djonn: (Rasputin)

Four plays down, one to go. None of the current set blew me away to the extent that Come From Away did this past spring (but then, that's a really high bar). OTOH, it's been a very pleasantly relaxing week, and there've been a couple of genuinely pleasant and unexpected surprises onstage.

( King Hedley II )

OTOH, I'm really not the target audience for this year's production of ( Taming of the Shrew )

The week's other Shakespeare was ( Henry IV, Part I )

By contrast, David Henry Hwang's ( Yellow Face )

djonn: (bird)

This one is a trifle belated on a couple of counts. I blame part of this on the Anaheim Marriott - the hotel room, though perfectly fine in most respects, was not set up with a workable desk/chair combination, so I was not able to set up a space where I could sit down and work effectively with the laptop with which I was gifted Christmas-before-last (and on which I'm typing now).

Even if there had been a typist-friendly space, I'm not sure I'd have gotten that much typing done. I did attend a decent number of panels, made a couple of long prowls through the combined dealers'/art/fan-table space (buying very little mostly due to having brought dead minimum luggage for bringing things home in), saw several folks I'd not seen in person in a loooong time, and deliberately attended open filk three nights running rather than going to the Hugo Award ceremony. [This last was mostly because I like open filking, but also because there were few ballot categories where I was seriously invested in the outcome, and a little bit because my wardrobe nowadays is extremely short on anything approaching genuinely fancy dress-up attire.]

And on balance, I had a genuinely good time. Every single panel I attended was informative and useful (although the automated live transcription was almost universally hilariously inadequate, due largely but by no means entirely to a clear lack of SFF-genre awareness in its vocabulary banks). Filking was almost entirely pleasant and varied - and later had the side effect of persuading me that I needed to finally give in and create a Discord account. I am not yet spending a lot of time over there, but then I've also not yet set up the second parallel account for my Secret Fannish Identity....

And then I flew home and almost at once found myself finishing up the detailed paperwork for the next expedition. Which we'll get to - I hope - tomorrow night on this same Bat-time and Bat-channel.

djonn: (Peter Iredale)

Now it can be told...

The HQ of Darkest Suburbia has moved!

New living room, with bookcase yet to be filled. A work in progress.

I'm now one suburb further out from Portland proper...but where I previously had one rather sparsely scheduled bus line a seven-minute walk from my front door, I now have a MAX station four minutes away by foot, not one but two frequent-service bus lines just slightly further away, and two community theater companies within a few minutes' stroll. There is a cheerfully busy preschool in the next quarter-block over (I can see the back door out the window of the new home-office space as I type this), and whereas I am still a lifestyle non-driver, I am now the proud possessor of that prize of all prizes, the Very Large Closet™ that most people refer to as a garage.

I have almost 50% more square footage in the new condo as I did in the old, including a (tiny, not yet furnished) third bedroom, two and a half baths (there is an Issue with the walk-in shower in the master, which requires a contractor's intervention and with luck will be finished by the time I get back from Worldcon (!)), an actual if rather small pantry, and an electric range that purports to be a Smart Thing capable of talking to my phone.

As you see, the books themselves are not yet unpacked (the photo shows one of two bookcase units that arrived last week and have just been professionally assembled and duly attached to the wall). Once things get just a bit less chaotic, I am strongly considering staging a book-shelving party wherein I invite everyone I know over and offer pizza and beverages in exchange for help unpacking and arranging the books (some of which will need to come upstairs to the shelves in the office and the master suite). I will spare you the photo of the garage Very Large Closet™ showing all the boxes of books....

djonn: Self-portrait, May 2025 (Default)

I'm in a literary situation where I can use some inexpensive online help.

The short version: I have a handful of short ebook titles for which the rights have formally reverted to me...but the books are still up for sale at major Web retailers. If I can demonstrate sales for those titles, I can use that as a lever to get them pulled off the Web so I can remarket them myself (and in the meantime, claim full retail price rather than a royalty for the unauthorized sales).

( A daisy chain of publishers... )

(I should note here that while the various online retailers still selling these titles are from a legal standpoint direct parties to piracy, it's Histria - the final authorized publisher - that's put them in that position by its failure to de-list the works involved in timely fashion.)

So: here are links to Amazon and to Simon & Schuster for the three titles in question:

Charmed, I'm Sure • Amazon • S&S

Phantom of the Operetta • Amazon • S&S

Spirit of All the Russias • Amazon • S&S

A couple of requests: if you are motivated to leave a review of any of these after you've read them (which I encourage you to do, as it will help document that there's sales activity) , please don't refer to the rights situation in what you post - as I've indicated above, the retailers are not the villains here, and the business issues involved are better kept between me, Histria, and the affected retailers.

You are also very welcome to point people in other parts of cyberspace to this post; it would please me mightily if the situation were to go sufficiently viral to cause general improvement in Histria's treatment of the cadre of authors it acquired in the course of its purchasing spree (as I very much doubt I'm the only author in a similar situation just now). And if you find any of these for sale elsewhere on the Web, feel free to point me at the site in question.

djonn: Self-portrait, May 2025 (Default)

Let me start with the wham line: I did stand up at the end for OSF's production of Come From Away. The book is just that good, and the ensemble cast is also just that good. (The production as a whole is not perfect, but we'll get to that in a minute.)

I should note here that this was my first proper encounter with Come From Away. I know I watched the Tony broadcast the year the show premiered, and was very broadly familiar with the real-world inspiration for its creation, but till today I'd never seen it staged. Nonetheless, I went in predisposed to be touched; just looking over the director's notes in the playbill was enough to make me tear up a bit while waiting for the house lights to dim, and I remained emotionally invested in the action onstage throughout.

If you're somehow not familiar with this musical, it's set in the very real Very Small Town of Gander in Newfoundland, which happens to have one of the world's largest airfields in its back yard, and which was therefore suddenly tasked to accept seven thousand abruptly diverted airline passengers being redirected away from NYC on September 11, 2001. By rights this should have been a recipe for disastrous levels of chaos and strife - but instead it laid the foundation for perhaps the all-time greatest and most successful act of community service in modern history.

Structurally speaking, it is also by many standards a very odd musical. For one thing, it's a genuine ensemble cast - at least half the players arguably qualify as co-leads, and there are almost no pure solo numbers in the whole show. It's also relatively short, at least here at OSF, with a brisk 100-minute run time.

But short or not, the book and lyrics are brilliantly written, the characters (virtually all of them based on real-life stranded passengers and local Gander residents) are all drawn with a thoughtful mix of humor and heart, and every cast member is up to the challenge of playing double or triple roles on both sides of the cultural divide.

I have only one significant criticism, but it's one that's been a recurring issue with OSF's stage musicals in recent years: the sound levels for the orchestra have been set one or two degrees stronger than those for the vocals . . . and that, for Comes From Away, as full of ensemble pieces as it is, often makes it very difficult for the singers' words to reach the audience as clearly as they should. Given that there's evidently no published edition of the script for viewers to consult in order to get the full benefit of the show's lyrics - or so I was told by the OSF gift shop, which routinely carries printed editions of most of the shows the Festival produces - this is a serious and frustrating problem.

But even accounting for that complaint, Come From Away comes in at a solid 9.8 out of 10 (and feels especially relevant just now in light of current real-world events). This one is worth coming from away to southern Oregon, all by itself.

////

I can't say the same for You Are Cordially Invited to the End of the World!. Indeed, the kindest thing I can say is that this play - a nearly new show written and first produced in a much smaller venue just last year - and I are catastrophically incompatible.

First, I'm a very hard sell for embarrassment-driven comedy, and there's a great deal of it here. I'm an equally hard sell for comedy that treats seriously dysfunctional family environments with what feels like caricature as opposed to characterization - and too much of what I saw onstage felt to me like caricature, particularly of the play's most openly queer character. I'm also inherently wary of scripts that wade heavily into preaching their social agendas, and this script leans very hard on climate change issues throughout. Finally, one major plot line involves one of the leads being diagnosed with - and ultimately dying from - stage IV pancreatic cancer . . . which is, as it happens, precisely what took my father some years ago.

Ultimately, at least for me, You Are Cordially Invited... is trying to juggle far too many balls at once, and thereby failing to do justice to any of its characters and themes. It doesn't help that the play breaks the fourth wall right from the start, introduces a version of real-life climate activist Greta Thunberg as an onstage presence - "character" isn't quite the right word here - and makes an abrupt and tonally odd left turn into a more serious vein at the very end. [In particular, I would refer readers to Diane Duane's "Young Wizards" novels as a far better and more cohesive treatment of similar themes, and A Wizard's Dilemma in particular as an immensely more mature treatment of a parental cancer diagnosis.]

It's only fair to note that the Friday evening audience with whom I saw the show was, as a whole, a good deal more enthusiastic than I was (that being said, I will also note that a sizeable chunk of that audience, in the Festival's intimate Thomas Theater, was made up of a young student tour group, whose theatrical instincts were necessarily far less jaded than mine). And as virtually all of my objections are at the scripting level, I can't fault the actors for doing their best with the material they were given.

Fortunately for OSF audiences, Festival productions very rarely misfire as badly as I think this one did - and I don't doubt there are viewers who will disagree with my views of the show). But this is one case where I would recommend skipping the play entirely, and that's a call I don't make lightly.

djonn: Self-portrait, May 2025 (Default)

My two shows in Ashland yesterday were A Raisin in the Sun and A Midsummer Night's Dream. This is obviously a study in contrast - one is a cultural drama set in late 1950s Chicago, and the other is Shakespearean comedy set in a great forest near Athens.

And yet the two plays, for me, were a study in how OSF has managed to keep audiences coming back for ninety (!) years now...

...by just plain putting on flat-out quality theater.

Mind, they don't always hit the ball over the fence, especially when they try for Hollywood-level spectacle. (That was last year, when Macbeth veered too far into a war zone and Into the Woods just plain went off the rails (to be fair, the latter IMO is as much the fault of Sondheim's script as it was of OSF trying too hard.)

This year, the quality control is back with a vengeance. The focus in both Raisin and Dream is squarely on the actors and the performances, and that focus makes both shows shine. In particular, Raisin stands out for keeping its focus squarely on characterization - again, this is in no small part a credit to Lorraine Hamsberry's writing, but even in the play's most politically charged later scenes, what we see from OSF's cast is honest emotion rather than deliberate caricature.

And the current staging of Midsummer Night's Dream is equally straightforward. There's laser-powered sparkle, yes (and a warning for its use outside the house doors), but it's used judiciously and well integrated, and indeed the costuming and practical stagecraft are - or at least give the appearance of being - friendly, accessible, and within the staging resources of a good-quality college drama department or community theater. What drives the show are its players - and here, what's notable is that everybody is equally on the mark; it's not just that Oberon and Puck are brilliant, it's that all the mechanicals are as hilarious as Bottom and the mix-mastered Athenian couples are as memorable as Titania. The direction thereby gives us a strongly text-forward staging, and the cast is absolutely up to the task at hand.

These are not necessarily best-ever stagings for OSF (a 90-season history means there's a lot of competition for that spot, especially for Midsummer). But they are both at a level of good that shows why people keep coming back year after year, season after season, even for plays they've seen a half-dozen or more times through the Stratfordian canon.

Now if I can just retrain the audiences to understand why they shouldn't give a standing ovation to Every. Single. Performance. Of. Every. Play. They. See....

djonn: Self-portrait, May 2025 (Default)

A bit of back story before we dive into the next installment, as I'm not sure I've ever related the full history of how I became a theater geek in general and a Shakespeare geek in particular.

My first visit to the Oregon Shakespeare Festival was in summer 1974, courtesy of a student tour organized by two of my junior high English teachers. In itself, that's not unusual, but our group was distinctive in a couple of ways. It was purely extracurricular, for one; you couldn't just sign up, you had to be approved. We had quite a lot of free time, were mostly on our own for meals, there was a dress code for the performances themselves, and while the adult chaperones stayed mostly in the background, they could and did step in where needed to derail any serious shenanigans (which were rare).

The tour schedule involved seeing four or five plays in three days, our first show that year was Twelfth Night...and it was one of those nights when the cast was "on", the audience was "on", and the actor playing Feste had the whole house in the palm of his hand. I was instantly hooked. The next day included a backstage tour far more intimate than those available nowadays, in which our guide was one of the actors and we were introduced to several non-standard ways of creating all the gore needed for a proper staging of Titus Andronicus.

I went on that trip for six years running (high school tour alumni could return as "junior chaperones"), as did my mother (as an actual chaperone). Once I was in college, we discovered that Whitman ran its own alumni tour, which became an annual pilgrimage for my parents and I, though Whitman finally discontinued it a few years ago. Nowadays I do my own booking, and have been doing so long enough that the owner of the airport shuttle service now recognizes my voice when I call.

Mind, OSF wasn't the only factor in play. Though I was never a theater geek in high school, I did participate in the speech-&-debate program - and in the process, made friends among the theater kids who branched out from drama classes into the dramatic-reading events that were part of the speech team's competitive schedule. I began writing play reviews for my high school and college papers, and made more friends among Whitman's drama majors (some of whom have gone on to successful acting careers). I have not seen nearly as much local theater as I'd like (a situation likely to change Real Soon Now, as there are now two community theaters within fifteen minutes' walk from my brand new front door), but I like to keep up with what my local schools are putting on.

And that's enough autobiography for now....

djonn: Self-portrait, May 2025 (Default)

This is your action news reporter signing in from Ashland, Oregon (that's right, I've temporarily escaped from Darkest Suburbia, and for once have a proper laptop PC in hand from which to file field reports!).

I am set to see four, count them four, plays at OSF (the Oregon Shakespeare Festival) over the next couple of days, but this post is not about any of those. This is about my first supper at a cafe at which I've been dining regularly (for which read: once or twice a year when I'm in town) since it opened in 1976.

This would be Brothers' Restaurant, which has up till this visit been purely a breakfast-and-lunch spot, and whose local reputation rests largely on delicious breakfasts. I'm an outlier by Brothers' standards; I go exclusively for lunch. More specifically, I usually go for their Reuben sandwich, which is a sterling example of its kind.

So I was greatly startled when, on consulting my phone's map software on arriving at my hotel, it claimed that Brothers' was open at that very moment for dinner. Naturally, I popped over to the place's own Web site to check this claim, and found no reported variation in its long-standing hours.

And so I was even more startled some while later, when walking down the block past Brothers' front door, to find a sandwich-board sign on the sidewalk in front of said door - which was in fact open - with the proclamation that they were now open for dinner till 9pm Wednesday through Sunday! This clearly required investigation, and so I strode in and was cheerfully told by one of the three musketeers well-rounded house staff to sit anywhere I liked.

A look at the freshly reprinted menu found all the familiar standards still there, plus a judicious addition of appetizers and wraps. I was sorely tempted in the direction of my beloved Reuben, but went instead for a Tuscan Grill: grilled chicken, pesto, and roasted red peppers on a square ciabatta roll. This came with another addition to the Brothers' repertoire: curly fries.

And this, O friends, Romans, countrymen, et cetera, brings us to the high point of the narrative, for I am here to tell you that once again Brothers' has achieved French Fry Nirvana.

These, you see, were not the greasy, over-seasoned, over-crunchified curly fries one might find at a carnival booth or an ill-fated Arby's. These were fresh out of their fryer, oil barely clinging to fresh golden crust (and a thin crust at that, with just enough seasoning to highlight their silken potato interior without overwhelming it).

Which is to say, these curly fries were everything that a truly great traditional French fry should be and only rarely is...and before tonight, I'd have told you that no curly fry could ever hope to meet that standard.

And I would have been wrong, because now I've seen it done. (I should not have been surprised; Brothers' traditional French fries are themselves a wonder and a delight, and are directly responsible for my coinage of the phrase "French fry Nirvana" in the first place.)

So: if any of you in the gallery are in dining range of Ashland, Oregon - do not walk, but run to the cozy little block on the very northern edge of the downtown area where Brothers' is located and give them enough business to make their curly fries as legendary as the rest of their menu. (Or, I suppose, one could order them for delivery, but that takes half the atmosphere out of the equation....)

djonn: Self-portrait, May 2025 (Default)

For such readers as are still following along despite my irregular blogging pace (and yes, I can hear you laughing on the other end of the fiber-optic lines), a Note:

This journal isn't going anywhere, but news is likely to be even more scattered in the next few weeks than usual. Your correspondent is moving - purely locally, mind you - to a different sector of Darkest Suburbia (indeed, somewhat closer to what might be counted as Downtown Darkest Suburbia, which is not quite the contradiction in terms that the coinage suggests).

You do not want to know how many boxes and how much packing and organizing this involves. Trust me on this.

At the other end of the move, however, there will be considerably more living space, an actual guest bedroom (which will require a guest bed to go with it), and (wonder of wonders) a slightly oversized one-car garage - or, as we lifestyle non-drivers like to refer to such things, a badly needed Very Large Closet™.

And possibly, once the dust settles, I'll actually manage to start posting more often....

djonn: Self-portrait, May 2025 (Default)

Still here (despite appearances of invisibility). Still alive and mostly well - although one of the projects for this spring is kickstarting a long-overdue proper health care usage regimen. On the plus side, I'm very satisfied with my new semi-bionic vision; on the down side, there are half a dozen annoyance-level things that should probably be looked at...but as a person who's rarely needed to go see a doctor more than once or twice a year, I've been slow to respond to the process of becoming an Honored Citizen (which happened a few months ago on local transit-system time).

Other projects have also been moving slowly; I've been most consistent about fan-writing, and quite a few things have been started and paused. That's prompted some thoughtful self-examination...

...which has me thinking about some larger prospective changes in offline life. [Yes, I am being deliberately vague. No, I am not going to do anything dangerously stupid, at least not on purpose. Yes, this does mean I will probably continue to be partially invisible in my own online space, though I promise to try to update more often than I have, and with more interesting material than this post.]

Yes, that last sets a pretty low bar, and Statler and Waldorf and their fellow hecklers are welcome to point and laugh. I will set out a basket for the incoming fresh fruit, and a giant flyswatter to THWAP back the not-so-fresh.

In which context (and here's your nominally current-events item): why in the name of the Great Gonzo did ABC consign the recent Muppet Show revival to a sort-of-9pm timeslot? On one hand, given that they were in fact giving us a straight-up free-standing episode rather than a one-shot Prime Time Event (a thing not too well explained in the promotional run-up), I can sort of see why they didn't over-promote it. OTOH, in today's TV market you'd think a network-based Muppet Show would be IDEAL 8pm programming so as to catch as much of the all-ages audience as humanly and Muppetly possible....

Please, please, ABC: pick up the back-door pilot, and put it on at 8 when you do.

djonn: Self-portrait, May 2025 (Default)

Based on early reviews, I went in predisposed to like the new Superman movie, and for the most part, I was very much not disappointed. David Corenswet stands out as excellent in a uniformly excellent cast, the script does a lot of very smart things with most of its characters, and Gunn's direction gives us a movie that moves along briskly and doesn't feel as long as its run time.

( But.... )

djonn: (woods)

Thanks to a spectacular accident of timing, I ran across a brand new book this past week with a pitch that leapt off the screen and said "Read me!"

This happened to coincide with a sufficiently clear bit of spare time that I woke up a long-dormant Web account, secured an electronic copy, devoured the book - and have just now posted a proper review.

The book is The Adventures of Mary Darling by Pat Murphy, and the review is here at my personal Webspace and here at Goodreads. (It is a decidedly mixed review; I had been worried about the book turning out to be genuinely awful based on aspects of the initial trade reviews, but my fears were only partially justified.)

djonn: Self-portrait, May 2025 (Default)

...and newly outfitted with a minimally bionic eye, thanks to cataract surgery last week. (Nowadays, you don't just get the cataract(s) taken out, they put in a lens implant - I got the basic model, thus "minimally" bionic.) This was the right eye; there's another operation on the left to come, but the exact date isn't yet scheduled. The improvement in vision is already dramatic and likely to be better still by summer, once the left eye is finished with recovery and the opthalmologists can finally write me a prescription for new glasses. [As it turns out, I'm sufficiently astigmatic that glasses work better on that issue than the higher-end implants would have.]

djonn: (woods)

An administrative note:

While I'm going to leave the account in place (so that no one else co-opts it), I am as of now departing Twitter/X in favor of Bluesky.

The handle there, as on Twitter, is LonePenman. (Yes, there should be an "@" there, but Markdown doesn't want to format the link properly that way, and I don't have time to fight with it just now....)

djonn: Self-portrait, May 2025 (Default)

I'm not even going to look right now to see how long it's been since I posted here; suffice to say that any readers still left are fully justified in wondering if this really is a Frankenstein-like synthetic version of me here at the keyboard.

No such luck (although I could in fact use one or two upgraded or otherwise rejuvenated body parts). It's still me, still living the quiet life in Darkest Suburbia™, still puttering away on various projects (and behind on entirely too many of them).

Now, though, it's time to see if I can, in fact, jumpstart this journal (and the Web site I've been haphazardly rebuilding since changing hosts a year or so back). One reason - my ebook publisher, Uncial Press, changed hands twice late last year (initially sold to a larger ebook house, which was then bought by a print publisher whose business model thus far seems...at best non-optimal for ebook authors).

I'll attempt to supply updates on a more regular basis going forward (and to keep that promise rather more successfully than the last two or three times I said that)....

In the meantime, there are dishes to wash, lunch to make, words to type, et cetera. Hi-yo Silver, away!!

[No, I don't really have a horse; that would be against HOA rules....]

djonn: Self-portrait, May 2025 (Default)

[eyes calendar]

Yeesh. There goes last January's resolution to post more often around here....

On the plus side, the Web-hosting move is done, and home life here in Darkest Suburbia remains more or less calm. On the other side, there are a lot of projects in assorted categories on which I'm even farther behind than I am on posting to Dreamwidth. I am hoping to make some progress on some of those in the coming week, but We Shall See.

I did, in fact, get to Ashland again this year, though not till the very end of the OSF season, and saw Romeo & Juliet, Twelfth Night, and The Three Musketeers. All were thoroughly worthwhile, with Twelfth Night being far and away the standout production; I had some issues with the adaptation of Musketeers, and some with the staging of R&J, but both come under the umbrella of "your mileage may vary".

I also got to Walla Walla for the (mumble)th reunion of my collegiate graduating class, and quite enjoyed the chance to prowl the campus and get a look at life under Whitman's new president. (We have a high-powered physicist now after several decades of Presidents from various of the humanities, which looks like it's going to be interesting. We are also embarked on a brand new fund-raising campaign, as often happens with the arrival of new leadership.)

In other news, a third member of the southern branch of the family has now become a public school teacher (and is in the same building as her mother, no less!). There is no evidence to this point of undue dimensional collapse due to statistical improbability in their immediate vicinity, but I may have to evaluate the situation further when I go down for a planned visit in the near future.

And that's the state of the expatriate English major as fall continues to fall here in Darkest Suburbia. Tune in again soon, same Bat-time, same Bat-channel....

djonn: Self-portrait, May 2025 (Default)
....well, electronically speaking, at least.

My virtual house at lonepenman.net is changing Web hosts, and one of the artifacts of this process is that email will evidently go down for a (hopefully brief) period while the pixels are migrating from one host to the other.  I should still be reachable here at DW or via phone/text for those with the relevant numbers in the interval.  (I have been contemplating this for awhile now, and once the change is changed, I have plans - rather vague as yet, but still plans - to take advantage of the new quarters to move forward and perhaps expand my online presence.

You have been warned. :-)
djonn: (woods)
On the one hand, I am woefully deficient in self-promotion, for OryCon was this past weekend and here I am, home again, having not posted about it beforehand. I was on two lightly attended but lively and thoughtful panels, and saw some folks I had not seen in many, many moons (one of whom has a book coming out in March!).

On the other hand, I have been productive, for at this just-concluding OryCon I wrote a filk (start to finish in under three hours, premiered at the circle Saturday night within moments of completion).

Naturally, it then went through a couple of wording tweaks when I got back to my room and wrote out a clean copy of the lyrics, but still, I'm glad to have resumed the tradition of writing a song at-con (even as OryCon is now planning to take a year off to regroup).

And here it is!  If you have not been watching Stargirl (the CW series, not the recent feature film), you should be - this is a pitch-perfect Silver Age DC comic deftly sort-of-transposed into the 21st century, and the ensemble cast is superb. The color palette is Batman '66, the visual style is Back to the Future, and the heroes are modern teens who are (for the most part) rather less angst-ridden than their Buffyverse predecessors.

This song, however, concerns one of the thorns in Stargirl's side, played with debonair panache by Jonathan Cake ("Oh, Charles, you know I have a flair for the dramatic gesture"):

ENTER THE SHADE

words: John C. Bunnell © 2021
music: "Drunken Angel" by Michael Longcor

Oh, a gambler I, and a rogue as well, and a gentleman besides,
And I've traveled round this world and back on some most peculiar tides;
I can tell of treasures best left lost and of ill-kept bargains made,
For I live my life in the shadows:
I am he who's called the Shade.

I freely grant I am no pure saint - I'm a thief, and yes, I've killed,
But the righteous need not fear my hand, for it's not their blood I've spilled;
I thrive by night and avoid high noon, for of darkness am I made;
And my soul is that of a shadow,
For I truly am the Shade.

Now a living Shade commands the dark and the shadows heed his call,
He may shape them too, howe'er he will, to hold his foes in thrall;
Yet I tell you this and I tell you true: you should rather be afraid
Of the evil beyond the shadow
Far more deadly than the Shade.

A shadow's edge is defined by light; in the dark it disappears;
And a shadow always stands alone, sharing neither joy no tears,
For the shadow never truly dies, though the mortal friends he's made
Turn to dust in the hands of the shadow
Who is doomed to be the Shade.

Yes, a gambler I, and a rogue as well, and a gentleman unwise,
For I find I cannot flee the trap that I fear I helped devise;
So between the light and dark I stand, my decision freely made:
For I am the eternal shadow;
I shall always be - the Shade.
 


djonn: Self-portrait, May 2025 (Default)

 

It's Tuesday night; your narrator has just stepped out the door on the way to the bus stop, so as to catch the last bus to work for his usual overnight shift. The door, as it's been trained to do, swings shut behind him...

...and my hand slides into my right front pocket, where there is no key ring.

Uh-oh.

On the one hand, this is a serious problem for a one-person household in Oregon whose closest spare key is located in southern California. On the other hand, it's a five minute walk to the bus stop, the bus is due in thirteen minutes, and it is in fact the last bus of the night.

I walk to the bus stop, establishing as I wait for the bus that no, my brother will not be coming up from Los Angeles to let me in tomorrow morning. We discuss the feasibility of replacing the lock with a fancy keypad model...

...and meanwhile, the bus mysteriously fails to appear. I check the GPS-driven app on my phone, which shows that it should be along in one minute - but it's a scheduled one minute, because the bus's GPS is evidently offline.

One minute fails to produce a bus. Five minutes fail to produce a bus. I check the app in an attempt to discern whether the bus somehow slipped past me while I was texting my brother. The app reports that the bus should be somewhere between my stop and the stop where I get off. It becomes obvious, however, that wherever it went, the last bus has ended its run without picking me up.

Clearly, the universe is conspiring against me. I sigh and make two phone calls, one to work and one to Uber. Impressively, the Uber driver is reasonably prompt and I am only slightly late for work, although without my key ring I can't get into my locker, where some of my usual work gear lives. The universe is also out to get my immediate supervisor; another co-worker has called in sick, and we also discover we have about twice as much work as there was supposed to be for this particular shift. Nevertheless, we persist, and the work mostly gets done in timely fashion.

Now it's time to come home - but how to get in? I have a light-bulb moment; I've recently learned that our HOA has a garage in which various odds and ends are stored, including assorted tools and such. It occurs to me that given our recent hot weather, and given that my condo is a second-floor unit sadly lacking in air conditioning, I've been leaving the glass sliding door to my balcony open at night for better airflow. (The sliding screen door is not open; I'm not inclined to let in the neighborhood squirrels or the occasional visiting goose.)

Possibly, I think to myself, the HOA will have a ladder in the garage, whereby I can climb up, get onto the balcony, and let myself in.

My brother points out via text that I am gaining ground on Lewis Carroll's Father William, and that perhaps I ought not be scrambling around on rickety ladders at my age. (Neither of us mentions that I have had an explicit warning from my doctor not to scramble around on ladders, rickety or otherwise, while one of my current prescriptions is still running.)

This discussion takes long enough that it's no longer too stupidly early to knock on my next door neighbor's door, on the off chance that I actually did give him a spare key when I changed my locks a couple of years ago. We establish that no, I wasn't that bright. However, my neighbor knows exactly which of my other neighbors is (a) on the HOA board, and (b) has the key to the garage in which there may or may not be a ladder. And wonder of wonders, the other neighbor is home!

Better still, we establish that there is, in fact, a ladder of sufficient height in the garage to reach my second-floor balcony. My two neighbors and I are, shortly, standing next to the base of said ladder, which is neatly extended up to said balcony. We look at one another. "John," my next door neighbor asks, "are you sure you can make it up that ladder?"

On the one hand, advancing age notwithstanding, I announce that I feel perfectly capable of climbing the ladder. However, the board member and custodian of ladders eyes me critically, and inquires, "Would you like me to climb up there, get in, and open up the door?"

I contemplate the ladder for a moment, and consider what the doctor is likely to say should I happen to fail my saving throw versus landing on my head as I swing over the balcony railing. "That's probably a good idea," I reply.

The other two of us watch - with my neighbor helping to steady the ladder - as the board member scoots with ninja-like efficiency up to the balcony, swings with monkey-like deftness over the railing, and takes all of two and a half seconds to defeat the screen door. Another thirty seconds find me back around at the front of the building, greeting him with effusive thanks as he emerges from my front door. Clearly my neighbor and board member is a bona fide ninja, and I have been saved from having to call a locksmith. [Clearly I also need to do some serious baking, preferably before the next heat wave arrives in a week or so.]

For the moment, in any event, the universe's conspiracy against me has been defeated, and life in Darkest Suburbia is back to its usual state.

djonn: Self-portrait, May 2025 (Default)
I am a late, late, latecomer to the phenomenon of binge-watching. In part, it was a matter of access; I refused to jump on the pay-TV bandwagon for simply decades, until forced by the demise of a second-tier Internet provider to switch to cable. Even then, I resisted. But in the last year or so, and particularly since moving to my present corner of Darkest Suburbia™ (where it's been not merely possible but preferable to get most of my TV via streaming), I have succumbed on occasion to the siren call of mainlining a whole season of something all at once.

However.

Even in my assimilation, I am an outlier. I have not inhaled the addiction that is Game of Thrones (HBO itself is not my jam). I have not drunk the Kool-Aid that is The Mandalorian. (I actually do have Disney+, but while I like the Star Wars franchise in general - okay, except for the prequel trilogy - it's at best a second-string favorite to other series. I'll get there one of these days, just not yet.)  I am years behind on the various "Arrowverse" series. I have not sat through the epic that is Survivor (I am mostly a really hard sell for reality TV - traditional game shows, mostly yes; dysfunctional group-therapy exercises, hard NO).

So what did I spend most of a weekend watching just last month?

That would be Encore, a Disney+ original reality series (!) that's all about - surprise - musical theater. I am nothing if not a lifelong theater nut in general and a musical theater nut in particular, and the discovery that someone had made a reality show about re-enacting high school musicals was pretty much guaranteed to ping my "must watch" radar. Nor did it hurt that one of my favorite actors - Kristen Bell - is both nominal host and one of the executive producers.

Encore's premise is straightforward: track down the half-dozen or so leads of a particular high school's musical theater production from a particular year, anywhere from a decade to almost a half-century after the fact, and lure them back to said high school to put on a fast-tracked one-night revival of that same show. The production window is short: five days' preparation from launch to overture. This is made practical because the series producers supply the remaining 95% of the necessary labor (including actual Broadway-veteran directors, choreographers, and music coaches) plus a professional ensemble (often hired locally) to fill out the cast. The reunited performers get a trip down memory lane, and viewers get a crisp, authentic behind-the-scenes view of how each episode's production comes together. Most of the resulting shows are staged right back at the original high school theater, though one or two make use of a nearby local theater. In one case, where the high school in question had closed, the next-nearest high school stage stood in for the original.

Because each episode runs just under an hour, what you get of the actual score from each selected musical is limited, but there's always enough to get the flavor of each show across. There's a nice balance of variety and continuity in the production process. In some cases the high school performers reprise their original parts, while in others they take on different roles. Each episode makes use of a unique trio of directors, but several of the directors and choreographers recur three or four times during the 12-episode season. And there's often a guest with specific connections to the relevant show's Broadway run - Broadway's original Belle turns up for Beauty and the Beast, songwriter Stephen Schwartz is on hand for Pippin, and the guest director for Ragtime was, in fact, the Tony-nominated director of the show's 2010 Broadway revival.

Because this is reality TV, part of each episode involves our leads reflecting on their lives then and now, but while some of the journeys involve a degree of emotional pain, all are ultimately optimistic in the old-school Disney mode. Because this is a high-school reunion exercise, the producers have hunted down archival video of the original productions, so you get to see - sometimes side by side - the principals as kids and as adults. And because this is an absurdly ambitious way to produce a musical, there's a degree of cheerful Muppet-like chaos that's always making itself felt.

The selection of shows is more diverse than you might expect from a Disney-backed venture - yes, they've got Beauty and the Beast and High School Musical, but also represented are Anything Goes, Godspell, and the aforementioned Ragtime. At one 12-episode season, this is a fairly short binge - and may well be all we get, given both the present limits imposed by the pandemic and the long-term changes likely for live theater in general going forward. I'd be glad to see more - but I'm delighted to have this much, and I recommend the series to anyone with any interest at all in musical theater. 
Page generated Oct. 4th, 2026 10:38 pm

Heard In Passing....

"Four hundred angry girls with knitting needles are more dangerous than you might think."

September 2026

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