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Tuesday, 02 March 2010 |
 Despite the tardy flight attendant and the epic line in deicing, Sterling Lynch made it to Phoenix for closing weekend. We took in a Suns game, Barrio Café Mexican food, and capped it off with [title of show] on Sunday night. Oh yeah, and we went to our final performance of “Tangelico” and “A Cube With A View”.
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Friday, 12 February 2010 |
 Last night I sat in the fourth row with friends at my side and program in hand. My phone buzzed with supportive text messages. Opening night. Double Feature: Tangelico & A Cube With A View presented by Space55 Theatre Ensemble in Phoenix, AZ.
If you’ve read my posts over the last four weeks, you know the extent to which this pairing was not only unlikely but damn near impossible. But for the very beginnings of social media, Sterling Lynch and I would never have met. A Cube With A View would never have been written. And Space 55 would never have heard of Tangelico. That’s a lot of nevers.
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Wednesday, 03 February 2010 |
 The world premiere of Tangelico and A Cube With A View has been shepherded by many committed individuals – from the vision of the Artistic Director at Space 55, Shawna Franks, to Denny Guge and Stacey Reed working the hell out of Public Relations. And in the last two posts, I’ve touched on the critical role Brandon Wiley played in the production of this unlikely pairing.
I mentioned in the first post, that when I read the following two lines of dialogue in Tangelico, written by Sterling Lynch, I immediately texted Brandon:
JACOB: Well. Ahhh. (He looks around for a moment.) Aha! Why in fuck’s name are you peeling potatoes and cutting them up into strips?
SAM: Hey, don’t use the fuck’s name in vain.
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Tuesday, 26 January 2010 |
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 The headline could have read: Tangelico and A Cube With A View take the world by storm! But Dave Charest had a different idea: “Let's call it, Mare may…or may…not make it through this interview!” he quipped during his interview with Sterling and me. We talked with him via Skype on Thursday, January 21st. Before we started taping I warned Dave that I might lose power during our conversation because Phoenix was in the middle of a violent storm. In fact two tornadoes touched down within the city limits. Crazy! Sterling and Dave had great fun with this notion. They assured me that in the event of any catastrophe, they would carry on without me even though I wouldn’t be able to defend myself – in my memory of course.
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Tuesday, 19 January 2010 |
Last week I shared the origin myth of how Sterling Lynch and I came to work together and ultimately create a show from our two one-act plays. I set the stage, as it were, for a discussion about my experience writing the companion play, A Cube With A View, to Sterling’s Tangelico.
 First I asked Sterling if I could lift a couple of – well maybe three – okay four would be best – props from Tangelico. I took a breath. Then I asked if I could sort of “borrow” a few lines of dialogue. I wasn’t sure how many but not too many. He didn’t hesitate – absolutely – and then he said something about being a playwright from the hip-hop school of derivative works. That scared me. I decided to avoid any further references of the hip-hop nature, and said my goodbyes. I have no doubt that Sterling would recall this conversation in very much the same way.
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Tuesday, 12 January 2010 |
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 On occasion I have blogged about the working relationship Canadian playwright Sterling Lynch and I have managed to forge. Social media rules! I found my way onto Twitter in March, 2009 (@MareBiddle). I searched for theatres and artists to follow. Sterling was among the first playwrights. But he was in Canada, so would it even be worth it to follow him? I mean, we weren’t going to have anything in common, but I followed him anyway (@SterlingLynch). Given my sharp wit, astute intellect, and promise as a successful playwright, he followed back. I’m sure Sterling would agree. As predicted, we have nothing in common. Oddly enough we seem to work together quite well.
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Friday, 04 December 2009 |
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Most of you have family or friends in town for the holidays. Inevitably, you will panic, “What are we going to DO with them?” Sure you can shell out $50-150 a ticket for a Cardinals or Suns game. I mean you can buy $10 seats, but let’s be honest, you’ll get vertigo up there. It’s never a good thing when you can literally touch the rafters – or the clouds. There’s always the Nutcracker. Again. And again. You could go to Zoo Lights. Again. Or something else. Again. |
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Thursday, 26 November 2009 |
Canadian actor, director, and playwright Sterling Lynch celebrates the first anniversary of his blog today, November 26, 2009. Congratulations!
Sterling and I started working together several months ago when our paths crossed on Twitter (@MareBiddle and @SterlingLynch). Though we each bring a unique perspective and process to the composition of a play, Sterling and I appreciate a similar aesthetic in the form.
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Tuesday, 17 November 2009 |
Taking risks. Moving outside the four edges of the page. Taking a gamble that the world is in fact round. That I won’t sail off the edge of the screen even though it certainly feels like that to me. Canadian graphic novelist, Von Allan, just released his first book entitled the road to god knows…. Over the last few weeks, we have talked via email about taking risks. He told me, “Risk taking for me isn’t the work itself. Risk is deciding to even try to do any of the work at all.” Von’s thoughts so clearly capture the fits and starts of staying seated at my desk every day. Writing is easy. It’s starting to write that sends me into a spiral. I imagine that today—today I will not be able to do it. Today I will not be able to string the words together. Today I will fail.
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Friday, 11 September 2009 |
I’ve been working on a collection of short plays, Baby You Can Drive My Car, for the better part of a year. One 10-min play in the collection, Pumpkin Pie, was included in the 2008 Theatre Artists Studio’s Holiday Festival. Several other pieces have been workshopped at Space55 in Phoenix. People are excited about the collection and want to continue developing the work for production next fall. It’s too bad this piece isn’t even close to what I intended to write.
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