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| Weekly Post-Eds |

WP#72 The Show Goes Wrong

by Robert Hyma June 6, 2024
written by Robert Hyma
A featured image for Weekly Post-Ed #72 that shows the velvet curtain of a play, some dangling bats on strings, and the title of the post shrouded in fog.

THE SHOW MUST GO WRONG

The joy of being a former stage actor is spotting when the show goes wrong. I should be clear—I’m entirely nervous for the actors and want them to have a great show, but I can’t help but spot the often minuscule errors and mishaps that happen throughout: someone forgets a cue, a prop is missing, a line is stumbled over or forgotten, the wrong backdrop was lowered from the ceiling. What makes theater so compelling isn’t the “Where’s Waldo” ability to spot errors, but watching what comes after a mistake—how the cast and crew respond to things going wrong.

Because in the theater—as the saying goes—the show must go wrong on.

I know—it sounds condescending to look for all the foibles of a production, but I find the best shows are ones when something does go awry. Don’t believe me? There’s an entire slate of plays written with the premise of performances going wrong:

It’s a strange thing to consider: Why do we find joy when some things go wrong, but are devastated at others times?

***

TWO TYPES OF RATS PEOPLE

Still connected to my recent undergrad superpowers, I researched for possible answers and came upon a fascinating study involving rats and exercise.

Uysal, N., Kiray, M., et al. (2015) conducted an experiment that measured the stress hormone cortisol in rats who voluntarily exercised versus those who were forced to participate. The voluntary exercise group of rats was given access to a running wheel and could choose to use it freely. The involuntary group of rats, however, were limited to a motorized treadmill and were forced to run at the same time as the voluntary group chose to exercise. This gave both groups of rats the same amounts of exercise time, effort, and distance ran.

The results were surprising. The involuntary group of exercising rats showed an increase of cortisol, the stress hormone, after running, while the voluntary rats showed all the benefits of exercise as well as a boost in serotonin—the “feel good” neurotransmitter responsible for decreasing stress, improving sleep, mood, and a myriad of other benefits.

In other words: The same exercise was performed by both groups of rats, but one group thrived while the other suffered.

Exercise isn’t considered “fun” for so many (especially running–which the rats might have felt no matter how appealing the running wheel or type of treadmill), so what was the difference?

One interpretation from this study was the impact of one group’s mindset: If running is seen as a freedom instead of a requirement, the mind views the activity as pleasurable instead of stressful.

Not that any of this is a convincing argument for why anyone should pick up jogging. “If rats can like it, so can you!” isn’t going to convince me to buy an expensive pair of runnings shoes, just as a rat can cooking at a 4-star Michilin restaurant doesn’t inspire me to make ratatouille.

But hey, if you MUST run—you might as well find a way to enjoy it.

***

GO FOG YOURSELF

My favorite performance from the past year was Grand Valley State University’s fall production of “Dracula: A Feminist Revenge Story, Really”. The small Blackbox theater’s production was set in foggy Transylvania, complete with gothic gargoyles and castle doorways.

And an ever-present layer of fog blanketing the stage floor, thanks to a pair of water vapor fog machines stationed behind the seats.

My date and I sat in the back row, in front of one of the fog machines veiled by a thick, velvet curtain. Every ten minutes or so, the timer triggered a whining noise, like a sprinkler sputtering to life before the water eeks out of the nozzle. The fog kicked up a notch when the characters of the play—including the rootin’, tootin’ southern drawl Van Helsing , the vampire hunter, complete in cowboy leather vest, boots, and chaps (for creative purposes, I guess)—traveled to Transylvania.

“Oh,” said my date, who suddenly disappeared in the seat next to me because of a sudden plume of fog. The fog machine behind us malfunctioned and couldn’t turn off, turning the entire production into a miniature scene from Stephen King’s The Mist—except instead of encountering mutated swamp monsters, there were only college actors reciting lines with an overplayed British accent.

The horror.

Then: At the start of the next scene, as the fog rose about the audience, Van Helsing said, “Hey ya’ll, listen up! Dracula might be over yonder! Freeze—I bet you can hear ‘em if you stay reeeaaall quiet!”

BEEP! BEEP! BEEP!

The fire alarm rang to a deafening shriek.

Per protocol, the audience was asked over the loudspeaker to calmly head towards the EXITS to stand outside until the fire department arrived. It was raining that night, on a cold October evening, so my date and I huddled under the pavilion of a nearby study hall, watching the audience stranded outside the theater doors cover their fancy going-out hairdos from the trickling rain (we were instructed to leave all their belongings in our seats—in case we valued a jacket more than the life of someone next to us, which was entirely possible at GVSU).

After the fire department deemed the culprit a faulty fog machine (which was then severely punished per university policy: being charged full price instead of a student discount), the actors finished the rest of the show after a slight rewind to the previous scene before the fire alarm sounded.

The show wasn’t great. The theater smelled like dry ice. The night was cold and wet. And I questioned whether I knew anything about feminism by the end of the play.

And, yet, I remember thinking on the rain-soaked trek back to the car: Isn’t this great?

***

GO FORGE YOURSELF

The skeptic in me has problems with “just have a more positive outlook!” It doesn’t apply to everything.

Clearly, if circumstances involve war, disease, imprisonment, abuse, or any other life-threatening circumstance—clearly Eric Idol’s sing-songy “Always Look on the Bright Side of Life” is meant to be satirical.

Looking on the Bright Side doesn’t make sense for everything.

And yet, it does.

Maybe an asterisk should follow any life story that turns out relatively happy, but it is part of the human journey to find the meaning in the mess of our lives. I’m often struck by Andrew Solomon’s TED Talk about forging meaning. He states, “We can endure great pain if we believe it is purposeful.” 

Oftentimes, the trick of life is in recognizing that the oddities and tragedies we experience have no obligation to make sense. The great fun of the human experience is weaving a narrative that makes it all—for lack of a better word—livable.

So, on a cold and rainy night in October, watching a play as campy as it was cringy about Dracula and feminism, and being shrouded by a fog machine on the fritz—

I had a great time.

The show goes on either way, I figure.

Uysal, N., Kiray, M., Sisman, A., Camsari, U., Gencoglu, C., Baykara, B., Cetinkaya, C., & Aksu, I. (2015). Effects of voluntary and involuntary exercise on cognitive functions, and VEGF and BDNF levels in adolescent rats. Biotechnic & Histochemistry, 90(1), 55–68. https://doi.org/10.3109/10520295.2014.946968

Citation

***

A banner with a title: Spotify Weekly Finds.
  1. “Always Look On the Bright Side of Life” by Monty Python
  2. “I Heard I Had” by Dear Rouge

***

Wishing everyone as well as you can be. You’re not alone out there,

The signature and website logo of Roberthymawrites.com that includes a calligraphic "R" following by a signature.
June 6, 2024 0 comments
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| Weekly Post-Eds |

Weekly Post-Ed #47

by Robert Hyma October 26, 2022
written by Robert Hyma

Down With Paragraphs

It’s good to see you again, it’s been a while, jibber-jabber, jibber-jabber, it’s good to be back, you look great, obviously! 

But hey, let’s get to the point:

My new stance on paragraphs: I’ve been painstakingly formatting Weekly Post-Eds with indentations since this website began, but I’m slowly coming to understand this is NOT the preferred formatting on the rest of the internet. And, I already knew that before indenting, but I’m doing away with it for the pain-in-the-ass reason that not all browsers/viewing experiences mesh well with indentations. Sometimes indentations appear correctly, like so:

            “Hey, I’m a happy indented line! Don’t I look nice and formatted?”

But other times sentences look like this:

                                                            “What the hell happened here, Robert? Why are you starting in the middle of the page? What in the f*** is wrong with—”

You get the point. So, for the next while I’m joining the ranks of the rest of the internet and nixing paragraph indentations. It’s a test run, but I’m assuming it will stick around.

Ironically, in my personal writings, I never indent paragraphs. Funny how I do the opposite when presenting my writing.

Anyway, onto more indentation-less goodies.

***

She-Hulk Thoughts

The latest experiment from the Disney+ Marvel Cinematic Universe was another attempt to improve the streaming service television formula. She-Hulk: Attorney at Law followed the sagas of Moon Knight, Loki, WandaVision, and Hawkeye, as each carved out a niche with their respective heroes and furthered the debate about what works and what does not within the scope of MCU limited series.

She-Hulk: Attorney at Law used a gimmick that no other show could, something that is inspired from the comic books: breaking the fourth wall. Jennifer Walters often speaks directly to us, the audience, about the state of things (the show, characters, lazy storylines, etc). Whereas breaking the fourth wall isn’t a new invention (especially with the recent duo of movies featuring Deadpool that did it so well), I couldn’t help but notice something was different about this iteration of the theatrical technique. Breaking the fourth wall wasn’t so much about addressing the audience or being socially aware of tropes within the superhero medium in this show; there was something else going on.

That’s why I waited to write anything about She-Hulk until after the show concluded. 

The show featured a refreshingly female take on the world of superheroes and what it means to be marginalized and stereotyped as another “Hulk figure”, something that mirrored the arduous and infinitely frustrating journey of being a woman in modern day America. Jennifer Walters combatted what the world thought of her, warping her own perceptions through a lens of pop-culture, modern gender roles, and exceptionalism (as well as the ugly underbelly of internet message forums that seeks to defame or destroy women entirely). 

The series was 9-episodes long, most of which were frustratingly comical or situational. “Where is this going?” I found myself saying to my computer monitor during the credits of each building storyline. There wasn’t a main villain, no obvious thread that connected to the movie universe, nor was there any discernable urgency for Jennifer Walters to overcome some mounting problem. I felt I was watching “a day in the life” of the protagonist as she assailed issues from all sides of the feminine spectrum.

I was frustrated, but I would come to understand that the seeming monotony and subtlety of the series was playing into the overall message of the show. 

And by the finale, everything would pay off in spades.

The finale of She-Hulk: Attorney at Law is one of the best I’ve ever seen in television. My earlier intuition that fourth wall breaking was leading to something more came true in the most visceral sense. The climax of the finale featured the usual mashup of characters, all combatting one another in a stereotypical and unfulfilling superhero fashion.

Until She-Hulk breaks the fourth wall a final time, literally breaking out of the Disney+ show.

Jennifer Walters was finished with the restraints that every other MCU streaming show has encountered until this point. It was a proverbial rite of passage to break free of formula and superhero tropes. The screen froze, She-Hulk surveyed the Disney+ desktop main menu, and enters another show to demand answers for why her show has been so directionless and kische.

I won’t spoil the rest. It’s a wonderful half-hour of television. Most importantly, I found that the monotony I was experiencing was purposeful, a slow realization that the subtle irritations Jennifer Walters faced on her journey were the public expectations of comic book fans from the internet, and also men with patriarchal views about outdated gender roles, and the total absurdity of finding true belonging in a world that wishes to pull a person a million different directions for the sake of fitting into an outdated and worn paradigm—even the superhero cliché. 

Ultimately, the show was asking how anyone (primarily women) can find their place in the world, one that makes sense and is liberating?

It’s a question that women face in nearly every facet of life, something that She-Hulk: Attorney at Law showed a glimpse of through the guise of a superpowered Hulk lady.

This was the best television show yet from Marvel Studios. I enjoyed the risk-taking and breaking of old formulas. It’s an exciting place to find the MCU exploring, and I can’t wait to see what other issues can be worked into the fabric of new characters. 

I’ll be rewatching She-Hulk: Attorney at Law. It’s the first time I felt that way about a Marvel Disney+ show thus far. Well done!

***

The Merry Blokes of Merry Wives

“The Merry Wives of Windsor” @ Grand Valley State University

Theater departments are doing the best they can. That’s the first thing to understand when attending student productions at any university. Some are better than others, but I often find that the ones that present student struggles give the most to talk about.

Before it appears that I’m a total duschbag to the handful of Grand Valley State University theater students that are polishing their acting chops on the stage, this is not my intention. I was a horrible actor in college (let’s be honest, things haven’t exactly improved with age in that department) and I understand it takes many at-bats to figure out what the hell to do with any character. I’m not criticizing the students…

But the Director on the other hand? Oh, let’s talk about those creative choices.

The play I saw last weekend was “The Merry Wives of Windsor”, a Shakespearean comedy about the sneaky exploits of the wives of the male protagonists too enmeshed in their own egos to see they are being easily manipulated. It’s a wonderful play and I enjoyed this viewing thoroughly enough.

Except for two reasons characters.

Shallow (a character given the modern makeover as leather-jacketed preacher) carries an entirely INCOMPREHENSIBLE Scottish accent. My date and I ratioed that we understood 1 in 5 words. Secondly, Doctor Caius is often portrayed as a bumbling Frenchman. This rendition, however, featured a French accent that often slipped into German pronunciations, then trailing into potentially Swedish accents. Needless to say, Doctor Caius had just as poor delivery as Shallow.

When the inevitable occurred and the two characters vomited lines of Shakespearean dialogue at one another in a scene featuring only those two cantankerous actors, it was pure drivel.

I don’t blame the students donning their roles. I blame the decision to give these actors the direction of being incomprehensible in a play by William Shakespeare, perhaps the greatest wordsmith in the English language! It was like the Louvre opting to paint lines over the Mona Lisa, or playing a laugh track over Beethoven’s “9thSymphony”.

Just…why?

After a few days of pondering, I think I know why these incomprehensible characters were allowed to gallivant the stage in this fashion.

And I think it gives a modern lesson: sometimes a car wreck is the most effective entertainment.

It was certainly that on a cold fall evening on GVSU’s Allendale campus.

As Shakespeare once commented on his own works: “Suck on that, Bard. I’ll say it how I want.”

(No, he did not say this.)

***

I’ve been listening to an entire album by Sure Sure called the “Lonely One” EP. It’s another solid release by a band that generates danceable hits and deep digs and themes with their music. Below is the track listing. Be sure to check out “Facc” “This Time” and “Funky Galileo”, some new favorites of mine.

“Lonely” EP by Sure Sure
  1. “Lonely One”
  2. “123”
  3. “Facc”
  4. “This Time”
  5. “Peaceful In My Mind”
  6. “Funky Galileo”
  7. “Receive”

***

Wishing everyone as well as you can be. You’re not alone out there,

October 26, 2022 0 comments
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| Weekly Post-Eds |

Weekly Post-Ed #19

by Robert Hyma December 6, 2021
written by Robert Hyma

HERE’S TO YOU, STEPHEN SONDHEIM

            Like a Greek hero, a ceremony ought to take place upon the death of one of the greats. Upon hearing Stephen Sondheim died this past week, I scrolled through Twitter to read the glowing tributes and memories about the man. Lin-Manuel Miranda, the creator of Hamilton, shared an email chain between the two, thanking him for his wisdom and guidance while piecing together that recent Broadway masterpiece. Former actors in his plays, the great playwrights, everyone from around the world that was touched by his music and lyrics shared something about the influences of his work.

            “He was the reason I started writing music.”

            “I saw West Side Story when I was eight and it changed my life.”

            I’d consider myself changed by Stephen Sondheim’s work. The greatest of his works (for me personally) was Into the Woods. It’s a play of interweaving fairy tales set in the midst of a thick wood where the lives of the multiple protagonists are changed for better or worse. It’s a play about the consequences of our lives, that happily-ever-after doesn’t follow when the first act of our lives is finished. There’s always more and we must face who we’ve become whilst in the woods. It’s a beautiful story and I wanted to give tribute to what’s it meant for me.

            Except, I’m a far-away observer. I’ll raise my glass, but who am I in the context of sharing Stephen Sondheim’s joyous works?

            I’ll tell you what I did. I did as most mere mortals do: I watched my favorite of his works—the Disney version of Into the Woods in honor of his memory.

            Not that this watch was different than the previous four times I’ve seen the film, but I made sure to really hear the lyrics this time, appreciating the magical wordplay Stephen Sondheim wrote. “The Prologue” might be the greatest musical introduction in the history of musical theater, weaving the stories and origins of all the protagonists, all the while setting the stage for what changes their lives forever. I was moved by all of it, even Milky White, the cow that was Jack’s best friend to be sold to market.

            And I made it 38 Minutes into the movie, just in time to hear the beginning of “Giants in the Sky,” sung by Daniel Huddlestone.

            “There are giants in the…”

            PAUSE.

            “Chocolate milk,” I thought. “I should make myself some chocolate milk.”

            So, I hopped off my bed and headed towards the kitchen to mix some Nesquik into a tall glass of milk, the perfect compliment to watching the show. With the Nesquik made, I sat back down on my bed, ready to press PLAY on my keyboard, and then I stopped: did I really just pause this masterpiece of musical theater so I could make a glass of Nesquik? 

            This bothered me greatly. I mean, I hadn’t even planned on making the chocolate milk before the movie started; it was a spontaneous idea, something that sounded good on a whim. This was supposed to be my small way of honoring a great lyricist and composer who’s death was tragic for the entire creative world. And during the movie, something I set aside special to watch in his honor, I paused in the middle of a song to make a glass of chocolate milk?

            Why would I do that? If I were at the theater watching Into the Woods, I would never get up in the middle of the first act and head to the concession stand and say, “Weird request, but do you happen to serve chocolate milk here?”

            No, I would never dream of interrupting the show. So, why did I get up?

            With this guilt weighing me down, I placed the tall glass of chocolate milk on a coaster beside me, and pressed:

            PLAY.

            “..sky! / There are big, tall, terrible giants in the…”

            Chocolate milk. I really want that chocolate milk…

            “…sky! / When you’re way up high / and you look below / at the world you’ve left / and the things you know / little more than a glance / is enough to show / you just how small you are!”

            I mean, it doesn’t hurt to sip it, right?

            “When you’re way up high / And you’re on your own / In a world like none / That you’ve ever known / Where the sky is lead / And the earth is stone / You’re free to do / Whatever pleases you / Exploring things you’d never dare / ‘Cause you don’t care / When suddenly theres…”

            Chocolate Milk. Look, it’s starting to cake over on top. Just drink it.

            “A big, tall, terrible giant at the door / (A giant?) / A big, tall, terrible, lady giant sweepin’ the floor / And she gives you food…”

            Like chocolate milk. Just drink it.

            “…And she gives you rest / And draws you close / To her giant breast…”

            Which is like an utter, where milk comes from. As in chocolate milk.

            “…And you know things now / That you never knew before / Not ‘til the sky.”

            Goddam it.

            PAUSE.

            I drank the chocolate milk, in nearly one gulp. The shame coursed through me just as easily as the cold liquid poured down my throat. I felt terrible; I couldn’t even properly watch a movie that I cherished, that was penned by a man who recently departed this world. I looked to my empty glass, the last grains of Nesquik waterfalling down the side to a muddy soup at the bottom, and I meekly raised it up. “To Stephen,” I said aloud.

            Even if I couldn’t properly honor his contribution, I decided, at least I can claim that I tried.

            And I think that’s what the entire world tried to do over this past week. If it wasn’t a menial Twitter post, then it was a tall, cold glass of Nesquik during Into the Woods—the Disney version.

            So, raise a glass (a new one, not the one I just gulped chocolate milk from). 

            Here’s to you Stephen, a giant now in the sky.

            PLAY.

***

A MUCH BETTER DEDICATION TO STEPHEN SONDHEIM

            In a much more sincere and heartwarming tribute to Stephen Sondheim, stars and previous cast members of his many shows and the greater Broadway community appeared in Duffy Square in New York City to sing “Sunday” from the play Sundays in the Park with George. Lin Manuel-Miranda read a passage from Sondheim’s book, Look, I Made a Hat, and it was a wonderful prelude to the mission of the man and what he accomplished in his life.

            The video comes curtesy of Playbill, so check out the link below to watch:

***

SURPRISE! A NEW SHORT STORY IS HERE!

            Below is a link to the shortest short story I’ve ever written. I enjoyed writing it, both because of its length and also that so much can be inferred from so few details. My favorite art is that which gives the illusion of greater detail without providing it, like a few paint strokes that somehow, from a distance, look like the varying layers of rock or a mountainside. I won’t compare this short story to something as masterful as those artworks, but I’m curious to see what can be made with even fewer details. 

            Anyway, I hope you enjoy!

***

❤️ by Coldplay

“Thank You” by Bombadil

“Somethinggreater” by Parcels

***

Wishing everyone as well as they can be. You’re not alone out there,

December 6, 2021 0 comments
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