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Went and saw Poor Little Lulu at CPT on Monday, and for the most part I enjoyed the play conceived and directed by Matthew Earnest, an adaptation of two Frank Wedekind plays as noted in the program, Earth Spirit and Pandora’s Box.

I say “for the most part” because, as with many conceived pieces, the story really falls apart at the end. However, with that said, apparently both of the plays written by Wedekind are, generally, run together in one performance. The “running together” of the plays at CPT is no different: though, I wish in many ways it was. Simply, either the plays should not be run together in one evening, or sufficient time should be provided for them to properly develop and resolve themselves. As with other jointly conceived pieces I’ve seen it’s as if the steam (enthusiasm) just runs out—-or the time to prepare it does–and there is a push to just end the piece in whichever way is most expedient—-or no one working on the piece has the faintest idea how to end it, and so it lieu of letting it just sort of peter out some contrived ending is ratcheted on. This, however, was an adaptation, so there was not this particular problem, there was another, which I get to later.

What Earnest does with the play from a directorial and visual dimension is fantastic. The choices of costuming (nudity, cross-dressing, costume design), scene transition, the contrast of white and black and shadow play (noir) is stunning, etc. The performances from the cast are equally exceptional. The play, for the most part, is worth seeing for the visual effects, direction, sound design (James Kosmatka), video design (Earnest & Will Bezek), and staging alone. There is a constancy of energy and forward motion driving the piece, which helps when the story flags in Act 2. There are only a few instances in which the other flaw of devised pieces exhibits itself, which I’ll refer to as the onanistic tendency to indulge in superfluous goings on: characters (actors) sing for no reason (just because they can, I suppose) and for the same reason they engage in choreographed dancing. Don’t get me wrong, Lulu is supposed to be a dancer—so why not let her dance, right? Of course, she is supposed to be a prostitute, so why not let her…? The point is that seeing the dancing or fucking or whatever is not immediately relevant to the story. If it doesn’t materially function as an element of the story then cut it. If it has no story contribution (forward progression) then cut it. Katie Nabors (Lulu) is a dancer by the way and is clearly very talented and it was a joy to watch, even though it had no real purpose, or perhaps phrased differently, why was there no dancing and singing in Act 2? If you’re going to go whole hog, go whole hog.

Having worked on adaptations myself, and having read many books that touch on the subject, one of the rules that is always put forward is that the playwright, sorry, conceiver, should be faithful to the script (devised piece) he/she is writing/ conceiving, not to the original material—-even in cases when the original creator is still alive and you are beholden to that original work you should fight as much as possible for your own vision. That is, you should be as faithful as possible to your adaptation—-your interpretation of the story. So, for Earnest the question is, what was the story? His story? Because, I think, too faithful an adherence to Wedekind’s ponderous arc drove this piece to a forced progression of plot pegs. I can see and understand the imperative to present the “whole” story—-the complete character arc for Lulu: her rise and terrible fall—-but that is a different play from the emotional entanglements of Lulu and Schon (Mark Farr) which dominate the first act. Equally, I understand CPT’s mission and goal of presenting stories that cast light on social injustice and issues that still are prevalent in today’s society: including the slavery of women. These two plays by Wedekind certainly do this. But as presented in this adaptation the story fails in the second act completely—-the plot points are there and clearly apparent, but dramatic and emotional interest just vanishes. Having never read the original plays I am unsure how long a full production of both would be—-compared to this one at CPT. But, in the interest of finishing this adaptation much of Act 2 is clipped of meaningful dramatic content and all is presented as rough plot points and characters speaking their situations (telling): “Oh, I have no money,” etc. It is in this regard that I would rather have had only one play presented, or perhaps both at different times.

The story in the first act is quite compelling and engaging (i.e. the first play) and it is quickly and emotionally enthralling with regard to the relationship between Lulu and Dr. Ludwig Schon. Earnest, with the first play (act) creates a captivating story, in which the tension between Lulu and Schon is built and very productively dominant—-a tension that could have been sustained over the whole piece. Unfortunately, by being wholly true to the Wedekind original, this tension and emotionally dramatic force is cut short far too quickly with the marriage of Lulu and Schon and the subsequent murder of Schon by Lulu. This arc is fine for one play (Earth Spirit) but not fine for the two plays combined. The problem for the Earnest adaptation (wholly) is that the emotional attachment for the audience falls predominantly on these two characters (Lulu and Schon) and in the second act the audience is left with without them (hence no attachment–and virtually no interest in what transpires.) In fact, Lulu is in prison and absent from the first several minutes of the second act, so there are no characters that serve as an attachment at all—-and the characters that remain are debauched (as expected given the time period and location) but also two-dimensional, and thus cannot be emotionally engaging. Again, I don’t know if this is a problem for just this piece, or if it is common to the other adaptations of the “Lulu plays.” It is regrettable, because the first part of the piece is very alluring, but the second is just a series of rote events that wrap up the character arcs in a mechanical sort of way.

I’m just typing here to let you know that I’ve ordered for you and sent out a DVD called Forks Over Knives. I was recently referred to it by Mike Geither, who was my playwriting professor at CSU.

The conversation came about because I was talking about the movie Food, Inc. which I had just watched, and how the American food system was not only corrupt, but dangerous. I was talking about how Kirsten and I were looking to buy food from local farms and CSAs (community supported agriculture) associations. I was really miffed because in grocery stores you see all this product marketing and labeling that shows sunshine and farms, etc, when really most of the products in stores come from 4 or 5 corporate industrial farms that could give a shit about anyone’s health or safety.

Mike told me about Forks Over Knives. In it there is detailed information that the Western diet POISONS the vast majority of people who ascribe to it. Not by design or malice, of course, but because the evolution of man has not prepared the body for the diet that we have today: high in sugar, salt, fat, and animal protein. There is such a vast amount of data that points to the fact that the eating of meat, dairy, processed sugars, etc. causes cancer, heart disease, coronary artery disease, diabetes, allergies, etc., that I just could not ignore the parallels. One of the lead researchers is from the Cleveland Clinic. I am changing my diet for good. Kirsten and I have been talking for a while about changing our diets and the diets of [our children]. This is the foundational change that we will point to. We are going to ease into the transition, and we are not likely to be as radical–meaning we’ll eat, occasionally, some cheese and free-range eggs, etc. But we will be discontinuing the consumption of meat because the evidence points to how devastating it is to the arteries, heart, and how the consumption of animal proteins and by-products causes cancer of the liver, colon, breasts, etc. Not to mention the hormones, antibiotics, and other crap that has been injected into the food supply for so long.

A while ago I asked Dad what he was doing to change his diet in the wake of his colon cancer and he said that he didn’t know and hadn’t seen any resources to help. The DVD I’m sending is a wake-up call for me, and I hope it is for you, too. It is accompanied by a book about diet and has recipes that advocate for an all vegetable, whole foods diet. The DVD talks about cancer and how such a diet REVERSED many of the forms of cancer and other diseases people had, as well as their heart conditions–far more so than prescription medication. Kirst and I are under no illusions about how difficult such a transition will be, especially with kids; and I have no doubt that it will be tough for both of you, given the cultural history of food in this country. I cannot, however, be more convinced of what this DVD has to say and the necessity of making the change.