Gods, Monsters, and the Other

June 27-June 28, 2008

Midway Studio, Fort Point

photos by Daniel J. van Ackere

THE LINEUP

Cantaloupe, an abstract work by New York City's Gina Bonati and directed by Ronit Muszkatblit, features three characters, One, Oh, and Wee. Also central to the “plot” are a knife, a melon, and a whole lot of juicy stage blood. This play might also be called The Secret Life of Melons.

The Greening of Bridget Kelly, by Peter Snoad of Jamaica Plain and directed by Jason Slavick, is a comedy/drama about a teenage climate change activist with a dark secret and revenge on her mind. In the confessional,  she tells her priest more than he wants to hear. Especially when it comes to his homegrown organic tomatoes. World Premiere.

Lonely Ignorance, by Mary Driscoll and directed by Vanessa Vartabedian, is the biography of a grandmother living with HIV disease. Driscoll drew forth this story and many others for “On with Living and Learning,” a nonprofit she founded to provide a long-awaited voice in the artistic world to women living with HIV/AIDS. Driscoll is a member of Fort Point Theatre Channel.

The Romantic, by Silvia Graziano of Watertown and directed by Dawn Simmons, is a tragicomedy of obsession—and necrophilia. Overtaken by grief when his young wife dies, Elliot digs up her body from the grave so they can preserve their “life” together forever—or at least until Eliot is forced to face the other skeletons that no longer want to live in his closet. A World Premiere by Fort Point Theatre Channel's resident playwright. 

Sammy’s Game, by Christopher Lockheardt of Andover and directed by Tara Wiseman, is a tightly woven fairy tale of two people from very different backgrounds. Together, they search for family, the drunk for the child he lost, the rich woman for the father who ignored her. “Human-acted” world premiere. Previously produced with shadow puppets by Fitchburg’s Shadow Box Theatre.

Sightlines, by Toronto-based Charles Hall and directed by Tara Wiseman, brings together Sonny, a freelance male escort on his first outing, with David, a blind man whose life has been limited to a few blocks between his dark room and his job. When David answers Sonny’s “slave to love” ad, cherry LifeSavers help them both discover the world with new eyes and ears. New England Premiere.

ONSTAGE IN "GODS, MONSTERS, AND THE OTHER"

Richarda Abrams, Jim Barton, Tony Brooks, Shelley Brown, Sam Cohan, Dee Crawford, Lisa Caron Driscoll, Rachel Garris, Becca Lewis, Allen Phelps, Aimee Rose Ranger, Jason Tamborini, Dayenne Byron Walters, Lia Wright

BACKSTAGE IN "GODS, MONSTERS, AND THE OTHER"

Sylvie Agudelo (House), Gina Bonati (Playwright), Kevin Buzzell (Crew), Mary Driscoll (Playwright), Silvia Graziano (Playwright), Charles Hall (Playwright), Milton Lau (Set Designer), Amy Lee (Lighting Designer), Christopher Lockheardt (Playwright), Jenn Martinez (Costume Designer), Marc S. Miller (FPTC Artistic Director), Ronit Muszkatblit (Director), Dan Osterman (Crew), John Randell (Stage Manager), Jason Slavick (Director), Dawn Simmons (Director), Peter Snoad (Playwright), Nick Thorkelson (Graphic Design), Michael Tyrrell (Crew), Daniel J. van Ackere (Production Manager), Vanessa Vartabedian (Director), Sandra Vieira (Props Designer), Sarah E. Wall-Randell (Stage Manager), Mark Warhol (Sound Designer), Nicole White (Crew), Tara Wiseman (Director)

ABOUT "GODS, MONSTERS, AND THE OTHER"

Conformity and nonconformity are defined by political, economic, and social power. Today’s heresy or deviance can be tomorrow’s average—or dogma. GMO looks at our best and our darkest sides in a celebration of the quest for understanding ourselves and the magnificence of human beings.

The behavior of a so-called deviant is a reminder that a society constrains its members within very narrow margins. We are allowed to meet our most basic needs—such as how to express love or satisfy the universal craving for intimacy and understanding—in certain circumscribed forms. Radical departures from the acceptable may confront us with some of our own deep, hidden desires.

According to the teachings of Buddha, for a person to become perfect, two qualities must be developed equally: compassion and wisdom. GMO finds its inspiration in questions about those who may be outside the mainstream at a particular moment. What motivates them? Can they change to conform? Should they? What do the rest of us share with those who today think or act in ways that differ fundamentally from those around them? Why do we go to great lengths to deny something deep within ourselves?