movie."

Hahaha. :P