So when I broke my promise to everyone and decided to act again this spring, I told myself I would spend the entire paycheck on myself and travel. I had never seen the West Coast, except for a 4-year-old trip to Vancouver that my mind has completely blocked out (god I hope I'm not recessing some horrible event); so to appease the long-ignored demands of many great friends, I bought a ticket to Los Angeles, California for mid-May to see what I had never seen. Hollywood, beach bikinis, movie studios, scripts blowing in the wind, surfboards, OC kids - I wanted to see it all!
- this one is.
On Saturday night, I went to see the show my host and wonderful friend, A.K.A. family, had been stage managing for the last few weeks on Melrose in Hollywood. For the sake of this story, I can't reveal names or exact locations - because whew, this is a doozy.
Two of my other college friends from Butler had joined me for the evening to see the show, and it was wonderful to see them after three years of absence. "Eileen" (as we'll call her), was my partner-in-crime as my faux spy duo "Red Team" in college, and an improv extraordinaire. Shorter than me but with twice the sass, she's quick and witty and fits into L.A. like the round peg in the round hole from your Play-school playset.
The other was "Tara" (A.K.A.), a happy-go-lucky sun-kissed brunette who was always smiling and always on the bright side of things. With a mid-section laden with tattoo art, she's a free-spirited delight to be around - so happy that most people think she's high when they meet her - but that's just how she is! Also hysterically funny.
Walking into the theater, it was the smallest venue I've ever seen for acting: ~five rows of collapsible metal seats, maybe ten seats across. The sound booth and light board were a standing-room-only site in the back corner, and the lights were way down. A keyboardist tickled away the electronic ivories in the corner as the pre-show, and the curtain was an assemblage of black fabric stapled together, suspended from a laundry line. Hodge podge my friends, hodge podge.
The producer came out to give us a bit of background on the show. Again, to protect the innocent, I'm neither going to to tell you what it was about nor the name, but let's just get this all clear right now. It was an old English story that takes place in the countryside. However, for no better reason than the director loved the idea of the future, it takes place far in the future - when cars fly and talk and voice-activated water comes out of the wall.
The show began. Now don't get me wrong, the actors did a fine job with what they were given - it's as if Michelangelo had attempted to paint St. Peter's Basillica with a pencil and some crazy glue. What I later found out was that the director had written the script only part-way through reading the book - he never finished reading the actual story! Thus, our tale unfolds.....
Everyone is dressed in old-world costume; yet, cars can fly. The family automobile flies and talks, in an old English accent - yet it's southern America. When a horse runs by, it's hoof sounds are generated by a young boy running throughout the audience with coconuts. Yes, friggin' coconuts. In the middle of a serious conversation in the kitchen, family members walk up to an invisible wall, hold our their hands and say, "water on," continue the conversation, and then say, "water off." When they start the flying car, the driver literally makes the engine start up noises with his mouth (think "vrrrrooommmm"); and when getting in and out of the car, the actors constantly forget to open and close the car door (so they're therefore pulling a Dukes of Hazzard every time they get in). At one point, a daughter flirts with an unseen lover behind the curtain; and when he extends his hand to say goodbye to her, after making out, it's the hand of the wrinkly old town sheriff. NOT the intention of the script, but it's the only man who wasn't on stage at the time. Gross.
Now at this point, there are bite marks in my left finger as I've lodged it in between my teeth to keep from bursting out laughing. Lines are ridiculous and out of place, cues are off, curtains are opened and closed by the cast, and monologues are delivered that even make Hallmark throw up a little in the back of its throat. The fourth wall is SHATTERED again and again, as we've been welcomed in as "family" at the beginning of the show; so forty minutes of being ignored are suddenly interrupted by the autistic child (not ACTUALLY autistic) in the show running up to put puzzles together with us......then he runs away with coconuts to provide the horse sound effects. Yup.....
Near the end of the first act, a man wins a prize in the show, but decides to give it to another character as a present. He delivers a long monologue about how sad he is about his late wife, and he has no reason to go on living. It is sappy, terrible, and WAY over the top. He reveals a gun (of which we were warned before the show was NOT a real gun.....WHEW) and his suicide is imminent. This doesn't sound funny......but it was so poorly written, delivered, and blocked - that it was. REALLY funny.
We had been holding our laughter in, when Tara finally burst and laughed OUT LOUD during the "serious" part of the show. My eyes shot wide open; but drawing on her old acting skills, Tara managed to turn her laughter into a heartfelt sob, and Eileen managed to rub her back and comfort her in her time of "sorrow." The whole scenario had almost reached its pinnacle at this point; however, when the lights went down, the old man yelled "bang" to signify shooting himself. Not a sound effect, not slamming on a table, not even a CAP GUN - the man. yelled. "bang." Yes. Later, we would find out that the director (who also performed) thought it was an awesome show because the acting had made someone cry in the audience. We didn't have the nerve to tell him the truth.....
After some absurd plot twists and a one-line resolution of the conflict in a zany "Oh my gosh, we forgot about this!" twist, we were able to sprint outside for some fresh air and laugh it off. The show took itself so seriously, and probably is a very intense and dramatic book (among women); however, it was so poorly directed and written that it was TOO easily mocked. If ONLY the Mystery Science Theater 3000 guys had been there....
Then a maniacal little light bulb went on over Eileen's head. "What if they changed it to PURPOSELY mock the script, turn it into a Rocky Horror Picture Show kind of deal?" Tara and I thought it was brilliant, and our ideas started to zip around like lightening - what if when the horse comes out, EVERYONE has coconuts for it - what if when the car starts, the whole audience makes the engine and techno sounds - when they said "water on," we all have little squirt guns we squirt the stage with - when someone cries, we all yell, "get over it!" We had an awesome time laughing about it. Then we told our host, Chris....
"You have to tell the Director about it," she said in a serious tone.
WHAT?!
"He'll think it's brilliant, he'll love it. Tell him," she asserted.
Now at this point, my creativity-induced laughter shrank back into its shell, and I didn't want to talk about it anymore. I felt like doing what Chris was suggesting was like going up to an artist and being like, "look, your painting is great, but you know what would make it WAY better? If we could all mock it." Yeah, paintbrush-rectal removal eminent.
But she insisted, and our take was I'm just visiting and Eileen and Tara live across the city - we'll never see this guy again. SURE, why not?!
The cast was headed next door to the comedy club (which echoed laughter throughout the whole show - NOT helping their case for a serious production) for a post-show beverage. Our team of four joined them, and with a table secured I bought a round for the director and he sat to listen.
Since it was Eileen's brain child to begin with, we had elected that she kick-off the pitch. And so she did, and she began to sell her idea to turn this serious coming-of-age story into a mockery of what it had been. Tara and I jumped in here and there to bolster her argument and add our own jokes and quips, but I kept my eyes firmly fixed on the director's facial expressions and his hand, ever waiting for him to smash the bottle of beer I had bought him and slit my throat. But he listened intently.
At the end of our pitch, all four of us smiled nervously at one another, backing up our story, but awaiting the wrath of an insulted artist. A wide smile crept across the director's face, and he actually began to weep. The man cried.
"I love it, it's brilliant. I'm so shocked right now, this is amazing!"
WHAT?!
He called over each actor one by one, even the "autistic" child, to have them hear our pitch. Each actor thought the idea was incredible, and wanted to add the changes the very next night. I started to feel like I was in an episode of the Twilight Zone - were our ideas actually good, or are all these people friggin' insane? We are saying your show is terrible, and it should be mocked to be made enjoyable - are you not hearing us!?
We assured them that they couldn't make the changes right away - that the script would need to be rewritten intelligently so the jokes and audience play-alongs all flowed seamlessly - relaunch the show in six months. He relunctantly agreed.
We didn't hit a bump with our pitch until the overprotective, vicariously-living mother of the leading lady (about 14 years old) found a "problem" with our pitch. We said that the cast would all need to be 21 years old to deliver the jokes in the correct manner, and the audience would need to be permitted to drink during the show. Sensing that her daughter's future with this production was in jeopardy, mama leapt into action to argue why kids should be left in a show like this (and please, watch "Rocky Horror Picture Show" and know that that's NOT ok). Parents, there's a point when you need to stop shoving your kids through a machine to attempt to make them "the best" or "famous," and let them have a childhood and put them in positive environments. We've seen what this can do time and time again. So we left it open as negotiable, but rest assured - no children will be destroyed in the production of this show.
The director loved every bit of it, and thanked us again and again for the inspiration and offering to push his production "to the next level" - as he said. I was sincerely dumbfounded - I thought it was a potential night-ruiner and we'd seriously insult someone twice our senior - but we made this man's night, maybe even his year. Heck, the whole cast thought we were these brilliant prodigies from the Midwest! Does that even exist?!
And that was that. Eileen and Chris are now in discussion with the director to draft contracts to have the four of us rewrite the show to our mockery, audience-play style - upon the director's request. I might even get flown out time and again for consultation. What started as a terrible show evolved into something we felt horrible for laughing so hard at, and eventually ended up with the beginnings of a business deal to write a play for a man in L.A. who loves flying cars and stories told in the Old South of the United States.
Only in L.A.......





