The Happiest Medium » Writers

Charlotte The Destroyer (2014 Frigid New York Festival)

Geoffrey Paddy Johnson — Wed, 26 Feb 2014 17:53:05 +0000

Gretchen Knapp, Shawn Patrick Murphy, Megan O’Leary
(photo Credit: DFXDEN)

The idea behind Megan O’Leary‘s play Charlotte the Destroyer is at once intellectually brilliant and artistically fecund. An author of a series of successful children’s stories featuring the character of a a young girl, Charlotte, elects to write a novel in which her youthful star will grow up. She chooses to do so, however, at a point of singular mental fragility in her own life, and as her world slides out of control, her heroine evolves into a powerful agent of destruction in the process. The created character who overtakes the creator is, of course, a shadow tale that has been around since Pygmalion was found outside the Garden of Eden. But what a compelling twist O’Leary gives the story in this new suit of clothes.

The play opens on a truly squalid apartment interior, and you don’t need to have a PhD in psychology to know that all is not well in the world of the occupant. At the rear of the stage loom three large two dimensional storybook illustrations; a woman, a man, and a cat. Huddled amidst them is a live figure, ponytailed and knee-socked, still as a statue for the moment – the eponymous Charlotte (Gretchen Knapp). Already she is more real, larger than the frame that tries to contain her. In the foreground Charlotte’s creator and her boyfriend go at it in a bitter round of morning, post alcoholic dejection. Nothing, really, is working in these people’s lives and we are set up to wonder if, by story’s end, it ever will. Between bouts of sulky drinking and trenchant bickering the author works at her typewriter, and her creation takes the stage as the new story unfolds. Much as we could wish to escape the author’s bleak and bruised world, Charlotte’s new scenarios become only more horrible at every turn. Each novel episode burrows away at the author’s own plausibly repressed history, but only digs us deeper and deeper into the rabbit hole. There is no way out for the writer and, indeed, for us. Charlotte proves to be a feelingless sociopath, infecting each moment with an uncomprehending cruelty even as her world rises up to abuse and victimize her. As jaggedly desperate as her creator is, the creation is even more alienating. The only reason you might wish to laugh here is because otherwise you would think to cry.

Like much that is designated dark comedy – and here the accent falls very gravely on the dark – Charlotte the Destroyer is almost entirely cerebral as an exercise, and distrustful of feeling. The writing repels empathy. And here is the rub for this production. In the dire battle of wills between author and creation, who is to prevail? As O’Leary herself demonstrates little to no sympathy for her characters, it is well nigh impossible for an audience to really care. Which sadly - in this otherwise excellent production - goes a long way to diminishing the overall impact.

Reprising their roles from the Edinburgh Fringe Festival of 2006, playwright Megan O’Leary takes the part of the sketchily named author character, and Gretchen Knapp that of Charlotte. Both are effective, Knapp - hosting more than a spoonful of whiskey in those girlish tones (another quietly thoughtful and startling detail) - especially absorbing as the wan faced, perverse destroyer. The production is by The Playhouse Creatures Theatre Company. Joseph W. Rodriguez, Emily Dahlke, Shawn Patrick Murphy, and Alex Carmine flesh out the cast, and all deliver under the watchful direction of Janet Bobcean. Some steely and assured theatre awaits; you’re sure to be appalled.

~~~

Charlotte the Destroyer
Company: Playhouse Creatures Theatre
Directed by: Anais Koivisto

Remaining Performance:
Feb 26, 7:05PM
Mar 03, 5:30PM
Mar 08, 2:05PM

Click HERE for tickets

Running time: 0 h 55 min
Price: $10.00 – $16.00
Seating: General Admission

The Kraine Theater
85 E. 4th Street
New York , New York 10003
2nd and 3rd Ave

Horse Trade Theater Group will present the 8th Annual FRIGID New York Festival at The Kraine Theater (85 East 4^th Street between 2^nd Avenue and Bowery) and UNDER St. Marks (94 St. Marks Place between 1^st Avenue and Avenue A) February 19-March 9. Tickets are available for purchase in advance at www.FRIGIDnewyork.info or by calling 212-868-4444.

Book Review: Best Erotic Romance

Michelle Augello-Page — Wed, 21 Mar 2012 17:33:23 +0000

Best Erotic Romance (Cleis Press, 2012) offers a sampling of work from some of the best authors writing in the erotic romance genre today. Editor Kristina Wright introduces Best Erotic Romance by saying, “These are the stories that touched my heart and ignited my libido, that made me think about the nature of desire and the unpredictability of the human heart. Each of these seventeen stories weaves love and passion so tightly that one cannot be separated from the other. And isn’t that what a lasting relationship is all about?”

Well written and provocative, the stories in Best Erotic Romance touch upon many different aspects of our sexuality and our expressions of sex within the context of our most intimate relationships. This is a book that celebrates the role of sex in our lives, and the need we have for intimacy, love, and passion. As a whole, the collection supports conversation, communication, and self-reflection. In the foreword, Shayla Black encourages readers to “embrace these stories for what they are: a true mirror of our inner needs, our longing to combine souls, to discover our truest selves. Explore. Fantasize. Wonder.”

Best Erotic Romance offers a wide range of stories which explore and reveal our most intimate connections, encompassing a vast array of situations, characters, and settings. The relationships in these stories are mostly heterosexual and vary from long-term marriages to first encounters. The characters range from unattached singles to divorced parents to married couples with children. These stories take place across the world, and are rooted in our relationships with the erotic, body and mind, heart and soul.

Best Erotic Romance

Edited by Kristina Wright. Cleis Press, 2012. Foreword by Shayla Black

What Happened In Vegas by Sylvia Day skillfully balances the genres of romance and erotica, combining traditional romance with scorching hot sex.

First Night by Donna George Storey explores the concept of marriage and anticipates the subtle changes that such a deep commitment can bring.

Another Trick up My Sleeve by Heidi Champa finds humor and depth in a couple’s quest to bring excitement back to their sex life.

Drive Me Crazy by Delilah Devlin is a lusty story about attraction and the push and pull of two characters as they reveal themselves to each other.

Once Upon a Dinner Date by Saskia Walker is a delightfully playful story that feeds upon the sensual exploration of sex.

He Tends to Me by Justine Elyot searches the place of love in a Dominant/submissive relationship dynamic.

Guest Services by Angela Caperton explores sex as self-empowerment, as the main character learns to take what she wants.

Memories for Sale by Andrea Dale is a story about a couple in a broken relationship opening up to communication and healing.

Blame it on Facebook by Kate Dominic finds the main character reconnecting with her past, and finding a path to her future.

The Draft by Craig J. Sorenson explores the powerful need for connection between two strangers who meet by chance.

To Be in Clover by Shanna Germain is a beautifully written story encompassing the wild, boundless nature of our sexual selves.

Honey Changes Everything by Emerald explores sex as a place of empowerment, as a couple finds strength in each other during a difficult time.

Cheating Time by Kate Pearce is a hot, heady story which engages and shows the love, passion, and sheer lust between a couple who take time to rediscover and reignite the fire between them.

Our Own Private Champagne Room by Rachel Kramer Bussel explores pop-culture sexuality and self-awareness as the main character actualizes her fantasy.

Till the Storm Breaks by Erobintica is a story about sexual openness and acceptance, as a married couple finds erotic pleasure between them rekindled through a threesome.

The Curve of Her Belly by Kristina Wright explores the concept of beauty and body image, as the main character struggles to see herself as the beautiful, sexy woman her husband sees, revealing a story of love, intimacy, and desire.

Dawn Chorus by Nikki Magennis is a story about the primal, emotional, natural expression of sex, as two characters crash into each other’s dark worlds, bringing to light the deep need we all have for connection with another.

About Cleis Press

Cleis Press publishes provocative, intelligent books in the areas of sexuality, gay and lesbian studies, erotica, fiction, gender studies, and human rights. The largest independent queer publishing company in the United States, Cleis Press was founded in 1980 by Felice Newman and Frédérique Delacoste. Brenda Knight is Associate Publisher and Kat Sanborn is Editorial Associate.

About Kristina Wright

Kristina Wright is an award-winning author whose fiction has appeared in over seventy-five anthologies. A member of the Erotica Readers and Writers Association, Romance Writers of America, and Passionate Ink, Kristina received the Golden Heart Award for Romantic Suspense from RWA. She is the editor of Steamlust, Dream Lover, and the bestselling Fairy Tale Lust.

________________________________________________________________

When Writers Read – Motel Girl

Karen Tortora-Lee — Thu, 15 Jan 2009 16:56:43 +0000

Webster’s Dictionary defines Theatre as … come on. You really think I’d start off like that?

Theatre as concept, theatre as concrete structure, theatre as war … for the purposes of these posts, “theatre” is any time someone stands (sits or lays) in front of a group of others and entertains them. So today rather than review a play, I’d like to exercise that notion and take a bit of a turn.

Author Greg Sanders is currently doing some live readings from his book Motel Girl. “These stories take the reader on journeys realist and absurd, meta-fictional and post-modern. Motel Girl is peopled by the colorful, the transcendent, the sane and insane – by egoists, self-deprecators, demons and drunks, by the well-meaning and by monsters” says the press release. Hmmm … that about covers all my required bases, as well as pretty much describes all the people in my circle. I’m already intrigued.

I sat down with Greg to talk about what it feels like to go from having your words speak for you … to speaking your own words out loud.

KTL: Hi Greg, thanks for taking some time to chat with me. First of all, congratulations on your book! I’m really excited that you’re getting out there, doing these reading. Tell me, did you decide to do this to promote the book, or because you wanted to hear the written word brought to life?

GS: Thanks Karen. I think I read for two reasons. The first is, as you say, to hear the written work brought to life, and doing so even points out places where I might be able to improve my writing next time around. You might think a phrase looks good and elegant on the page, but you might then notice that there are a few words that can be cut when you hear yourself speak it out loud. The second reason is business–to try to promote the book. I have an informal agreement with the publisher, Red Hen Press, that I’ll do about ten readings in the first year of the book’s life. Since Red Hen is fairly small, they depend on their writers to do a bit of promo. Well, there’s a third reason too–social. It’s generally a great excuse to get out, have a few drinks, and meet up with friends and strangers.

KTL: So, you’ve already done a few of these for Motel Girl. How did it feel?

GS: I’ve done two Motel Girl readings so far. The first was in Ithaca, NY, and then I did one earlier this week at The Half King, in Chelsea, which was great, and a solo show. There was a very sweet and warm vibe in the place. Although I’ve just started doing the rounds for Motel Girl, I’ve been doing readings for about ten years. I’ve read my stories at a bunch of venues in New York, sometimes hosted by a literary journal, sometimes hosted by a bar or restaurant. So it’s not an entirely new thing. It’s just that now I actually have a book, whereas in the past I used to just be able to point to literary journals where my stories were published. To the point of your question, it feels great to get up there and read a story. It’s the flip side of writing the thing, which involves a lot of isolation and silence.

KTL: When you’re standing up in front of a group of people … then it’s ALL YOU. You’re not an actor, reading someone else’s lines. This is you, speaking your words, front and center, no place to hide. Any pressure?

GS: I used to feel pressure, but now I just don’t want to screw up any of the sentences, and if I do I usually make a joke about it, or just read the flubbed bit again. I feel more pressure when it comes to selecting which story to read for which venue, and to ensure it stays within any given time limit. If you’re participating in a reading with other writers, you generally don’t want to go more than 12 or 15 minutes.

KTL: Did you ever consider having someone else read your work for you?

GS: Not really. I’m not sure what sucker I could get to do that, anyway. I think if it ever gets to the point of producing an audio book, the publisher would consider hiring an actor to make the recordings, though I’d even like to give that a shot if it happens.

KTL: How do you go about picking a venue for your readings? Is there a space that just wouldn’t work with your subject matter? Do you look for a vibe? A crowd? Or do you just go where the space is available?

GS: The short answer is that I’m a bit of a reading slut. If they’ll have me, I’m game. It’s really a toss up at times. You might read at a supposedly nice venue, but nobody shows up; or you might read at a hole-in-the-wall Monday night reading series, and the place is packed and energetic. Of course some venues are selective themselves, and won’t let you in unless you’re “known.” The Union Square Barnes and Noble, for example, practically laughed at me when I asked to read there. Others, like The Half King, have a submission policy. My publisher filled out an online form and sent the host a copy of my book, and he eventually emailed me with an invite.

KTL: Do you have acting in your background? Or playwriting?

GS: I was in a little theater group in high school, and I enjoyed that, but that’s it for acting.

KTL: Has doing live readings struck a chord with you … in other words, has hearing your stories read aloud given you the bug to see a full play of yours performed?

GS: One of the stories in Motel Girl, “PS2 Mouse Adapter,” was nearly adapted for the stage. An actor got in touch with me, said she enjoyed the quirkiness of the story and wanted to play the role of the main female character. We began to work together to write a stage play adaptation, but the actor then got a bunch of paying gigs so we’ve been out of touch. But yes, I’d like to adapt some of the stories for the stage or screen eventually.

KTL: Have you ever attended another author’s reading that really struck you?

GS: Unfortunately, the readings I remember the most are usually the terrible ones where the reader is up there for much too long, the bar is hot, your drink is empty, and the material is so-so. I won’t name any of those experiences, but they taught me to be quick about my own readings, to understand that often my audience is composed of people who are more interested in getting their next round than meditating on the existential issues raised by my short story. You’ve got to entertain to some degree, and not be precious about it. This is certainly not the rule, but if you assume that your audience is antsy, you’re more likely to do a decent job.

KTL: Here’s the bonus question section! Here’s your chance to go off topic, stay on topic, mention anything you’d like the readers to know about you, your body of work, Motel Girl, how it feels to be a writer … anything! For as long as you want! Go!

GS: Thanks Karen. I’ll just say that I’ve got a couple of new stories out and that I’m working on a new collection and a novel. You can get more info at http://www.gregorysanders.com.

You can still catch a few of Greg’s reading of Motel Girl around town; check out the following locations and times:

Thursday, January 15th 2009, 7:00 PM
KGB Bar
85 East 4th Street
NYC 10003
(212) 505-3360
Hosted by the Drunken, Careening Writers series

Thursday, January 22, 2009, 7:30 PM
Pete’s Candy Store
709 Lorimer St.
Williamsburg, Brooklyn, 11211
(718) 302-3770

Wednesday January 28, 2009, 7:30 PM
Bar on A
170 Avenue A @ 11th Street
NYC 10009
Hosted by the Guerrilla Lit Reading Series
(212) 353-8231

The Happiest Medium » Writers

Charlotte The Destroyer (2014 Frigid New York Festival)

Related Posts:

Book Review: Best Erotic Romance

Related Posts:

When Writers Read – Motel Girl

Related Posts: