EXTRA CRITICUM

Why my next play had to be a solo show performed on Zoom.

In March of 2020 mankind was thrust into a new paradigm. With virtually every aspect of life squeezed, stretched and stuffed into shapes that many found virtually unrecognizable, the essence of what it means to be human was called into question. And change was all but inevitable.

Change can be painful, frightening, frustrating and uncomfortable. And so for the better part of two years everyone has to some degree found him or herself wrestling with uncertainty and a gnawing question regarding all our life choices pre-CoVid_19.

I feel that my exploration of this challenging and dangerous moment in human history absolutely calls out for a presentation within the confines of the Zoom black box theatre.

Opening 2 min. of the February 7th reading to an invited audience.

This has left us at once hungry for human connection (as the oxygen of life) and wary of it. We have found ourselves surprised by our own behavior. How many friends have expressed the same confusion regarding an acute loneliness and yearning for human connection coupled with an inexplicable paralysis when it comes to returning phone calls, emails and text messages. How odd it has been to observe oneself letting 2, 3, or more days sail by while phone messages or emails went unreturned even as we wished for nothing more than the back and forth of a chat with a friend. 

Zoom is the perfect architecture for this moment.

How'd They Do It? 2021 Hear Me Out Winning Writers Share Their Secrets: Patrick Mulcahey

Over the next few weeks several of last year's Finalist Winners will share their process of getting from the festival prompt to a monologue they felt excited to submit to Hear Me Out Monologue Competition.

Today, we hear from:

Patrick Mulcahey, author of Ecce Mom (winner of the Silver Ear for long form monologues)

Here's what Patrick had to say about the 2021 Festival Theme: Borders.

For at least twenty years I’ve been carrying around a character and a story I didn’t know how to tell. A close friend who’s a physician told me about a patient of his (anonymous, of course) whose life ended in tragedy, and tragically alone, because her children refused to believe the illness she complained of was anything but a cover for alcoholism. Since then I entertained the vague notion I’d write something about her someday — which became the day Roland announced the theme of the next Hear Me Out Monologue contest would be “Borders.” 

 

Why did that bring the character into focus for me? I’m not sure I can explain it even to my own satisfaction. Yes, “Borders” as a theme had some political currency at the time, but I wasn’t thinking politically. In my own life I’ve always had an awareness of the boundaries we draw between each other, even — or especially — in our closest, most intimate, most enduring relationships. And when we make a conscious decision to breach those boundaries, those borders, we do so because we want to accomplish something: revelation, persuasion, a provocation to a response which may or may not be the response we want. What else is drama is made of?

 

I struggled with the writing at first. In the real-life story told to me, the woman didn’t conceal her illness from her grown children: they just didn’t believe her. I had no room for them and no way to explain their skepticism; maybe the reason I never could write it in another form was the prospect of creating a character group with no function but to be wrong.

 

So I invented another boundary, a full and fully concealed intimacy in which the character’s diagnosis was understood and appropriate measures taken. Which became another loss, another secret to tell, another border to cross. 

Watch Mulcahey's winning monologue as performed by Alley Mills at the 2021 Hear Me Out Labor Day Festival & Awards Ceremony. 

Don't Throw Our Baby Out with the Bathwater (or: Why We Still Need Zoom)

As we enter Year 3 of the early 21st century pandemic, it's understandable why we might all long for nothing more than a life outside... outside the walls of Zoom.

The last couple years were dominated by stories of loss -- loss of income, loss of job security, loss of essential routines, loss of friendships, confidence and, of course, the worst loss of all: loss of life.

But scattered here and there, tucked behind and alongside the wreckage lie some unexpected gifts.

You conceived, nurtured, birthed and edited your baby. And now it's up to you to share it with the world.

For too many years I held onto a childish myth about show business that cost me dearly. 

The myth goes something like this:

Artists create the work.
And the marketing and PR folks promote it to the world.

To occupy yourself with the dirty business of promoting the new works
you've had a hand in creating would be unseemly and make you appear desperate.

The truth is: there never has been, nor ever will be a show, book, movie, song, or other cultural commodity that soared to popular success without the tender loving care and devotion of its original author. The fact of the matter is there never will be another living soul as fiercely loyal and devoted and confident of your original work than you. And the sooner you get comfortable with this fact of life, the easier life as an artist will be.

You see, we can waste an awful lot of time and energy waiting and hoping and wishing and praying for someone (anyone!) to show up one day displaying the same absolute confidence in the importance, the beauty and the power of your work that you do.

Once you stop holding your breath with your ear to the wind waiting for a sign, the sooner you'll be able to see and hear the genuine and more objective enthusiasm for the work that many among your team come by honestly.

For this reason alone, you should resist the temptation to convince yourself to sit out the necessary and time consuming process of figuring out a path to bigger and more passionate audiences for each particular work.

2022 Hear Me Out Monologue Competition Call for Entries.

Announcing this year's Festival Theme & Competition Prompt:

WHEN WE NAME IT

In a world in which  social norms, political systems, economic laws and the natural environment are all facing existential challenges, the language we use to describe the world around us takes on new urgency. In order to change a thing, we first need to name it.  In order to care for something or someone it matters that we name it. If we want to understand something that confuses or frightens us, first we must name it. 

Since human beings created language, the labels we assign to things, people, places, activities, relationships, complex issues, etc. etc. have influenced our view of them. There are things we carry with us throughout life that feel so important, so powerful, that sometimes we dare not name them for fear that naming them might invite them to consume us. And yet, oftentimes the act of finally naming something we’ve been living with results in a newfound freedom. And, yes, we also name people, pets, places, projects and creations. 

And sadly, these days, our choices regarding how we identify certain things can even threaten to tear apart our most treasured relationships. 

Your 2022 Hear Me Out entry must in some way refer to some naming and its impact on the characters you’re revealing. As always we hope you will find your own way into our festival theme and we do not require the use of any specific words, language or stylistic choices.  

We only ask that your character grapples with our festival theme in some way.

And remember: your monologue must introduce us to a character who is talking to another person (or group of people). Short stories and essays will be disqualified.

Click here to get started.  Early Bird Deadline June 15, 2022 at Noon.

Title treatment for: A Nagging Feeling Best Not Ignored

So... what do you all think? How does this make you feel? Would you buy a ticket to this thing? 

How'd They Do It? 2021 Hear Me Out Winning Writers Share Their Secrets: Kate Cortesi

Over the next few weeks several of last year's Finalist Winners will share their process of getting from the festival prompt to a monologue they felt excited to submit to Hear Me Out Monologue Competition.

Today, we hear from:

Kate Cortesi, author of I Love Parties (winner of the Golden Ear for long form monologues and the Most Memorable Character Award)

Here's what Kate had to say about the 2021 Festival Theme: Borders.

The Hear Me Out invitation to think dramatically and expansively about "borders" was one of my favorite things: a call to write. I used the prompt the way I use most rules: as something to subvert.

What comes to mind easily when we hear the word 'border'? You bet that's the very thing I'm going to avoid. There are borders we cross, border-crossing as an identity or a formative experience. I found my mind wandering to those borders that call to us, that we don't cross.

I submitted a piece about an elderly woman who is assumed to be harmless, and even vulnerable, who then turns out to be the potentially dangerous transgressor. Her decision not to transgress - to preserve a border - ends up being the definitive action of my short monologue play. The ultimate action is one of restraint, that forgoes gratification in the name of love.

To the writers who submit to the upcoming Hear Me Out competition, may the prompt inspire and unleash you. And if it doesn't, throw it away and see what comes of it.

Watch Cortesi's winning monologue as performed by Marnie Andrews at the 2021 Hear Me Out Labor Day Festival & Awards Ceremony.