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On the Verge

I'm going address Mr. Coffee first. He's death. 

Moving on to posters:

I think a series of silhouette posters would be really cool. They are going through time and space so they are kind of a blur really. They aren't stationary in any one place. They get somewhere they say some things (which are interesting in and of themselves, especially the fact that the playwright is very strict on how he wants everything to sound because the language is so important), and then they move on leaving a proverbial hole where they used to be, if that makes sense. I also think simplistic posters are the best. You don't want to give everything away in the poster, you want to intrigue.

One would be white with a black silhouette of an egg beater, and it would say “Marsupial’s Unicycle.”

One would be the outline of three heads, the first facing left, one facing the middle, and one facing right. The tagline for that would be “On the brink. On the beach. On the verge.”

Then the last of the series would be a black outline of forest and trees, with a white path going through it and it would read “A jungle has its order, of course.” Which is funny because is there order in their life? Not really.

The point of these posters obviously is to garner attention. People aren't going to understand what they mean, but I think that will cause a curiosity that will bring an audience. 

Three Viewings

I think an important linking factor in Three Viewings is the obviously the funeral, but also the fact that they all three never got to say goodbye or tell them what they wanted to tell them. (Although we aren't supposed to put the “rules” of our world in a play because it’s its own small planet) That is something a lot of people think/worry about. What if I don’t get to say goodbye? I didn't get to tell ____ how I really felt. And these aren't just questions for death; they’re questions for loss in general. A lot of books, art, movies, etc, are created about these questions and they’re very prevalent in our society I’d say. So I think that’s something that connects these monologues. Not the death, but the loss and the inability to cope with the fact that they didn't get to say goodbye, and what comes after the loss.

There’s also the connection of the Green Mill. It’s like in the movies with the ridiculous story line and a bunch of famous people and somehow all the stories are connected. That part of those movies always interests me because the world is such a small place and we make all these connections we don’t really even know about. Seven degrees from Kevin Bacon, anyone? Anyways, these three people could have all been at the Green Mill at one point together, they could have even smiled in passing or bumped into each other and not given it a second thought, but Hatcher tells their story and we see that they are connected in their loss and they don’t even know it. I love stories like that. 

Drowsy Chaperone

I absolutely love this musical, mainly because of the fact that it's a "musical within a comedy." I did find myself completely separating the Man from the story though, which makes it hard to analyze because he is indeed the main character of the Drowsy Chaperone. The show is also hard to analyze because there’s the question of which show to actually analyze. There’s just the Drowsy Chaperone the musical, which the man analyzes in a very simplistic way and there’s the Drowsy Chaperone the musical within a comedy which includes any lines and actions the man has, there are some parts where the man involves himself in a song or something and then there is no distinction, the two stories meld together.

Obviously if you are analyzing the two plays as a whole the choice element is a huge factor. The choice to put the man onstage showing the audience the Drowsy Chaperone rather than just staging the Drowsy Chaperone, the choice to keep him on the stage during the musical numbers rather than exit and the choice to have him break the fourth wall all completely change the show in different ways. The Man is constantly in the foreground or background of the scene. It’s almost like putting an audience member on the stage. I think it’s also interesting to have the “L-ve while you can” line ambiguous which causes the Man to go into his monologue about his own life which we don’t really know much about at any point. That’s one of my favorite parts of the show because while it is funny, it allows you into a different part of his life you weren’t seeing before.

          The tempos of the two shows are also vastly different which causes some friction and tension. The musical is set in the 20’s. It’s a fast paced comedy with some cheesy scenes and some huge musical numbers and lots of things happening. The Man’s story is set in what seems to be present time, in his apartment, and he’s leisurely listening to this record and talking to the audience. He is obviously in no rush to go anywhere or do anything especially if it involves people. The extreme differences between the two stories’ tempos causes you to get lost in them and then when you are reminded of the other it’s a sharp turn like when the record skips or the Man’s electricity goes out and you are thrust back into his slow moving world.