The Drama Bum

Yuval (languidly): Over the years I made various attempts at writing for the stage. One of them "The girls of Tuam" was produced by now disbanded New York theatre group Blank Slate, as part of a young playwrights workshop series, which means it was only performed once in full. Another play was considered for production by a serious Israeli theatre, but only considered. A third piece failed to be accepted to the 2000 Akko theatre festival. In short, I'm not exactly Tennessee Williams.

Banco: Why make another attempt, then?

Yuval: Mostly because it's so much fun. Playwrighting is the closest a writer comes to acting. You actually have to read each replica aloud and hear what it sounds like. (a scene I wrote today featured a debate on masturbation and hummus, held in a crumbling Jerusalem hotel. I hope my apartment isn't tapped by the mental health authorities). The mechanics of the medium are fascinating and lets face it, some stories can only be told this way. Besides, you can do your casting while writing, and aim as high as you wish.

The downside of writing a play is that it is an ambitious endeavor that will surely steal energy from my blog. After the most prolific spell ever, I may partially vanish for a wee while. Alas, the show must get on.

Before I depart as air, here's a gift for the last Jewish holiday of the season. It's the finale from the first portion of Mike Oldfield's epic "Tubular Bells". Oldfield wrote and recorded it, playing every single instrument, when he was 19 years old. He is seen on this BBC live reenctment wearing a colorful tanktop, alternating between the Bass and acoustic guitar. Is it the most impressive symphonic attempt of our time? is it the slightly awkward swan song of authentic progressive rock? I say it's 1973.