I feel somewhat stupid for not doing a proper blog announcement about this at some point: earlier this year, my adaptation of Frankenstein; or, The Modern Prometheus achieved what I will call its performance-ready form. I think I shied away from formally declaring anything because in my opinion (and in others’) the script would benefit from a public staged reading before a full production. I also have been dithering on whom to approach as a potential local producer, although an interested director does exist. Nonetheless, I do think of the play as “done”— ready for action. Immense thanks are due to my beta readers, as well as to Lucas Commons-Miller, J. Deschene, and Ally Matteodo of the Boston theatre scene for serving in a multiplicity of roles during last December’s private reading. When I figure out how to really move forward, I will be better about updating here.
Worth noting as well, I suppose: while it is now in beta, I completed my first sci fi short story, “O Fortuna,” earlier this summer. I consider this a personal success because it has been a long time since I truly finished a short story, and while some bodies would classify it more as a novelette, the fact remains that it is not a full novel, and yours truly the master of verbosity managed to tell a concise tale. I also suspect this is the first sci fi story of any kind that I’ve written without just a two-paragraph beginning. When it is out of beta, I’ll be querying magazines, or whatever else seems like a good possibility.
Until next time.
D. Llywelyn Jones
Edit: Oh, right. I also joined Medium. Follow here, if you’re a Medium person. I consider myself fairly useless at Medium so far, but if I figure out something to do with it, I will.
I’ve had this site for about a year now— it seemed like the right time to improve the look. I’ll admit the old banner looked tacky, and even though I find white-on-black more readable and aesthetically pleasing, I couldn’t shake the feeling that a perfect stranger running across the page might find the look rather too Angelfire. This version looks less 1999, I hope. More literary. Something.
As an addendum, if you missed me saying so, I’m very pleased to report that Frankenstein; or, The Modern Prometheus is now in the beta reading stage. My goals from this point forward are to conduct further revisions during late summer/autumn, to arrange a private reading by year’s end, to do one more revision round and a public reading by mid-2016, and then to have the play professionally produced by some point in 2018— the bicentennial of when Mary Shelley published her original novel. That is basically a three year ongoing project, and I expect some stagnant periods, therefore I’m also especially pleased to add that this summer I intend to seriously get to work on my second novel. This itself will easily take me years to complete even the first draft, because it’s going to be very long— though technically I’m not going to be writing it alone. I will leave you with that cryptic implication for the night.
A short followup to the last post— tickets for Pygmalion are now on sale! From the event description:
Flat Earth Theatre’s reimagining of George Bernard Shaw’s Pygmalion sets the classic story in the century-old London Underground. This time-shifted production juxtaposes Edwardian stoicism against the city’s radical, multicultural working people. Highlighting the exploitation of Eliza Doolittle by men claiming to have her best interest at heart, Pygmalion’s themes of social and cultural inequality remain pertinent even a century following its 1914 West End premiere. Rarely has a piece of classic theatre been more relevant to the present day, and rarely has a comedy of manners carried such a sense of deep political urgency.
More connected materials coming soon. I’m not having that much fun teasing.
As some of you following may be aware, my writing has been somewhat on hold for a few months while I direct my first show in many years, George Bernard Shaw’s Pygmalion. It’s my directing debut with Flat Earth; it also happens to be a play very near and dear to me. One of those bucket list plays.
We’re doing something rather different with this production— something you aren’t likely to see from anyone else— but for now, I’ll save my explanation and commentary here. I expect some other material that the company will release later should serve for me to link at that time. For now, let me tantalize with our recent cast announcement. Every one of these actors is brilliant, funny, and rapidly becoming dear to me. Give them a look, check out the production’s page on the Flat Earth site, follow #PygmalionUnderground on Twitter, and please start considering a ticket purchase! Again, many more details coming soon.
Today I was upset to learn of the impending closure of the Factory Theatre here in Boston. I have run lights on a couple shows there with my company, Flat Earth Theatre, and while I’m not as familiar with the space as some, I find it very unique— ideal for staging small, intimate productions. Unfortunately, gentrification in this city has been happening at a staggering rate, and it isn’t even as if the Factory exists in a hugely working class neighborhood, so I’m not surprised by the development. But it’s really unfortunate because it’s going to leave half a dozen fringe theatre companies homeless within a grotesquely undersized market for theatrical space. Flat Earth is very lucky to not have booked anything yet at the Factory for this fall or next year, and to have some more immediately available options before us.
The building management plans to turn the space into something like an indoor gym for tenants. You know something, gyms are fine and all, but if they’re going to raise the rent in the process (and why wouldn’t they?), I’d rather pay more rent to have a theatre in the same building as me than a gym. Who else would be so lucky?
In any case, Boston’s small theatre community is coming together to figure out something we can do about this, and I may provide occasional updates. But for now I just want to register my discontent.