Tuesday, July 23, 2013

Wringing Out Light Post Performances

The stage---or chancel---is set.

Neil is shrouded during John Donne's "Death Be Not Proud"
Wringing Out Light: Poems & Prayers is now past tense. A few post-show reflections (with more rehearsal photos) follow . . .

First, I'm most gratified by the conversations that occurred after the performances. They are what make Wringing Out Light a success. These old poems from across centuries brought forth discussions about illness, racism, and domestic abuse. The comments of "beautiful," "surprising," and "inspiring" are also much appreciated, but I will ponder the heavier conversations for a while.
Donna wrings out the light; Neil is shrouded behind her.

I always say that BB/OP is about "showing, not showing off," that we are "servants to the showing." In the process of rehearsing, that's an easy goal to lose track of. There are often nights of just trying to solve problems of staging and transitions. Still, there were things I had in mind of showing. I was particularly keen to share some of the more sensual, even sexual poems of the mystics. Last November, when we presented Jill Alexander Essbaum's Necropolis, I'd mentioned, in the post show talk-back, that one of the poems fit squarely in the tradition of erotic love poems to God. Some of the people in the audience snickered and I said, "No, that's a real thing." So I'm happy to have presented poems, asking God to "kiss me with the happiest kiss of your mouth." It was important to me to have people hear of desiring God in terms of a sensual ache and yearning. I believe I showed at least some of the audience another way to relate to God.

Similarly, it was important to me to not gloss over real pain and loss. St John of the Cross, with his dark night of the soul, was quite helpful in that regard, as was John Donne and George Herbert. In choosing and working with some of these poems, I challenged my own theological thoughts and perspectives. Do I really believe that "what moves all things is God"? Am I okay with not thinking of God as a "being"?

I chose pieces not just because they reinforced my own ideas about God---I wanted to show myself struggling with the material, too (whether the audience could actually see that or not, I couldn't say).

Runs of shows always come too early and are gone too soon. If I were to do this again, I'd set more time aside for just talking about the texts. The cast kept finding new layers right up until we closed, and maybe that would happen no matter how much we talked about the texts---who can get to the bottom of what the mystics have to tell/teach us? Still, this was one of those things that maybe got set aside because we got busy with problem solving and transition making.

Speaking of transitions---this sort of show is challenging in that regard. I wanted to give the audience time between poems to absorb the text. At the same time, I didn't want there to be simply a stopping between the texts. I aimed for a flow from one text to another. Austin choreographer Kathy Dunn Hamrick had posted on Facebook back in May: "In Modern Dance, once you understand the significance of transitions, you'll realize there is no such thing as a transition." As influenced as I am by modern dance, this tidbit kept running through my head as I worked on moving from one text to the next. This wasn't exactly modern dance, but I was thankful for Kathy's word that there is no such thing as a transition. It made me see these texts that spanned centuries as part of one lineage. It helped me realize that even as we moved from "ecstasy" to "darkness," life flows through the transitions, no matter how abrupt the turn in the flowing. 

Or something like that. 

A few people had asked about where I found these poems. Most of them came from a wonderful collection called For Lovers of God Everywhere edited by Roger Housden, but I also a couple of pieces in The Province of Joy, Angela Alaimo O'Donnell's devotional book using the writings of Flannery O'Connor. Angela offers some additional reading from other sources in the back of her book.   

Finally, I have deep gratitude to my cast. Roy Brooks, II, Bridget Lois Jenson, and Donna Meadows jumped into this project, trying whatever I asked of them. Patrick Flannery, who I asked to play guitar in response to what he saw us do, which he took on and fulfilled remarkably. (Patrick and I have had much fun about his involvement---I asked him to join us without actually having heard him play. He asked if I wanted him to audition. I asked, "Have you played in front of people before?" He had, so I told him what time rehearsals were. He asked if I was sure he was what I wanted. Sometimes, I have a gut feeling and sometimes I even trust it. This was one of those times that paid off with high interest.) Past BB/OP performer, Cassandra Shaffer-Permenter, had a conflict that kept her from joining us on this show, but she graciously came to two rehearsals to "watch book" for us, as we were memorizing our texts. It was good to have her involved, even if she couldn't perform with us this time. 

 And of course, a huge debt of gratitude to St. Stephen's Episcopal Church, who played host to our rehearsals and performances. There is no exaggeration when I say we couldn't have done it without their generosity. 

I'm not sure what is next for BB/OP. This show feels like something of a landmark, but I couldn't say how. The post-performance conversations will shape future decisions, I feel---again, I can't yet say how. 

Do check back here---or "like" our page on Facebook---to be among the first to find out.
 
Donna comes down the aisle out of the darkness.

Thursday, July 18, 2013

Wringing Out Light Final Rehearsal


Wringing Out Light: Poems & Prayers


1805 W. AlabamaHouston, Texas 77098

Friday, July 19, 2013, 7:30pm
Saturday, July 20, 2013 7:30pm
Sunday, July 21, 2013, 3:00pm

Admission: pay what you can

St. Francis of Assisi, Catherine of Sienna, George Herbert, John Donne, Teresa of Avila, and several more visionaries and poets are represented in this program of poetry and performance. Let the words of these mystics draw you to a place of contemplation (and maybe some rejoicing).


~~~~~~~~~~~~~~~~~~
 
 We had our final rehearsal tonight. Here's a few quick snapshots to help whet your appetite for the evening.

Last thoughts for those of you who are planning to come . . .

It's a short program. If you don't have time to eat before the show, you'll be able to find plenty open afterwards and it won't be so late as to completely wreck your diet.

At the same time, it's a dense show in the sense that the language of the poetry has a lot going on in it. We try to leave space in between the individual texts to let the words and images sink in.

Additionally, it felt that the material didn't lend itself to a curtain call/applause at the end. The ending is clear and those who wish to follow the performers out to the gathering area of St Stephen's are welcome to do so. We'd love to visit with  you.

At the same time, if you find  you want some more time in the space to sit quietly  with the material after the fact, you're welcome to do that as well.

I'll likely have some reflections on this experience after the fact, but for now, I think that is enough. Come see what Bridget, Roy, Donna, and I have put together. I think it will have some surprises and some delight and . . . well, a range of possible emotional responses.

Well, one last thing
 The performances are pay what you can. Feel free to come more than once---all three times, even---on whatever you pay the first night. Really. We want to show you this thing we've made.






Sunday, July 14, 2013

Wriging Out Light Sources





Wringing Out Light: Poems & Prayers


1805 W. AlabamaHouston, Texas 77098

Friday, July 19, 2013, 7:30pm
Saturday, July 20, 2013 7:30pm
Sunday, July 21, 2013, 3:00pm

Admission: pay what you can

St. Francis of Assisi, Catherine of Sienna, George Herbert, John Donne, Teresa of Avila, and several more visionaries and poets are represented in this program of poetry and performance. Let the words of these mystics draw you to a place of contemplation (and maybe some rejoicing).



~~~~~~~~~~~~~~~~~~~~~~~~


I've been working on the program tonight and thought maybe it would helpful to our audience to have an idea of what poems we're doing before they come to see the show. So here are the first lines of the poems and its source. All are online, so you should be able to find most of the texts with a little Googling.

Such love the sky now pours (Francis of Assissi)
O give thanks, for God is good (Psalm 136:1-9, paraphrased)
Glory be to God for dappled things (Gerard Manley Hopkins)
All things are too small (Hadewijch II)
When he touches me, I clutch the sky’s sheets (Teresa of Avila)
Draw me after you (Clare of Assissi)
I had a natural passion for fine clothes (Teresa of Avila)
I came to love you too late (Augustine of Hippo)
“What is grace?” I asked God (John of the Cross)
Without a place and with a place (John of the Cross)
How could I love my fellow men who tortured me? )John of the Cross)
Death be not proud (John Donne)
Love bade me welcome (George Herbert)
We awaken in Christ's body (Symeon the New Theologian)
Become as a child (Anonymous, 14th Century)
I first saw God when I was a child (Catherine of Sienna)
Unsophisticated teachers say (Meister Eckhart)
I cannot dance, O Lord (Mechtild of Magdeburg)

I hope the above increases your curiosity about the show . . .

Tuesday, July 9, 2013

Wringing Out Light Traps in the Process

Breath & Bone/Orts Performance presents: 

Wringing Out Light: Poems & Prayers

1805 W. AlabamaHouston, Texas 77098

Friday, July 19, 2013, 7:30pm
Saturday, July 20, 2013 7:30pm
Sunday, July 21, 2013, 3:00pm

Admission: pay what you can

St. Francis of Assisi, Catherine of Sienna, George Herbert, John Donne, Teresa of Avila, and several more visionaries and poets are represented in this program of poetry and performance. Let the words of these mystics draw you to a place of contemplation (and maybe some rejoicing).



~~~~~~~~~~~~~~~~~~~~~~~~

So why Christian mystics and all this? It's a fair question. 

In April---three months ago at this writing, in fact---I had a pretty big surgery, which I've written about elsewhere (check out my Crumbs at the Feast blog)---and despite the expected discomfort, etc., it all went remarkably well. Long story short, the experience left me with some wonder and gratitude. Besides, having strangers cut you open from sternum to navel, touch all kinds of things and cut some of it out? It's kind of a mystical experience, no matter how sciencey you want to be about it. 

So when I started thinking about the next project for BB/OP, prompted by WOL cast member Roy (who simply said, "I'm available this summer," which was enough), I looked about my cluttered apartment and picked up a collection of poetry from the Christian mystics. One of the first ones I read (randomly from the middle of the book, because who reads a poetry anthology from front to back?) was a very short poem from St. Francis, who wrote:

Wring Out My ClothesSuch love does
the sky now pour,
that whenever I stand in a field, I have to wring out the light
when I get
home.

Perhaps you see the source of the show's title? 

Anyway, it felt good. It felt right. I came up with the title, "Wringing Out Light," almost immediately. 

So as I began culling poems that appealed to me, that seemed to have some imagery I could stage (even if the staging was simply standing still with the words). I started gathering performers. I started shuffling the poems I had on my floor to find themes and maybe an arc to the arrangement. 

And then I saw a really big trap in this project. As I read the poems and tried feeling them in my body, I found a intense, almost gravitational pull upward. My gaze, my posture, my arms . . . 

I thought---oh crap, I'm going to ask an audience to spend an evening looking at people looking and reaching to the sky. 

No. No no no nonononononono! 

There's nothing like fighting against the pull of all the worst cliches of liturgical dance (which isn't a crack at liturgical dance, just at bad liturgical dance). But I remembered a piece of advice from a college acting teacher, the late, great James Nelson Harrell (he referred to himself as "Little Jimmy Harrell from Waco").
He would tell us to "play the opposite." A sad scene is sadder if the character is trying to laugh instead of cry. That sort of thing.

So my first task was to find some poems that had a bit of a darker edge. (St John of the Cross is good for that, John Donne helps, too.) Then I made sure that my performers knew that I was going to fight against the upward gaze and reach. Finally, I found a very few times when I allowed that gravitational pull to lift our eyes and hands upward. Hopefully, all this will make for a richer palette of images. 

Besides, the mystics would tell us that God is not in heaven, not exclusively. God is below, beside, in front, behind, within . . . plenty of directions in which to give our attention. 

I hope you will come check out what we've done. I hope it's as luminous as getting cut from sternum to navel. 

Thursday, July 4, 2013

Wringing Out Light Performers

Breath & Bone/Orts Performance presents: 

Wringing Out Light: Poems & Prayers
 
1805 W. Alabama, Houston, Texas 77098

Friday, July 19, 2013, 7:30pm
Saturday, July 20, 2013 7:30pm
Sunday, July 21, 2013, 3:00pm

Admission: pay what you can

St. Francis of Assisi, Catherine of Sienna, George Herbert, John Donne, Teresa of Avila, and several more visionaries and poets are represented in this program of poetry and performance. Let the words of these mystics draw you to a place of contemplation (and maybe some rejoicing).



~~~~~~~~~~~~~~~~~~~~~~~~
Rehearsals for Wringing Out Light are humming right along. One night soon, I need to remember to take some pictures to post of the rehearsals . . . 
Today, I thought I should introduce the performers. Briefly: 
Donna Meadows
 Donna Meadows

Donna has worked with me on every Breath & Bone event that wasn't just me performing solo. She has a long history in the Houston dance community and has enthusiastically jumped into anything I was doing. 

So if you were at Hope Stone Studios last fall for Jill Alexander Essbaum's Necropolis, or at the Photobooth on Montrose for ShadowPlace, you're probably well familiar with Donna, at least in regards to her work with BB/OP.

Bridget Lois Jensen
Bridget Lois Jensen

Bridget is a first time performer with BB/OP but I've known her for a few years now. She is active in several communities around Houston, both religious and social justice oriented. A track coach by profession, you can also find her in community gardens, rallies for fair treatment of immigrants or against the death penalty, and who knows what else. 

She started working with me a couple of years ago on a project based upon the Desert Fathers, which got interrupted by personal crises (and it's a project that isn't so much dead as dormant but quietly still developing). She's expressed interest in performance for a while and I've been watching for when she might be able to work with BB/OP. And here we are. I couldn't be happier. 
Roy Brooks, II
Roy Brooks, II

Roy was another person involved in that Desert Fathers project. Shortly thereafter, he started a PhD program in theater and performance and I figured my chances for working with him were past. 

Then he contacted me a couple of months ago and said he'd be in Houston this summer, did I have any projects he might participate in? 

Well, at that moment, I was recovering from my surgery and just beginning to think about what the next project might be. His note kind of kicked me into gear and, again, here we are. I'm quite thankful for his reaching out and getting me going again---even if that was his purpose for contacting me! 

Patrick Flannery 

For the first time, I've engaged a musician to participate in a BB/OP program. I go to church with Patrick and I've seen him carry around his guitar and heard him talk about his passion for playing (and his wife's comments to similar effect). This was one of those situations where he was in the right place, standing where I was looking. I admit, I had never actually heard him play before, and he offered to audition for me. I said, "If you can improvise and you've played in front of people before, you're what I'm looking for." I also don't often choose collaborators that freely, but somehow I knew Patrick would be a good fit. He's rehearsed with us once, now, and my gut feelings have been proven correct. His playing is going to add a wonderful layer to the evening. (And I need to get a shadowy photo of him, I guess . . .) 

And there's me. So four of us performing the words and movement of the poems, one guitarist adding some aural layering to it. 

Next time, I'll talk a bit about how I've gone about staging the poems, the traps I discovered in taking on this project. More soon. Thanks for your interest and share with your friends!