Adventure

I've always maintained that just about any event, effort or circumstance can be perceived as an adventure. Some adventures are more entertaining than others, but in any circumstance, calling it an adventure is bound to make everything a bit more entertaining. I immediately second-guess myself in this statement, trying to imagine some of my worst days or least-favorite activities as "adventures," but that is pure cynicism. Besides, I'm unconvinced that it disproves the theory. The fact is, adventures come in all shapes and sizes, and the better adventures have a proper dose of loss and pathos.

I occasionally lament that "adventure movies" fell out of fashion. Then they make another one, and I think,

Oh right...mostly they're crap...good call, Hollywood!

Back in the days of

Erol's

, it was my beeline section, and many a

pseudo-oil-painting-covered

movie found its over-sized box going home with us to play on our VCR. The blending of action/adventure at the movie rental locations was, in my opinion, a fatal move. They are distinct genres. Although adventure invariably contains action, it functions under a rather different formula. Which is to say, the action is more narrative, and generally less dependent on direct conflict. In fact, part of what appeals to me about adventure as a genre is that it has less to do with problem-destroying, and more to do with problem-solving, as fantastical as that solving may sometimes be. I suffer a similar lamentation for the degradation of the genuine spy movie into

Die Hard with Sunglasses

.

Let me give you an example from life.

In my younger years, I would spend whole summers on acting jobs. Such jobs are commonly referred to as "summer stock," in that a company hires a bunch of actors for the whole summer, and uses them in various capacities for a multi-show, two-to-three month season. The company usually provides housing and pay, assuming one is not an intern. This is quite an adventure for some; some being, in this particular case, a rather naive and directionless recent college graduate. The excitement of having to open a checking account and figuring out little practicalities like telephone capabilities (you know, with a cord and everything) for the sake of a few months' time wears off after a few more years of experience, but at the time it was all adventure. So perhaps it was natural for me, especially given my economic position, so see it all as a grand test in which I was the likable protagonist. I had my angst; do not doubt my penchant for angst, good sir. Yet it was all part of a movie-poster adventure.

One morning (midday perhaps; depends if it was a day off) my friend and I discovered that we were in need of matches. Matches are one of those things for which any need is a fairly absolute one. Can we make do with a stick of chewing gum, or perhaps a single, abandoned shoe? No. These things will not help us. We needed fire, and neither of us smoked. My friend's first impulse was to go into the nearby grocery and buy a pack, which would have probably been one of those plastic-wrapped cubes of a year's supply of wooden matches. Nay, said I. Pay for matches? What absurdity! We, instead, shall have an adventure. And we did. Only nominally dressing in street clothes (apply footware and jacket, e voila!) we set out into the strange wilderness of strip malls, parkways and median greens. The grocery store didn't sell cigarettes. The Pizza Hut didn't carry matches. All passing strangers who did smoke only carried lighters. Where was a 7-11? Where had we stranded ourselves that there was no gas station within walking distance? Suddenly, like a beacon on a distant hilltop: A Fancy Restaurant. But alas! Would such a mecca of not only matches, but Really Very Nice High Quality Matches be open at such an hour, on such a day? Surely not . . .

Success can be spelled in a mere six letters: BRUNCH.

As I recall, they were only too happy to give us a number of their matchbooks, thereby prompting our departure; probably because we looked more than a little like recently released psych-ward patients, in our sneakers and pajama pants. Flush with the glory of accomplishment, we returned to the dorm-like apartment with our bounty of RVNHQMs and proceeded to light the stovetop, or fulfill whatever desire the nascent fire represented at the time. I can't remember exactly. It was too long ago, and too trivial in comparison to the journey it inspired.

It's much more difficult for me to adopt this mindset now-a-days, and especially difficult in times of . . . well, difficulty, though I'm aware that's exactly when I need it most. Indeed, it sometimes seems to me that adulthood is all about averting or, when that fails, mitigating disaster. Experience teaches us to be prepared for disaster in all things, to perceive danger in details, and somehow that leads me to associate caution with wisdom. Yet that's only a small part of real wisdom. Life is not that simple, and staying safe can be a very direct route to losing joy. Just as small joys can get us through a day, little risks can result in a lot of joy. It's that possibility of failure, and the refusal to surrender to it, that makes life more spontaneous and rewarding. I think my favorite aspect of real adventure movies, after all, is how much potential there is for unpredictability. Sure, the "good guys" will triumph (unless perhaps it is the second in a trilogy) but what risks will they undergo next to achieve it?

In

Raiders of the Lost Ark

, when Indiana Jones just about gets to his

MacGuffin

(or so we imagine) he is confronted with his worst fear, and gets his soundbite: "Snakes. Why did it have to be snakes?" Why, Henry Jones (Jr.)? Because you're on an adventure.

Alternating Realities

Warning: I will be spoiling the new Star Trek movie for you. If you haven't seen it and give a tootin' holler, go read

this

instead.

So, apparently, everything we've ever been taught by the cinema about extra-normal time travel is wrong. Go figure. I can't say how we can be wrong about something that at this time exists purely in our imaginations, but if such a blunder is possible, I'm sure Hollywood can find seventeen ways to achieve it in but one script session. It would seem that paradoxes, changing the past and alternate time lines, as such, aren't. I'm certainly crushed. There goes one of Hollywood's greatest plot crutches. I'm sure we'll never, ever have another story that ever uses time travel to the screenwriters' advantage ever again ever.

Unless, of course, someone goes back in time and changes that.

In the new

Star Trek

, the world of the 60s television show is effectively re-imagined, with lots of lens glare and "hand-held" close-ups. I am told the kids are calling this a "reboot" and, indeed, I noticed they put new boots on the Federation uniforms. This reboot is explained, justified, and otherwise meant to be made more palatable by way of time-travel incidences and alternate realities. (Alternate time lines = bogus. Parallel universes = apparently not ruled out just yet.) My biggest complaint about the movie -- which I enjoyed, by the way -- was how adamantly they established and reinforced this argument for making fresh new choices about Star Trek backstory. Just under the scene-after-scene of repetitive expository dialogue I could detect the seismic effects of so many screenwriters giving themselves pats on their backs. Thank you. Yes. I get it. The future is now, conveniently, mostly, unwritten.

It did, however, get me thinking about alternate realities. It's not inconceivable to

much smarter

people than me that there are multiple universes in which an incredible variation of common elements occur. We tend to be pretty narrow in our conception of such alternate dimensions, imagining them largely as revolving around us and our personal choices in life. But who knows? If the alternate realities are as infinite as we believe space and time to be, anything we can conceive of might occupy one or several. A moss universe. A universe in which the motions of the planets are determined by the game mechanics of backgammon. If nothing else, the notion of alternate realities is a very decent metaphor for, or illustration of, the human imagination.

Viewed through the filter of my comicbook-ridden mind, the new film makes Kirk our Batman, Spock our Superman. Kirk is the vigilante anti-hero, Spock the alien who wants more than anything to do right (and be accepted), and now both are motivated by parental demise. There even seemed to be an aggressive (in more ways than one) sub-theme of Kirk getting his ass handed to him in fights. These interpretations are not too far from the originals, so I took them in stride and tried not to snigger derisively. (Aw man, they blew up Krypt- . . . I mean, Vulcan . . ..) Uhura is way more bad-ass-er, which they tried really hard to make less-than-obligatory, and then they made her Spock's love interest, thereby reinforcing what Hollywood considers its biggest obligation to its audience: a love story. McCoy's a divorcee drunk, thank you Spielberg, Chekov is adorable, Sulu is exactly who you'd want in a bar fight, and Scottie -- well, Simon Pegg I love you and you can do nothing wrong not even

Run, Fatboy, Run

.

It's the characters that struck me and stuck with me, you understand. I suppose they were the reason I was there, to see a different troupe tackle archetypes, strap on the classic masks and have a whirl. This can be a recipe for disaster, and this wasn't a disaster, not by a long shot. It's just that the actors came across as more imaginative than the writers, which, keeping with a commedia dell'arte metaphor, is fairly apt. But it would have been nice to have both; maybe next time, or in an alternate parallel universe, somewhere/when/which. Which brings me back around to how we think of these alternate lives we could have had, or are having, in some-dimension else.

It's popular to opine that if we had it all to do over again, we wouldn't change a thing. Even when we think about changing something, many of us realize that we sort of like who we are -- the only "who" we know -- and we wouldn't be said "who" without the "what" we were given, when it was given. Or perhaps taken, depending upon your philosophy and/or theology. At any rate, the experience of our age just allows the slightest logical space to daydream about the past, and what-if scenarios. "What-if," I'm not the first to say, is an essential element in all aspects of acting. It's that logical crack that lets a little imaginative fresh air and warm light into the room. As

Friend Melissa

quotes Leonard Cohen, "There is a crack, a crack, in everything - that's how the light gets in...." There are people we have been, as we've grown, who in retrospect seem as foreign to us as strangers. Personally, I'm usually embarrassed by my former incarnations; but there are a few of me that I still love, that I'll always love, and will never quite be again.

Fortunately, there are no paradoxes, so I can visit with those guys any time I want, and the universe(s) is safe from implosion.

Organ I zatioN

Lately I've been paying some attention to things like the collaboration, productivity, administration and general logistical aspects of work. By "work," in this context, I mean any effort geared toward a specific goal. But I also mean my day job. So, rehearsing a play, yes, revising a short story, yes, and figuring out how to order toner cartridges with great efficiency: yes. This is part of my newish strategy of looking at my life as more interrelated than disparate, but that perspective is also coming pretty naturally to me just now. Recently I've had to take on extra responsibilities at el jobbo del day, due to the laying off of others who were far more experienced at said extra responsibilities, and this has been a drain on my time and energy for other ventures. However, it has also yielded some surprising rewards ("not more money--that's just what he'd

expect

us to do...") and the main of these has been a discovery that I'm really rather interested in questions of leadership, organization and procedure.

Last summer I obsessed for a while over a Flash game called

Fantastic Contraption

. The gist of the game is to use common elements to engineer a machine to achieve some transportation goal. I was not especially clever at it, but got a great sense of accomplishment from overcoming successive failures until the goal was reached. In a sense, it was reminiscent of a good, difficult rehearsal, in which I try everything and become more and more dedicated to solving a problem the more failures I experience. In a rehearsal process, there's a philosophy of which I'm a fan that says that there are no bad acting choices; not really. Only good, or better. (Or, as I believe to be grammatically better: gooderer.) The idea being continual improvement in effectiveness, not to mention nurturing an environment in which people can be free to experiment creatively, without fear. It creates constantly improving solutions, and really big mistakes -- the kind from which you learn more, and quicker.

Of course, when it comes to most office work, big mistakes are terrifying things. They involve large sums of money, or people's legal statuses, etc. Yet it seems to me that there is too significant a dichotomy between those who keep their heads down and follow procedure, and those who innovate within an office environment. Is all that negative reinforcement directed toward getting people in line with procedure helping, or in fact hampering the work process? I'm not trying to make a sweeping statement here (horribly inefficient: sweeping) about the rules of the theatre lending insight into the process of the office. The current flows both ways. Much of the administrative structure in an office makes better sense and allows better allocation of resources than your typical theatre process does, and it's ridiculous to argue that structure can't apply to artistic endeavors. Structure is, of itself, an artistic endeavor.

There's been a lot of discussion recently on new forms of organization in corporate America and -- almost as though

someone's

been reading this here 'blog -- the comparative value/cost of multitasking and single-focus effort, amongst other process notions. I don't claim to have a significant contribution to make to these debates (though multitasking is

broken

and

wrong

) but every so often I'm excited by the idea of getting things done in a new way. It's oddly satisfying to me, at my day job, when I feel I've made even the smallest change that helps the whole contraption move better. Such ideas for change usually come about because I'm sitting still, thinking about the situation, and unafraid. It's a state that reminds me of the moment-to-moment pauses in my writing process. Does a conventional work environment allow for much of this? I'd say not. I'd also say, it ought to.

The funny thing is, I'm good about gradually organizing things at el jobbo del day, but in my life -- not so much. The first explanation that springs to mind is laziness, the second, lack of motivation (read: money). Yet I question these responses, precisely because they spring to mind. They're motivated by an energy similar to what administrators typically imagine will motivate their employees, stress, and I wonder what the response might be after a little time taken to sit quietly and mull over the situation. In fact, perhaps it's difficult to do this in the rest of my life because I relent to the stress more outside of the office, rather than carving out those moments to ruminate on it all.

Managing others is a skill; managing yourself is a hard-won talent.

Face to Face

Curious side effect of my acceptance into the Cult of Facebook: I believe it has affected the readership of this here 'blog here. Unfortunately, I am not computer-savvy enough to figure out how to quantify that change. I do know that the readership growth (growth in this context being a very, very relative term) for Odin's Aviary has slowed over the past year, though I attribute that more to Google Reader and RSS feeds than anything related to Facebook. No, the more interesting change -- more interesting by far -- is how many people are now reading my thoughts who haven't been privy to them for five, ten, and in a few cases even twenty years. I could no doubt increase this number by "tagging" friends for each entry, were it not that I'm pretty lucky to get as many posts published as I do with the time I have, anyway. The point is that my audience has had an intersting development in quality lately, in spite of a seeming falling-off in quantity.

Now, I'm not trying to imply that people I already know who read my 'blog are in some way better than them what don't. By "quality," I mean the overall identity of my audience. (An "overall identity" is a pretty interesting-slash-meaningless concept, but you get what I mean. I hope.) When I first started doing shows in New York -- which is as much as to say, when I started being a true professional actor -- I quickly became fascinated with the relationship between audience and creator. This fascination existed in a very immediate sense, not some theoretical or academic speculation, and it continues for me today. Just who are these people who are coming out to engage in theatre? And, perhaps more interestingly, who are the ones that no one on the production side knows, and what do they come seeking? Odds are, when you're sitting in the audience of an off-off-Broadway show, most everyone around you knows somebody involved in some respect (so watch what you say) but there are always at least a handful who don't, who are there for an evening's entertainment, or for something they don't even know yet. Maybe this isn't as curious as I find it; after all, in big productions all sorts of strange people are filling the 1000+ seats and looking for something other than seeing their friend on stage. Still -- to my audiences -- who are you, really?

So both are interesting, friends and strangers. Hello. Welcome. Try not to rely on this 'blog for too many of those promised fart jokes.

Wife Megan

and I have had several conversations lately about people we feel we know who don't know us -- Neil Gaiman, mostly. It's a very Gaiman-y season. I recently re-read

American Gods

(and I rarely re-read books) and rented

Beowulf

. I just read and loved his two-shot Batman comic "Whatever Happened to the Caped Crusader?", we're seeing the musical adaptation of

Coraline

this Sunday and seeing the man himself at a talk at Used Housing Works Bookstore in the latter half of the month. May is positively Gaiman-esque. And it's funny, because we both feel awfully close to the man, and he has no idea about us. Really, we have no idea about him, personally. It's just that his writing has influenced us so, kept us company, driven away boredom and provoked thought and emotion in us, that, well . . . it's hard not to want to make the man breakfast the next morning. Oh, you're up! How do you like your eggs,

American Gods

? I have cleaned and pressed your trenchcoat,

Anansi Boys

. Please,

Fragile Things

, don't bother about the bed. I need to change the sheets anyway.

Yes; I acknowledge that analogy as just this side of creepy. Alright: Way over here with me in downtown Creepyburg.

What does this have to do with showcases presented in under-99-seat theatres, or a 'blog that gets in just over 50 hits on a good day? I suppose what I take from it is that we extend farther than we may be aware, we influence more, touch (perhaps at times inappropriately) many more lives than can be evident, even with the aid of all things TwitterFaceSpace. It's a reminder I value. It reminds me, in fact, of a big reason for doing this stuff -- all this exploring, communicating, connective stuff -- in the first place. Because it matters, to people we know and those we have yet to meet.

And Some Days, the Bear Gets You

Bleaaaaaaaghhhh . . .

It's been rainy here in The Big Apple, and is slated to continue various levels of gray dampness right through to the weekend. This, amongst other circumstances, has led me to about three days of feeling like a cold was coming on. I think I'm pulling out of it now (fingers resolutely crossed [you should see how I'm typing]), but even this morning there was no convincing myself to repeatedly push-up from the floor, much less jog through the moist grayness. In fact, starting with Saturday, the past few days stand in sharp contrast to the energy and motivation that were driving me last week. Lest I ever doubt seasonal depression . . .

Trailing off is rather what I've been doing lately, in most things. That is, perhaps, not giving myself enough credit. I have been working like a dog (that is to say, confusedly, but with enthusiasm) at el jobbo del day, and there has even been the odd acting assignment and social assignation thrown in, too boot. Good and bad. Yet the end result has been, regularly, a certain sloping down-current that ultimately results in . . .

That. Bleagh.

I demand exclamation points! At all times! Bleagh!

That is all. Whoops:

That is all!

(Oo-oo-oo . . .

italics

. . .)