The Importance of Being Earnest Review

The Importance of Being Earnest Review

The Importance of Being Earnest is about two friends, Jack Worthing and Algernon Moncrieff. These men developed a persona, “Earnest,” in order to try and capture the hearts of the women that they loved. Jack pretended to be Earnest in order to live the “wild” life and eventually win the heart of Gwendolen. He was known as Jack in the country and to his family, and as Earnest in the city -to everyone else. Algernon discovers Earnest’s double life, when he finds an inscribing on Earnest’s cigarette case that read “…to Uncle Jack…. from Little Cecily.” Earnest eventually had to explain who “little Cecily” was and revealed his real name: Jack. Algernon then took it upon himself to follow Jack back home, where he then portrayed the role of Earnest, in order to meet Cecily. After a while, both men were discovered as liars by the women who meant the most to them. In the end they both win over Gwendolyn and Cecily (respectively). Jack, finally, also finds out that he is Algernon’s brother…. and that his birth name was Earnest.

Will Weimer, the actor that played Jack, stood out the most to me during the performance. I believe that he did an extraordinary job as Jack. Many of his specific choices –mannerisms and such –really added to the character. I especially remember the beginning scene between Jack and Algernon (Will and Adam). The two worked so well together; they had such great chemistry.

There were many elements that played a crucial role to the production. These included the costumes, lights, scenery and music. The costumes portrayed each character’s personality and stated their social standing. They also conveyed to the audience the time period of the play and demonstrate the relationship among the characters. The lights kept the audience alert of the mood, defined style, established time and place, and provided a focus point for the audience. The scenery provided an environment that embodied the characters lived and defined the style. The furniture was gorgeous and so fitting to the scenes. I absolutely loved the idea of using music to cover up the sound of the scene changes going on. It also set the mood and time of the century allowing audience the sense of the time frame.

All of the actors did a beautiful job putting the piece together allowing us to live the story as it was being performed. Each actor had their own unique role that added to the production as a whole. Even the more minor roles, such as the maid and butler, did an excellent job keeping the audience attentive through comedic acting choices.

This drama was well organized from props, costumes, and lights to the overall performance of the actors. I had read the play multiple times before –picturing it done in my mind as I read. This production was absolutely nothing like I imagined it would be, in a good way. Certain things that I missed while reading (or thought nothing of ) like the Butler’s character and a few comedic bits were really emphasized in this production.

Costumes -Little Shop of Horrors

Costume – Little Shop of Horrors

Seymour is a nerdy orphan working at Mushnik's, a flower shop in Skid Row. Seymour is in love with his co-worker, Audrey Fulquard. He is constantly criticized by his boss, Mr. Mushnik. Seymour, one day, is searching a Skid Row shop for a “new and mysterious plant.” While searching, he comes across a mysterious and unidentifiable plant that he names: Audrey II. The Audrey II has a craving for blood and soon begins to sing for his supper. Seymour first suppl;ies this blood from himself, but after awhile that is not enough. Seymour needs to find an alternative. Meanwhile Audrey is dating a sadomasochist dentist. Soon enough, Seymour feeds him to Audrey II. Mushnik witnesses the death of Audrey's ex boyfriend and he then gets fed to Audrey II, as well. It is then up to Audrey and Seymour to stop Audrey II from taking over the world.

Seymour: Seymour will wear a red cap. He’ll also have a white dress shirt covered by a sweater vest. He’ll also wear khaki pants.

Audrey: The actress will have a blond, styled wig. She would wear a white button down blouse. She would also wear a pleated 1960’s skirt.

Mushnik: Mushnik will wear black slacks, with brown shoes. He would also wear the inside vest part of a three-piece suit –also with a white dress shirt and tie. Over that he would wear a sweater.

The Dentist: The dentist would wear, of course, a dentist’s outfit. He’ll have a facemask and latex gloves. He would also wear blue scrubs and a white dentist’s lab coat.

The Ronettes: The Ronettes would, of course, dress alike. They would wear high heels and very colorful dresses that fit the era of the 1960s. Their hair would also be piled very high on their heads.

Costumes: Thoroughly Modern Millie

Costumes for Thoroughly Modern Millie

The musical, Thoroughly Modern Millie (based on the movie with the same title) is about Millie Dillmount, a small town girl from Salina, Kansas, who leaves home and goes to New York City in 1922. She comes to New York to marry, but for money and not for love. She “raises her skirt and bobs her hair” and joins the modern world by adapting to the “flapper” style. She checks into a The Hotel Priscilla (run by Mrs. Meers) –the hotel is actually a cover for a white slavery ring in China. Millie gets a job at Sincere Trust Insurance Company, run by Trevor Graydon –who she intends to marry. Along the way, she becomes friends with Miss Dorothy –who Millie then has to save from Meers’ white slavery plan and falls for a poor, but fun man, Jimmy…. who ends up being rich, after all.

Millie:

Millie, having adopted the flapper style will dress that way. Her hair is brown and bobbed. All of her dresses (of course, dresses!) will be in the flapper style –with a low waistline and possibly fringed ends. She would also wear a long strand of beads and a 1920s hat.

Dorothy:

Dorothy has not adopted the flapper style, so her clothing will be much more conservative and simple –kind of like an old doll. Also, her dresses would reflect her elevated financial and social status. She would wear very neutral colors. Her hair would be stereotypically curled. She of course would be wearing a hat, but not the style as Millie’s.

Jimmy:

Jimmy definitely dresses well with his hair slicked to the side. He’d have a burgundy sport coat, tie and black pinstriped pants. He would also wear a 1920s fedora.

Trevor is they very straightforward, no-nonsense type, but his financial status is very high, so his clothing would reflect that. He would wear a black –well put together and well-fitting suit. His hair would look well kept and professional.

Theatre Profile -The Guthrie Theater

The Guthrie Theater opened May 7 of 1963. Its first production was Hamlet, directed by Sir Tyrone Guthrie, featuring George Grizzard as the title role. The first season included: Hamlet by William Shakespeare (directed by Tyrone Guthrie); The Miser by Molière (directed by Douglas Campbell); The Three Sisters by Anton Chekhov (directed by Tyrone Guthrie); and Death of a Salesman by Arthur Miller (directed by Douglas Campbell). The theater is a result of Sir Tyrone Guthrie, Oliver Rea, and Peter Zeisler. They wanted to create a resident acting company that would produce and perform the classics in an atmosphere removed from the commercial pressures of Broadway. The Guthrie Theatre became a sort of prototype for a new kind of theater that contrasts with the commercial environment of Broadway. There, the high costs associated with mounting a production increasingly mandated that shows must be immediately successful at high ticket prices. The Guthrie Theatre’s mission is: “The Guthrie Theater, founded in 1963, is an American center for theater performance, production, education and professional training. By presenting both classical literature and new work from diverse cultures, the Guthrie illuminates the common humanity connecting Minnesota to the peoples of the world.” The Guthrie Theatre has three main stages: The Wurtele Thrust Stage, The McGuire Proscenium Stage, and The Dowling Studio. On these theatres, www.guthrietheatre.org states: “As the Guthrie entered the millennium, plans began to build a new multistage theater center on the banks of the Mississippi River. It opened June 25, 2006, and the complex includes three stages: a classic thrust stage for the grand-scale classics of the centuries, a proscenium stage for the more intimate classics of this century, and a studio theater for developing the classics of tomorrow. The new theater allows the Guthrie to retain its pre-eminence among theaters nationally and internationally.”

The 2009-2010 season includes: Ella, book by Jeffrey Hatcher, conceived by Rob Ruggiero and Dyke Garrison (directed by Rob Ruggiero); The Importance of Being Earnest by Oscar Wilde (directed by Joe Dowling); Faith Healer by Brian Friel (directed by Joe Dowling, associate director Benjamin McGovern); A Christmas Carol by Charles Dickens, adapted by Barbara Field (directed by Gary Gisselman); Romeo and Juliet by William Shakespeare (directed by Penny Metropulos,co-produced with The Acting Company); Macbeth by William Shakespeare (directed by Joe Dowling); Guthrie’s WorldStage Program presents Kneehigh Theatre’s production of Noël Coward’s Brief Encounter (adapted and directed by Emma Rice); M. Butterfly by David Henry Hwang (directed by Peter Rothstein); Dollhouse by Rebecca Gilman, based on A Doll’s House by Henrik Ibsen (directed by Wendy C. Goldberg); She Stoops to Conquer by Oliver Goldsmith (directed by Joe Dowling); A Streetcar Named Desire by Tennessee Williams (directed by John Miller) The Guthrie Theater also holds preview performances. During “preview week” the company rehearses during the day and makes changes based on how their performances go in front of an audience. Previews have a lower ticket price due to the fact that the show is still in process and is still changing. Based on the size of this season, compared to their first season in 1963, the Guthrie Theater has come a long way.

A Doll's House -Given Circumstances

Given Circumstances for Henrik Ibsen’s A Doll's House.

1. Who are the Central Characters?

Nora Helmer: Nora is the protagonist of the play. She is Torvold’s wife and a mother of three. She is very upbeat, but she is also naïve and sometimes flaky.

Torvald Helmer: Torvald is Nora’s husband. He is a lawyer. He is very concerned with the ranking in society and cares about where his place is.

Mrs. Linde: She is Nora’s childhood friend. She is very practical and sensible, especially compared to Nora.

Nils Krogstad: He claims to sympathize with Nora, but he blackmails her. He uses unethical methods in order to achieve his goals.

Dr. Rank: Torvald’s best friend. He is basically the only character in the play who doesn’t seem to care about what others think of him.

2. Define the relationship between the characters.

Nora and Torvald Helmer are married. Nora is a very committed and loving wife and mother. Torvald does seem to love Nora, but he condescends and patronizes Nora; he treasts her like a child.

Mrs. Linde and Nora were best friends as children and now they seem to treat each other like sisters. They sort of act like each other’s support system with the decisions that the made in the past.

Dr. Rank and Nora are friends (but seem to feel more than that for each other). Dr. Rank sincerely loves Nora and treats her as an equal –unlike her husband.

Nils Krogstad is a Banker who knows what Nora has done. He blackmails her by threatening to tell her husband, Torvald, what she has done.

3. What is the back-story of the characters?

In the past, Torvald was very sick. His doctor suggested that he take a trip in order to recover his health. At this time, Torvald and Nora were fairly poor and could not pay for the trip. Nora told Torvald that her father would help them pay for their trip to Italy. She really illegally borrows money to pay for it by forging her father’s signature on the loan papers. Nils Krogstad finds this out and threatens to tell Torvald about it. Krogstad works for Torvald and it is likely that he will soon be fired. Nora must use her influence over Torvald to sway his decision.

4. Where does the action of the story take place?

Place: They are in Norway. Much of the play takes place in the Helmer’s living room.

Time: It takes place around the late 1800s.

Season: It is winter, around Christmas time.

The setting is really important to the play since most of the play occurs in the Helmer’s home. This is important because of Nora’s leaving Torvald, her family and their home in the end. It’s important that this takes place during the Christmas season because that just adds stress to the fact that Nora has no money to pay her debts. Nora leads Torvald to believe that their money is being used for the gifts she buys when she actually buys cheaper gifts and saves the money to pay the loan.

5. What is the inciting event?

Nora took out a loan (with her father’s forged signature) behind her husband’s back and she is now afraid that he will find out about it. Krogstad, a banker working for her husbands, knows that she did this and blackmails her for it. I’d say that the inciting event is when Krogstad enters her home and blackmails her into trying to influence her husband into not firing him.

6. What are the rules of this world?

The play is set in the 19^th century. During this time it is expected that the wife stays home, takes care of the children and obeys her husband. It seems normal for a husband and wife to not be in love and for them, but for the wife to be almost a possession of the husband’s for him to take care of. Women were to not work and not make important decisions or have opinions on politics or their husbands’ work.

7. What is the central conflict in this story?

The conflict is that Nora forged her father’s signature in order to receive a loan to pay for a trip to Italy that her husband needed for his health. She does this because he would not accept her help –he believed that he was to take care of her, and not the other way around. An employee of her husband’s –Nils Krogstad- knows that she does this and threatens to tell her husband, Torvald. Torvald later finds out that this has been happening behind his back. Even beyond that, Nora is in conflict with herself. She realizes that she is not completely happy with her life. She does not want to be treated as her husband’s pet –she wants more out of life. She also does not want to keep up with the façade of keeping her home and her family to be that of a doll’s house. She knows, however, that to remove herself from that environment would be to remove herself from her family and the security that they provide

8. What changes at the end? What is the dramatic transformation?

Nora knows that Torvald does not love her, but loves the idea of her –and she feels the same way. She realizes that she can’t live the way that she has been. She knows that she would not be able to handle living that fake, dollhouse sort of life. She needs freedom and independence, something that she cannot have at home. She sacrifices her family life (and the security that comes with it) for that freedom. At the very end, she walks out the door as Torvald watches.

9. What is the genre (or sub genre) of the story?

A Doll House is a modern, realistic drama.

Theater Profile -The Public Theater

The Public Theater of New York city was originally founded as the Shakespeare Workshop by Joseph Pap in 1954. It was intended to showcase the works of new playwrights and performers. The Public theatre is known for presenting “challenging work.” Many of its productions are considered avant-garde and do not cater to a mainstream audience. The Public Theater also runs the Delacorte Theater in Central Park. This theater presents free Shakespeare in the Park performances in the summer. The Public Theater is “dedicated to achieving artistic excellence while developing an American theater that is accessible and relevant to all people through productions of new plays, musicals and innovative stagings of the classics. Ticket prices for performances are kept low or free of charge in order to attract a broad audience. Free sign language-interpreted and open-captioned performances offered during Shakespeare in the Park. Each year over a quarter of a million people attend Public Theatre productions and events at the six downtown stages –including Joe’s Pub and Shakespeare in the park. The most famous work to emerge from the Public Theater (other than the original production of Hair) is the musical, A Chorus Line. The announced opening spread such anticipation in the theatre community that the entire run of the show sold out before opening night. This demand for tickets was so great that A Chorus Line had to move uptown to the Shubert Theater. Revenue from the many (world-wide) productions, both professional and amateur, of the show has been a steady and main source of income for the Public.

The Public Theater has brought fifty-two shows to Broadway (i.e. A Chorus Line, The Pirates of Penzance, The Tempest, Caroline or Change, Hair, etc). They have won 42 Tony Awards, 149 Obies, 40 Drama Desk Awards and four Pulitzer Prizes.

The current season includes: Fela!, The Brother/Sister Plays Part 1 and Part 2 (Part 1: In the Red and Brown Water, Part 2: The Brothers Size and Marus; Or the Secret of Sweet), Idiot Savant, The Book of Grace, Bloody Bloody Andrew Jackson, and The Last Cargo Cult.

One of the theaters of the Public Theater is Joe’s Pub, which has a cabaret-style setting used for new work, musical performances, spoken-word artists and soloists. Joe’s Pub is a sort of nightclub in Lower Manhattan that hosts regular live performances. Notable performers include: Bono, Elvis Costello, Harvey Fierstein, Sutton Foster, Alicia Keys, Norah Jones, Huey Lewis, Idina Menzel, Mos Def, Dolly Parton, Sarah Silverman, Pete Townshend, etc.

The Public Theater offers an internship that provides an opportunity for individuals to gain practical experience in one of the country’s premiere non-profit theaters. The internship program “aims to provide individuals with valuable mentorship and expert training, bridging the gap between academic education and practice. Interns play an integral part in the inner workings of the Public… interns will gain insight, knowledge and hands-on experience in all aspects of the theater. The Public Theater offers internships in: Artistic Direction, Associate Producing, Casting, Development, Executive Directing, Administration, General Management, Marketing, Press, Production, etc.

Scene -Café con Leche

The set consists of three round tables, each covered with a red and white checkered table cloth. On each table is a napkin holder and salt and pepper shakers. Seated at the first table is a family: Mother, Father and Daughter. Seated at the second table is a couple: Sam and Andy. Seated at the third are three friends: Meg, Christine and Tara. There is a sign above that reads: Café con Leche.

Mother: How was everyone’s day?

Daughter: Fine.

Father: Fine.

Mother: How was work, honey?

Father: It was fine.

Daughter: School sucked.

..

Tara: And these new boots I found online are gorgeous. I actually want the weather to get cold so I can wear them.

Christine: I got this great necklace at the mall. Real Polish amber.

Meg: When were you at the mall?

Christine: Saturday… or Sunday? I can’t remember.

Tara: I thought you said you were at a wedding Saturday.

Christine: Right. So it was Sunday.

Meg: Wow, Polish amber.

Tara: I didn’t even know they had amber in Poland.

Christine: Apparently they do.

..

Sam: This place is awful.

Andy: Tell me about it.

Sam: Why did we want to come here?

Andy: Something about “the touch of local flavor”?

Sam: Well I think the local flavor touched me enough when he showed us to our table.

..

Meg: Cute bracelet!

Tara: Thanks. Ebay.

Christine: Ebay? Is it a good idea to shop there?

Tara: Oh, yeah. I’ve gotten plenty of stuff there. Haven’t had any problems yet.

Meg: Yet…

..

Mother: How are your grades this semester?

Daughter: Eh.

Father: What courses are you taking?

Daughter: I really don’t want to talk about school.

Mother: How’s Josh?

Daughter: He’s fine.

Father: You two aren’t sleeping together, are you?

Daughter: Dad!

Father: What?

Mother: Honey, let’s try to not be so forward.

Father: I’m just trying to be up front with my daughter.

Mother: Well. Are you?

Daughter: Mom!

..

Andy: Is our waiter ever coming back?

Sam: He’ll come back when he comes back. When’s your new commission going to be finished?

Andy: Oh I don’t know. It’s a pretty big project. It should pay a lot, though.

Sam: You haven’t fixed a price?

Andy: They said that it would “depend on the quality of my work.” Considering what a large corporation it is, I doubt that they’ll be overly judgmental.

Sam: Don’t you just love it when those people try so hard to “contribute to the arts” when-

Andy: -When they don’t know the first thing about art?

Sam: Exactly.

..

Tara: I think we ordered at least an hour ago.

Meg: We haven’t even gotten our drinks yet.

Christine: (Searching her purse) Hey, I picked these up outside our hotel. There were these people handing them out talking about genocide in Africa. All you have to do is sign them and send them to the president demanding change in our foreign policy.

Tara: (Takes one) Sure, why not.

Meg: (Refuses) Those things never accomplish anything.

Christine: What do you mean?

Meg: I’d be willing to bet that they’ve got people at the white house whose only job is to shred these sort of things every day.

Tara: Don’t you support the cause?

Meg: Well, sure. But protests, rallies, letter-writing campaigns? No one up there pays attention. And nothing gets done. There's no point.

Christine: No point? What about the possibility that you could be wrong? That people do read these. That people notice. Why not at least give it a try?

Meg: I’m a realist.

Andy: Oh my God. A realist?

Sam: Andy, leave it.

Andy: Please, “realism” is just what cynics hide themselves behind when they don't want to be held accountable for their inaction.

Meg: Yeah, I’m leaving. I’ll see you Tuesday, Tara. Bye, Christine.

Christine: Bye.

Meg exits.

..

Sam: What was that?

Andy: I just hate to hear that crap. I think most of the world is just slowly dying, but is too afraid to find the cure.

Sam: And what exactly is the cure?

Andy: A smack in the face.

..

Father: Starting to get loud in here, isn’t it?

Mother: The lunch crowd is coming in.

Father: You'd think so but I haven't seen a single person walk in since we got here.

(A loud thump is heard from the window).

..

Sam: What the hell was that?

..

(A second thump).

Daughter: What’s going on?

..

(A Third thump).

Christine: Did you hear that?

Tara: Yeah.

..

Sam: Let’s go check it out. (Stands and goes to the window)

Andy: (Follows Sam) It looks like there’s a riot going on.

..

Daughter: (Moves to window). Look at those signs, something about genocide in Africa.

(By this point, all of the characters are standing at the window).

Christine: It's a protest.

Andy: It looks a little more violent than a protest.

Father: Looks like there might be trouble.

Mother: Trouble?

Tara: Is that Meg? What’s she doing out there?

Daughter: I’m going out there.

(Mother and Father try to stop her, but fail)

Father: I’ll go.

Christine: What do we do now?

Andy: Watch and wait, I suppose.

Tara: Alex isn’t moving!

Andy: (Stopping Tara from running out) Don’t.

Sam: Andy, that’s their friend.

Andy: So? We don’t know what’s going on out there.

Christine: There’s that girl.

Mother: Chealsea! Where?!

Christine: Right there!

Mother: Chelsea! (She pounds on the glass) Watch out! Behind you, Chelsea!

Tara: There’s your husband. He’s going to help her!

Mother: I have to go out there.

Christine: You’ll be in the same situation as them!

Andy: Don’t look.

Mother: (To Andy) What?

Andy: Just don’t.

(She turns away. Tara, Christine, and Sam watch. They gasp. Andy moves to Mother, trying his best to comfort her. The lights go out [They are dimmed, but light enough that the characters can still be made out]).

Sam: Andy!

Andy: I’m here.

(A loud banging noise is heard.)

Tara: There’s someone at the back door.

Christine: There’s a back door?

Sam: Don’t open it!

Mother: What do we do?

Andy: Under the tables!

(Tara and Christine move under the center table. Sam, Andy and Mother under another.)

Christine: It was supposed to be a peaceful protest!

(The banging is louder and there is a crash).

Blackout.

AYCC Flash Mob Dance

http://www.youtube.com/watch?v=9S2T5vPHjS8&feature=player_embedded

The Australian Youth Climate Coalition (AYCC) is the Australian group of the Youth Climate Movement (in the U.S. we have the EAC –the Energy Action Coalition). The Australian Youth Climate Coalition is a non-partisan, non-profit coalition that aims to inform, inspire and mobilize the generation in the struggle for climate justice and a clean energy future." They want to build a generation-wide movement to solve the climate crisis. The AYCC organized the Australian Power Shift Conference which was a youth summit for shifting to clean energy globally. This conference was concluded with a flash mob outside the Sydney Opera House. The flash mob involved hundreds of young people dancing on the steps as a “creative protest” for Power Shift. What they wanted were three things: Green Jobs for our generation, a Power Shift from fossil fuels to renewable energy, and 50% by 2020 carbon pollution reduction targets for Australia.

These environmentalists used a form of theatre to get their message across. I see them to be not unlike playwrights. They have a message to share with Sydney –with the world –and they used theatre to get that message out there.

This “flash mob dance” has all of the five necessary elements for theatre.

1. Storytelling

The “story” or message being told through this performance is that the Australian youth is ready and committed to change and clean alternative energy. Through their massive amount of participants and the energy they had in their dance, they showed that they are aware of the environmental issues in Australia, and that they have something to say about it. Ultimately, they are saying that something will be done –and that they are ready to be the ones to do it.

2. Costuming

They AYFF flash mob dance kept it pretty simple. All of the participants wore green or black Power Shift t-shirts and green hard hats. I think they dressed alike in order to show that they are unified and working together. There was also a man dressed as the earth and a break dancer dressed as a polar bear. Polar bears have sort of become a symbol of the environmental movement, due to global warming.

3. Spectacle

This entire performance was based on spectacle. It’s a spectacle when random people on the street start dancing, doing ballet and tap dancing. It’s definitely memorable to see something so out of place as this. But the real spectacle of this performance was the insane number of people involved. They had a few hundred people dancing in the street and on the steps of an opera house. This is not something that their “audience” is likely to forget for a while.

4. Symbolic Gesture/Behavior

The spinning/happy earth is clearly symbolism that everyone can work to create a “spinning/happy earth” in real life. But even more than that, the dancing hundreds of people is symbolism, as well. The fact that there were hundreds of people was their way of saying that there is a massive amount of people who are interested in clean alternative energy and that with this large amount of people, they will get something accomplished. Their dancing symbolized how ready, eager and able they are to achieving their goal.

5. Temporal Interplay

This entire performance was based on audience reaction. A flash mob is nothing without unsuspecting people to surprise. At first, the people on the street were confused -but amused- by the random couple of dancing people in the street. Once there were hundreds of people dancing, the audience really became an audience. People stopped where they were –some sitting on the ground to watch this dance. As soon as the dance was over, the performers scattered, ending as quickly and spontaneously as they started.

Scene -The Pearly Gates

The set appears to be an office waiting room. However, there is a sign above the main desk that reads: Welcome to heaven. Please take a seat. Someone will be with you shortly.

Man 1: (Enters) Where… where am I?

Man 1: (Notices the sign) Is this some sort of joke?

Peter: (Enters. Moves behind the desk) Why, hello… Who is this? (He quickly flips through a book) Hmm…

Man 1: This… This really is heaven, isn’t it?

Peter: Well it’s certainly not the other place.

Man 1: You’re Peter! I’ve made it to the Pearly Gates!

Peter: Indeed, you have. But the real question is why.

Man 1: What do you mean?

Peter: Well, unfortunately, there seems to be a slight mix-up.

Man 1: Mix-up? What kind of mix-up?

Peter: (Checking his book again) You’ve actually been slated for hell.

Man 1: You’re lying.

Peter: We don’t do that up here.

Man 1: So… I didn’t make it?

Peter: Well, I suppose that depends on your point of view.

Man 1: My point of view?

Peter: Yes. In life, you “made it”, billions of dollars in revenue in a mere thirty years of life is quite impressive, for materialistic standards. However, the phrase “you can’t take it with you” is really quite accurate.

Man 1: Damn…

Peter: That’ll come soon enough. (flips through book again).

Man 1: So… What now?

Peter: (Consulting his book yet again) Well, we’ll have two angels come and bring you down to hell in about ten minutes.

Man 1: Oh. Fantastic.

Peter: In the meantime, you can hang around up here. We can lend you a harp for the time being, if that fits your stereotype. This kind of mix-up doesn’t happen very often, however, so we don’t have much for you to do.

Man 1: That’s… alright. I’ll just sit here and bide my time until -until my time. (He sits)

Peter: Well, would you like a glimpse of heaven? It’s more than many of the others that went your way have had.

Man 1: Why bother? It’s not like I’ll be staying here. Why see what I can’t have.

Peter: Perhaps that’s something that you should’ve thought about while you were still alive.

Man 1: Should’ve, could’ve, would’ve. Nothing will help me now.

Peter: (Comes from behind the desk and sits with Man 1) That always confused me about you humans. Why is the emphasis always on “now”? Now, now, now! I mean, “now” is only one third of time. You people never think about “back then” or “in the future”. What makes the present so important?

Man 1: I don’t know. As they say, “there’s no time like the present.”

Peter: In my experience, “they” don’t actually know what they’re talking about.

Man 1: You ask me to contemplate deep philosophical thought now?

Peter: No time like the present?

(Two angels enter)

Peter: (Moves to greet the others. He converses with them in hushed tones for a bit) There seems to have been a mistake.

Angel 1: Like… the last mistake?

Peter: Yes, exactly like that.

Angel 2: How could something like this happen?

Angel 1: And more than once?

Peter: I’m not perfect.

Angel 1: I’m sorry, sir.

Peter: Well, you both know what to do.

(Peter starts to move toward Man 1. The Angels follow.)

Man 1: Wait, what’s this?! (jumps up suddenly and goes down on his hands and knees) I can see something here, underneath the floor! (wipes his hands on the floor as though he was brushing away dust) I can see… I can see…

Peter: You can see heaven.

Man 1: No, that’s not right, that can’t be right! I see earth! I see my house, my family! My job, my parents, and everything!

Peter: Heaven.

Man 1: This can’t be heaven, can it? Are all these people- all the people that I know- are they all dead and in heaven below me?

Peter: No, they’re all still alive. But for people like you --people that are going the “wrong way” so to speak— earth is the only heaven you’ll ever know.

(The two angels walk to Man 1 and lift him up by the shoulders, almost dragging him offstage. Peter goes back behind the desk once again checking his book)

(Man 2 enters)

Man 2: (Enters) What –what is this?

Peter: Hello.

Man 2: This… this is heaven, isn’t it?

Peter: Well it’s certainly not the other place.

(End scene)

Theatre Profile –Pittsburgh Irish and Classical Theatre

The Pittsburgh Irish and Classical Theatre (PICT) was founded in 1996 by Andrew S. Paul and Stephanie Riso. Since then, the PICT has become a significant contrubutor to the “cultural fabric” of Pittsburgh. They have almost 2000 loyal season subscribers and an annual attendance of over 23,000. They are a member of the theatre communications group (TCG) and every year are ranked on the Pittsburgh Post-Gazette's list of the city's Top 50 Cultural Forces. PICT was named Theatre of the Year-in both 2004 and 2006 by the critics of the Pittsburgh Post-Gazette. PICT performs in the Stephen Foster Memorial building - a City of Pittsburgh and Pennsylvania state Historical Landmark located on Forbes Avenue on the campus of the University of Pittsburgh. The building houses the Stephen Foster Memorial Museum, the Center for American Music, as well as two theatres: the 478-seat Charity Randall Theatre and 151-seat Henry Heymann Theatre.

Andrew S. Paul grew up in Rome, Italy where he attended Notre Dame International School. He trained as an actor at the Guildford School of Acting in London, England and then got his degree in Economics and Political Science at the University of Pittsburgh. He is the Founding Artistic Director of PICT. Under his leadership, PICT has produced 36 main-stage productions and completed two successful international tours; his production of Faith Healer played 13 venues in Ireland and Northern Ireland in 2002, and Major Barbara played 14 sold-out performances at the 2003 Galway Arts Festival. In 2006 PICT’s BeckettFest, all 19 of Samuel Beckett’s stage plays, was named “Performance of the Year” by the Pittsburgh Post-Gazette and “Theatre Event of the Year” by the Pittsburgh Tribune-Review. Paulis a panelist for the Theatre Program of the Pennsylvania Council on the Arts and is a recent Pittsburgh Magazine “40 Under 40” honoree. He has annually been named one of Pittsburgh's "Top 50 Cultural Power Brokers" by the Pittsburgh Post Gazette.

The “mission” is the creation of high quality, professional thought-provoking theatre of substance. They accomplish this by “promoting the community and region, and by producing and presenting classics and the “modern” classics of Irish and world theatre. We continue to explore innovative ideas that showcase the emotional power of a play and its ability to stir the soul in unimaginable ways.”

PICT’s Learning in Three Acts program gives teachers the opportunity to engage, challenge and entertain their students while connecting them to great works of literature. They also bring actors to the schools through the Classics Alive! and PICT on Tour programs.

The Pittsburgh Irish and Classical theatre offers a fair amount of volunteer work and internships. General (seasonal) internship opportunities include: General Management, Public Relations/Marketing, Development (writing and office work, mostly), Education, Sales and Telemarketing, Production (creative) and Production (technical). In the summer of 2009, I was fortunate enough to intern with the PICT. I worked with their public relations and marketing team, answering phones, stuffing envelopes, etc. I worked under the Development Director, Gale McGloin. I was then fortunate enough to work on the creative production team for their production of The History Boys.

http://www.picttheatre.org/