- See more at: http://www.bloggerhow.com/2012/07/implement-open-graph-in-blogger-blogs.html#sthash.xZkXNjhB.dpuf W. Simmons & Associates: June 2012

Saturday, June 16, 2012

Finally some Last Frontier Theatre Conference photos

As you know, Kevin is at the Last Frontier Theatre Conference in Valdez Alaska.  He is totally without telephone connectivity and there is an intermittent wireless Internet connection.  But he was able to get some photos to me and the Associates were able to help me post them.

Kevin with Steven Hunt, a playwright who is not only on the festival program's cover but one who played Kevin in a Fringe performance of his play "Command Performance."  Steven's wife Deborah Gideon played Carol in Kevin's Play Lab performance of "The Art of Love."
Kevin and his wife, playwright Jennie Olson Six, flank first-time playwright Marina Veronica Garritano.  Marina "hit a home run on the first pitch," says Kevin of her play "Sfumato".
The B Room Boys.  It turns out that the first two people that Kevin and Jennie met in Valdez were playwrights who were also showing plays last Thursday and all in room B.  Kevin's "The Art of Love" was first, followed by Brian Walker's (center) FB:a ghost story and David Clark's "BANANAPOCALYPSE".  A fine showing, says Kevin.
Jennie not only got a play into the Fringe, but got it noted on the Fringe Board.  Jennie's introspective "Last Day" was well received by the Fringe audience who are used to edgier faire.

Sunday, June 3, 2012

Old JT Photos

Found a few more photos lying around.

Improved Website

www.WSimmonsAndAssociates.com has been updated with all the newfangled thingeys.  If you're looking for a playwright (who doubles as a copywriter), go no further.  Enjoy the new website that Kevin and Bill have been sweating and arguing over all week...

Friday, June 1, 2012

No Problem

ONE: Here’s the problem—

TWO: What problem?

ONE: The problem.Here it is.

TWO: There is no problem.

ONE: Oh, yes there is a problem.

TWO: How can there be a problem?

ONE: How can there be a problem?

TWO: Yes. How can there be a problem?

ONE: How can there be a problem?

TWO: Yes. That’s what I’m asking.

ONE: I should ask you—

TWO: But I already asked you—

ONE: But I want to know more.

TWO: How do you know?

ONE: How do I know what?

TWO: How do you know that you want to know more?

ONE: I always want to know more. That’s why I read.

TWO: Read what?

ONE: What do you mean?

TWO: What I mean is what do you read?

ONE: My point is that I read because I want to know more.

TWO: I thought you wanted to know more than me.

ONE:  Of course.

TWO: I mean that you wanted to know more strongly than me.

ONE: That too.

TWO: What too?

ONE: I want to know more, more profoundly than you.

TWO: More what?

ONE: See? That’s the problem.

TWO: What problem?

ONE: The problem.

TWO: In which I come up short how?

ONE: You don’t know?

TWO: How could I know?

ONE: Wouldn’t you just know? Shouldn’t you just know?

TWO: Obviously if I don’t know, then I don’t know what I don’t know and so, no, I shouldn’t just
know.

ONE: Well that’s a problem.

TWO: Branching off of what problem?

ONE: What?

TWO: What problem?

ONE: That’s what I was saying.

TWO: What.

ONE: That there is no problem.

TWO: What problem?

ONE: What problem what?

TWO: What problem is there not one of?

ONE: What problem is there not one of?

TWO: Yes.

ONE: What does that mean?

TWO: I could ask you the same thing.

ONE: Could you?

TWO: Yes.

ONE: Would you?

TWO: I don’t know.

ONE: But you just said you could.

TWO: Yes.

ONE: Well, why don’t you?

TWO: Why don’t I?

ONE: Why?

TWO: Why?

ONE: What were we talking about?

TWO: You don’t remember?

ONE: Don’t you?

TWO: Maybe I do and maybe I don’t.

ONE: You don’t.

TWO: I might.

ONE: But you don’t.

TWO: You don’t either.

ONE: I never said that.

TWO: You didn’t have to...

For rights and royalty information, please contact W. Simmons & Associates
info@wsimmonsandassociates.com

The Art of Love

MORNING (AMERICAN MASTERS)

The lights come up on an art gallery (preferably an existing one at the San Diego Museum of Art). A museum guard, ANDRÉ, is getting ready for the morning’s first visitor.He is oldish, largeish, dark-skinned and very handsome in his uniform and cap. He IS the American Gallery; as much a resident as the American Masters displayed there. ANDRÉ busies himself readying the gallery: checking on the leaflets, straightening benches and checking the air filter.It is a comfortable life for one who loves art and people.He speaks to the paintings and calls them by name.

ANDRÉ
Good morning, Miss Bernadetta. Slept well, I trust. Miss Rose, looking pensive as ever, I see. Mrs. Crane. Easy, Doctor Moore. All right, ladies and gentlemen – and landscapes. Time to shine. I want you all to be on your best behavior today, as if you didn’t know what day it is. Tuesday, kids. Tuesday is Mrs. Moore’s day. I know. Now, don’t worry. You’ll be fine. She loves you all the same. Just like I do. All the same. Remember that.

ANNOUNCER
Attention Museum Staff. The Museum will open in five minutes. Please take your stations and remember:

ANDRÉ and ANNOUNCER
Each guest is a treasured guest, so treat them all as you would your own family.

ANDRÉ
Not my family. I’ll treat them all like Mrs. Moore if you don’t mind.

As if on cue, MRS. MOORE enters. She is a striking, impeccably dressed woman of advancing years. She is as white as ANDRÉ is dark and as small as he is large. She commands attention because she genuinely nice. She is comfortable in the museum because of her love of art and people.

MRS. MOORE
Good morning Andre! So nice to see you.

ANDRÉ
Mrs.Moore. Is it Tuesday already?

MRS. MOORE
You don’t fool me, Andre. You got here extra early to rally the troops for my visit. Don’t deny it.

ANDRÉ
Mrs. Moore. If I spoke to the paintings, they’d lock me up and throw away the key.

MRS. MOORE
Nonsense! How long have you worked here, Andre?

ANDRÉ
More years than I can remember, Mrs. Moore.

MRS. MOORE
You probably know more than all those young punks who call themselves curators these days.

ANDRÉ
They have all the degrees, Mrs. Moore.

MRS. MOORE
Yes, but you’ve absorbed so much and you pack heat. And I know you know more than most of them. Last week I heard you discoursing on the Rembrandt.

ANDRÉ
Well.He’s our Rembrandt. The son of Harmen on the Rhine. The old Dutch Master and pretty good with light and shadow, Mrs. Moore.

MRS. MOORE
You are being altogether too coy, Andre. Tell me something I don’t know about one of these American darlings.

ANDRÉ
I think you know more than I do.

MRS. MOORE
When did I start coming here, Andre?

ANDRÉ
Right after I started in the janitorial staff and neither of us wants to know how long ago that was.

MRS. MOORE
All that time alone with the paintings, the sculptures, Andre. Keys to the vaults, the books and the archives. I know you didn’t waste it.

ANDRÉ
That was a fun time, Mrs. Moore. I could tell you stories…

AFTERNOON (ASIAN GALLERY)

The lights come up on an art gallery (preferably an existing one at the San Diego Museum of Art). Two couples, fortiesh, enter; the two men (BOB and TED) in front and the women (ALICE and CAROL) behind. They browse at the Asian art and comment.

BOB
What does it all mean, Ted? I mean…

TED
It’s Asian Miniature art, Bob. The sultan would hold them in one hand…

BOB
No, not that. Life.

TED
Oh, you’re getting all philosophical again. Geez, why don’t you get a corvette and a—

BOB
You did it.

TED
I did not.

BOB
You did it. You quit your job…

TED
Got laid off.

BOB
Took up surfing…

TED
I was invisible.

BOB
What do you mean?

TED
All those beautiful sun-baked goddesses and not a one ever said anything to me.

BOB
Getting hot chicks to look at you takes money, Ted. Besides what would we do with them?

TED
Bob, we’d do all kinds of interesting things… We’d…

BOB
Be asleep by nine thirty! Come on we’ve got great wives, they’re—

TED
Highly critical…

BOB
Undersexed…

TED
Spending machines…

BOB
That don’t cook.

CAROL
Ooh, this one’s nice. Alice, look at this one.

ALICE
An Imaginary Gathering of Sages. Carol, I don’t get it. It says Asian art and these guys are clearly Arab.

CAROL
Indian.

ALICE
Indian?

CAROL
Yes. It says these guys are dead Muslim saints.

ALICE
Well of course they’re dead; it’s four hundred years old.

CAROL
No, Alice. They were dead four hundred years before the painting was painted.

ALICE
Imaginary, I get it.

EVENING (EUROPEAN GALLERY)

The lights come up on an art gallery.An old man, ARTHUR sits before Apollo and Daphne with a bouquet of flowers. He faces the painting but speaks to his deceased wife, ANNNE.

ARTHUR
…it seems to me like it’s been the longest set of cold rain I’ve ever seen.Anyways, I brought flowers…Happy Anniversary, Annie darling. I don’t know if you’re here or not but it makes me feel good to remember you like you were. I still don’t know what possessed me to come up to you as you stood before this painting, but I’m glad I did. Apollo and Daphne. You and me. I remember coming in to the museum to get out of the rain, wandering into this gallery and seeing something more beautiful than all the art in the world. You were so determined to become a great painter….

ANNE has appeared. She is most definitely a spirit. She even wears robes like the ones Daphne wears.

ANNE
You were so handsome in your uniform. So unlike the men I was interested in then; bad skin and paint under their nails. You were different, Arthur. You weren’t afraid to love.

ARTHUR
I guess I loved you from the beginning, Anne. I couldn’t help myself. I mean there you were in those over-sized clothes, most of your hair all up, the rest falling into your beautiful face. Those glasses couldn’t hide your beauty. This has to be my destiny, I said, otherwise why am I here? I don’t like art.

ANNE
But I changed that for you, didn’t I darling?

ARTHUR
But you changed that for me. I miss you, Annie.

ANNE
It’s been interesting. Sometimes it’s painful to see people with so much going for them not getting it at all, but otherwise, it’s been fun to wait for you, darling.

DEVON and MARTIN enter in a flurry of action. DEVON could be ANNE in her younger days down to the wild hair, baggy clothes, and glasses that can’t cover up her beauty. She carries a large bag. MARTIN is a complete nerd but dressed nicely for the occasion and even has a flower in his lapel.

MARTIN
Are you sure he knows where to meet us?

DEVON
How should I know? He’s your friend, Martin. Didn’t you give him all the information?

MARTIN
Duh. I gave him specific instructions with GPS coordinates.

DEVON
And he has all the shit?

MARTIN
Couldn’t you refer to our marriage license and Tony’s clerkship as something other than shit?

DEVON
You know what I mean.

MARTIN
Look, if you don’t want to—

DEVON
I want to! Do you?

MARTIN
Devon, it was my idea. I just think sometimes that you’re doing it to shut me up.

DEVON
I’m here aren’t I? I want to get married right in front of (she sees ARTHUR) oh…

MARTIN
What?

DEVON (whispers)
That creepy old guy.  He’s here again.

MARTIN (whispers)
He likes the painting. I’m sure you can understand that.

DEVON
I just wanted everything to be… I don’t know.

MARTIN
You did?


For rights and royalty information, please contact W. Simmons & Associates
info@wsimmonsandassociates.com