What Will I Create?
My earliest thoughts, taken directly from my work journal.
FEBRUARY 18, 2024
This is it. This journal will be dedicated to my exploration of Thomas Sowell. All of my thoughts, dreams, notions, will go in this journal. I know that I’ll need to be clear-minded and drug-free1, to begin my journey, so that I may have access to my dreams.
What I’ll first acknowledge is my fear—what will I create? What CAN I create? What should this show be? Well…that’s the process. That’s the adventure, the exploration. Any exploration begins with asking questions.
I have profound admiration for Thomas Sowell; but I’m not going to revere the man. How can I, and seek to create a full portrait of him?
Am I doing a character study? A documentary? A character study sounds interesting. Less pedantic. I think I want multiple characters. More dynamic from an audience perspective. But Sowell’s look is so distinctive—it wouldn’t be easy to switch characters. The solution, A solution, would be that Sowell himself is embodying these characters while telling his story. Honestly, I don’t know what the piece will be—but I know I want it to hit on multiple levels.
I think the name alone—SOWELL—is interesting. It’s a play on words—it seems a perfect name for a man notorious for a perfect afro. “Soul” is a word that cuts to the heart of black identity, and the word carries a heightened definition among black Americans; this can be a point of tension, as I see RACE being a big part of the piece2.
Milton Freidman and perhaps Bill Buckley make appearances [sic]? At the end of the day—creating a unique piece of theatre is the aim. The piece doesn’t need to be straight bioplay; I’m wondering if SONG and SHAKEPSEARE can be part of the evening. What’s the format? Nightclub act? Lecture? Debate? Cross-examination? Would the stage be the “marketplace of ideas”?
Is it a soliloquy? What is the EVENT? What is the main ACTION of the evening? What is the story being PROMISED3? I know it will need to be funny at first—Sowell, fortunately, has a dry wit to him—and take on more fire and pathos.
I also want to try and stretch to the cosmos—what ARCHETYPE might Sowell align with? What might the “collective unconscious” need? How can the piece capture the pulse of the time, the urgency of the moment, while attaining classic—that is, universal—human themes? At the core of the piece is a character that the audience must root for.
I just caught a glimpse of perhaps moments of rhetorical flair, intellectual jousting—there’s a vitality, a sensuality, even, to the electricity of this figure. He’s sharp. His columns, interviews, speeches are packed with zingers. They4 don’t always have to like him.
What would his overall objective—his WILL—be? To get to the truth? To refuse to live the lie? Might I be haunted by the direction of black America? There comes to mind the anger in his old age, with social justice fallacies. Is the piece a tragedy? Does he age throughout the piece? What sort of stage magic is possible?
The concept of character study does, indeed, appeal to me. A public debate. Philosophical debate?
I’m already thinking that capturing the “essence” of Sowell will be more useful than a carbon copy. Also elements of CLOWN—being there to share an amazing story and experience. Athletic and intellectual prowess emphasized in design?
How can movement and lighting be used to tell a story? Just got a glimpse of “dance” sequences, that maybe are a metaphor for other parts of the story.
HOW CAN I GIVE THE AUDIENCE THE EXPERIENCE AS IF THEY’VE JUST BEEN TOLD THE GREATEST STORY EVER, BY THIS WITTY ECONOMIST? THE FUNNIEST, SADDEST, MOST ENLIGHTENING, MOST ENRAGING EVENING? That’s very intriguing.
I think that’s something. An evening, a furious debate, an ODYSSEY. Perhaps read old plays to see how big language is handled; I love the idea of a thrust stage5. Somehow embrace the theatricality of the event?
WHAT IS THE MAIN ACTION?
At the time of this writing, I was dealing with substance abuse issues—alcohol and marijuana. Since then I’ve quit both.
I’ve changed my mind on this. Perhaps I’ll write why in a separate post.
Bill Johnson’s book A Story is a Promise was prominent in my thinking at this time.
The audience.
A thrust stage is one in which the performance space is “thrust” into the audience, who surrounds it on three sides (as opposed to a proscenium, which is most common).
Would love the thrust stage. Getting close to the audience. Talk about Dunbar high at some point. I loved his essays on this. Also, don’t forget how strong and intimidating Sowell is. He’s a real man In the best sense. I wish I had his strength.
I believe a thrust stage is pivotal - and that certain entrances and exits of Sowell should be FROM the audience ( Labyrinth theatre did this often in productions - and it always had a weight and gravitas to it).