Benefiting: Lesbian, Gay, Bisexual & Transgender Community Center
Produced by Cross-Eyed Bear Productions
Written/Directed by Duncan Pflaster
“Adrian and Javier are a gay couple who don’t believe in marriage- but everyone assumes they’re married. When they realize they’ve never actually opened up their “open relationship”, they decide to each go out and get laid, with hilarious and erotic results. Featuring an all-male cast of 13 in an epic satire of modern gay society. Warning: Nudity.”
- Fri 6/8/12 – 6:30pm
- Wed 6/13/12 – 10:00pm
- Sat 6/16/12 – 10:00pm
- Mon 6/18/12 – 7:30pm
- Thu 6/21/12 – 10:00pm
- Sat 6/23/12 – 6:30pm
Answers by Duncan Pflaster
Karen Tortora-Lee’s Question
How did you come up with the title for your show?
Duncan: It actually took a long time and I went through several titles- It began life called Fidelity, was called Sex and Sensibilities for a while, then went through a number of options that weren’t quite right: One Touch of Penis, The Salad of the Bad Young Men, I Am Into Champagne, Wang the Drum Slowly, and then I tentatively settled on the somewhat bland Equality for the first draft and private reading with my playwright group… but then I read an interview with Paul Rudd in US Weekly where he mentioned the awkwardness of doing nude scenes and pitied the poor soundman who had to look at his hairy taint- and BAM, “The Taint of Equality” it was. The pun sounds vaguely dirty and makes people giggle, but the other meaning resonates with the Gay Marriage themes of the play. And the subtitle of course is from the 80s George Michael song- since he’s struggled in his personal life with some of the same fidelity/monogamy issues as my characters (and is mentioned in the play), that just seemed to be appropriate.
Diánna Martin’s Question
If you were going to invite 5 people (from the past or present) to see your show – who would you invite … and why?
Duncan: (Singer) George Michael, (Playwright) Noel Coward, (Composer) Stephen Sondheim, (Columnist) Dan Savage, and (Gay-for-Pay Porn Star) Paul Carrigan- each of them inspired parts of the play, and I think they’d get a kick out of it.
Antonio Minino’s Question
What is the biggest sacrifice you’ve made for your art and was it worth it?
Duncan: Oh man, it seems like I’m always sacrificing something to make my shows happen. I’ve been averaging two full-length shows per year the last few years, and it’s been more and more of a difficult battle. Frankly, though I’m extremely proud of all the plays I’ve done and have been very lucky to work with such great people through the years, it’s been feeling less and less worth it as I go on. I’m considering giving up producing my own work and just doing something else for a while.
Geoffrey Paddy Johnson’s Question
Was there any unexpected discovery made during the development of this production and can you share it with us?
Duncan: Well, I wrote the first draft of this play in 2 months, which is the shortest amount of time in which I’ve ever written a full-length play (I usually average about a year), so that was unexpected; I didn’t know I could write so quickly. I’m still working on more drafts of Nothing Human, the other (more dramatic) play which I took a hiatus from to write Taint.
Michelle Augello-Page’s Question
What do you hope the audience receives from the experience of seeing this show?
Duncan: I hope they are entertained, but also leave thinking about the issues; they’re presented in a hilarious way, but deep down it’s a serious show that presents philosophical questions about relationships and what they could look like.