Ready Or Not

This is it
Ready or not
She says, “It’s now or never”
He says, “Whenever”
She looks at his eyes and asks why
He looks at her and knows how to try
But when it happens
It happens so fast
Will it last?
Will it pass?
What was she saying?
What was she doing?
What does he know?
What does he care?

She has done it
Ready or not
“I did the right thing,” she says
We say…we have no say
She has no regrets
We have all made our bets
It happened
It happened so fast
Will it last?
Will it pass?
We don’t know what she was thinking
We don’t know what she is saying
Does she know our thoughts?
Does she know our words?

“Ready or not”
It’s all we hear
It’s not clear
It’s not dear
But when it happens, you know it
But when it has been, do you remember?
She is clear
She is dear
It’s not what she chose
And what we say means nothing
What she says is when no one listens
Even though all eyes glisten
Do we remember?
Do we want to?
Do you read?
Or just look?
Do you hear?
Or just listen?
Ready or not
It’s time
When will you…will you start?
When will we…will we follow?
Just remember what she did
Remember
Everything we do is for a reason
What about what I think?
I think about it all
Do you?

“Ready or not”
It’s all we hear
It’s not clear
It’s not dear
But when it happens, you know it
But when it has been, do you remember?
Not clear
Not dear
It’s not what I chose
And what you say means nothing
What you say is when no one listens
Even though all eyes glisten
Do you remember it?
Do you want it?

Ready or not
Are you?
Ready or not
Do you want to?
Everything is for a reason
Everything is
Listening
Hearing
Reading
Looking
The time is
The time is now
It is always now
Ready or not.


Copyright 1986 Scott C. Forrest

Someday

Someday, it will make sense
Someday, you will understand why
Someday, it will be because
Someday

Until then, do not worry
Until then, do not think
Until then, wait
Until then

You know me
Please forgive me
Please understand me
You always have.


Copyright 1986 Scott C. Forrest

The Fighter

You make me feel so comfortable
I have found an answer
When all else is crumbling
I know where to be secure

All is confused and crazy
But so much brighter
You’ve shown me the way
You’ve made me the fighter

To be on the edge
But never fall
To be ready to drop
But stand so tall
I know you will help me
To make it through the night
I know You will help me
To learn how to fight

I’m so glad I’ve found You
It’s taken so long
I’ve had my doubts
My decision can’t be wrong

Life’s so much clearer now
As the bond grows tighter
You’ve taught me to love and trust again
You’ve taught me to be the fighter

To be on the edge
But never fall
To be ready to drop
But stand so tall
I know You will help me
To make it through the night
I know not to worry
I’ll live to fight.


Copyright 1987 Scott C. Forrest

The Journey

I have ridden many horses
Straddled to my faith
And ambled through the winding
Fields before my grace

With verbal reinforcements
Pacing near them all
Traveling to their sources
Miraculously I didn’t fall

I can’t believe what is happening to be
And I won’t settle for probability

I wander to the corners
And anonymously write
Pensive contributions
Bless me every night

I’ve journeyed through the mountains
Searching for me there
All I have discovered
Is where I‘m going near

The salt has gone to the bottom of the sea
The waves will return us to reality.


Copyright 1988 Scott C. Forrest

The Record

And the record spins around on the table
The needle releases the sound of each fable
Every scratch and pop are meaningful to me
As I dance in the arms of society

The waltz, the fox trot, the tango, the jitterbug
I dream and I dance away all my bitter luck
The men and the women are as beautiful as able
As long as the record spins around on the table

He is tall
He is strong
He is handsome
He is mine

I am short
I am fair
I am graceful
I am shy

And we twirl, and we spin, and we go around the ball
With diamonds, with gold, and with crystal-mirrored walls
We dance, and we leap, and we laugh to the crescendo
Eventually it all comes to an end so

To the Victrolla I slowly return
And I shed a tear with each crank I turn
To be so happy I am unable
Unless the record spins around on the table.


Copyright 1998 Scott C. Forrest

The Candle

The candle is burning

The sweet aroma

I see his troubled eyes

Searching and seeking

Oh, there is so much mystery

I wish I understood

Strong, yet fragile

Peaceful, but threatening

The glimmering glow on the wall

Reflects shadows of troubled life

Dancing, yet teasing

Mystifying, but frightening

Oh, to be you

So many of us want

Without appreciating ourselves

If they knew, they would not

I see more

I sense more

Loved, but feared

Kind, yet dark

The gold in your hair resembles fire

Fire powerful and dangerous

All-knowing

He seems calm

Yes, pacific

But behind the face is the truth

The reality is scary

Shadows in the light

Right now, so tranquil

A time that should always be

But I know is not

So dark, but so bright

Dreaming of the tranquility that should be there

To love him

To envy him

Trying all the time too hard

And not succeeding

But now

Are we sure?

He needs us

Though he will not tell

Though we cannot tell

Oh, to understand him

Is a gift

Like his is to us, usually

Only the candle burns low

And nothing else

The aroma is now hidden

Like everything else

All the thoughts racing

To be collected

And stored

And sorted

Oh, to enjoy like before

Is a thrill

Like everything else

Sometimes

Confused

To feel this way

The pain

The swing goes back and forth

Reaching its zenith

It will return

Someday

Yes, the questions

But, the answers

To want is a sin

But, why not?

The illusion is what it is

Maybe it is all misunderstood

But, the envy

Yes, the envy, but wanting what we already have

There is no reason behind it

He is a stranger

It began

It then became

It is now

What it will be

Will and shall be controlled

To be worked out

For the better

To have no faults

Why are his decisions?

Two different people with two different lives

But with so much in common

He is himself, but…

To return to recent times

As the clock continues

And the sun rises

The promises come

The chances

The room is dark

It has been darker

When he retrieves it, he will know

Shades conceal the reality

Shades on the window

Shades on the face

Shades on the clock

The glass

The thoughts

The time

The answer

The time is

The time is now

It will

It will be

It will be better

It will be better soon

I hope

He hopes

Oh, yes

To be you

Oh, yes

To understand

Nothing is hidden

Nothing is not there

It has always been

It will always be

It has always been

It will always be

It will.


Copyright 1987 Scott C. Forrest

Let's Party!

We've been working and suffering
All through the week
Our insanity
Has just reached its peak

Hold out your glass
I’ll pour the beer
Everybody party
‘Cause the weekend is here!

Let’s party!
Everybody party!
I want to party!
Everybody party ‘til you just can’t party no more!

We’re gonna get to the action
We’ll get to it fast
We’re gonna tell everyone
To raise a glass!

By the strike of midnight
You’ll be craving for more
We’re just gonna party
‘Til we can’t find the door!

Let’s party!
Everybody party!
We want to party!
Everybody party ‘til you just can’t party no more!


Copyright 1983 Scott C. Forrest

Top Ten Productions of 2018!!

10. FUN HOME (SpeakEasy Stage Company) Director Paul Daigneault gives Fun Home the intimate treatment, and the results are as devastating as they are rewarding! Whether it is the symbolism of the books on the shelves or the metaphor of the rugs on the floor, every aspect of this outstanding production is top notch. The cast is stellar and the musicians are spot on. The topic is relevant, and the shifts are changing. The message is clear -- if something needs to be said, SAY IT! Don't wait for the light.

9. ALLEGIANCE (SpeakEasy Stage Company) Director Paul Daigneault is famous for finding the moments within the moments, and only he could take a difficult and unspoken moment in history and both deliver the story, and make it entertaining as well. The cast is faithful to the source material, the message is "never again," we hope.

8. LITTLE SHOP OF HORRORS (Arts After Hours) The fun part of visiting this acclaimed theatre group is the creativity that they offer their productions. Nick Raponi's turn as The Plant is truly spectacular. Director Samantha Gambaccini keeps the untraditional approach fresh and alive throughout. The rest of the cast is polished and professional, and we are open for business!

7. JEKYLL AND HYDE THE MUSICAL (North Shore Music Theatre) This production has raised the the bar yet again at one of our favorite theaters. Constantine Maroulis is nothing shy of astounding in the title role. From costumes to musical direction; from ensemble to the lighting, audiences are wowed by the high-level visual effects and performances. Great production all around!

6. NUTS (The Burlington Park Playhouse) Anchored by a stellar performance by KerryLynne Romoe, this magnificent production discusses everything we wish we could -- the judicial system, family relations (or lack thereof), a certain profession, and mental illness. All handled with sensitivity and realism, director Robert Hallisey takes us to the dark corners of the courtroom.

5. MOULIN ROUGE THE MUSICAL (Pre-Broadway run @ the
Emerson Colonial Theatre) The movie is brought to beautiful life and is everything we want it to be - big, bold, brave, and bombastic! Complete with the coolest costumes and choreography, it stars Tony Winner Karen Olivo, Tony Nominee Danny Burstein, and Broadway star Aaron Tveit, and your faith in Truth, Beauty, Freedom, Love is restored!

4. MAMMA MIA! (North Shore Music Theatre) Director/Choreographer Kevin P. Hill brings this vibrant musical to exuberant life! The beaches of Greece have never been so much fun. The cast is lively and sexy with dancing of this caliber. rarely seen. The music of ABBA reminds us that, yes, you CAN have the time of your life!

3. THE PLAY THAT GOES WRONg (Broadway Across Boston) It takes an enormous amount of talent to sustain this level of physical humor and word play for over two hours, and this cast and crew deliver! Rather than relying on become a one-joke wonder, the murder mystery is still played out and the actors as actors triumphantly prove that the show must go on in spite of the goings-on. The well-deserved Tony-award winning set is also worth the price of admission. We laugh and smile for over two hours, and there is absolutely nothing wrong with that!

2. AN AMERICAN IN PARIS (Providence Performing Arts Center) The classic movie receives the royal treatment of being revisited and reimagined, complete with breathtaking Tony-award winning Choreography from Christopher Wheeldon. The projections are utilized properly and with such creativity. We have the gorgeous score provided by George Gershwin and Ira Gershwin set against the backdrop of Paris 1945. The ensemble's joy of living transfers into the audience. It really does not get more wonderful or marvelous than this.

1. HAMILTON (Broadway Across Boston) The talent of Lin-Manuel Miranda is one part inspiring and one part ridiculous. He has been able to simultaneously revisit and create history. It takes some talent to approach an epic tome about an historical figure and tell his story with such a contemporary and (yes) sexy approach! The choreography, singing, timing, and storytelling are all impeccable and on a brand new level. This show is a necessary reminder for us to look around, look around at how lucky we are to be alive right now! Wherever you are, you are in the greatest city in the world!

Top Ten Productions of 2019!!

10. THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME (Marblehead Little Theatre)
Anchored by the stellar performance of Miles Tardy, this tight-knit ensemble delivers the messages of awareness and acceptance. With sensitive and fluid direction by Steve Black, it is complete with the complex choreography and lighting design this is Act Two.

9. ONCE (SpeakEasy Stage Company)
While visiiting Dublin, audiences are treated to some of the most gorgeous music and harmonies while learning what it means to follow your Dreams. Guy discovers his passion within when he meets his Muse, but she provides him the confidence to pursue this passion on his own when the time is right.

8. THE LITTLE FOXES (Lyric Stage Company)
Scott Edmiston directs Lillian Hellman's acerbic examination of family dynamics with such perfection. His emphasis on letting the action flow forces the characters' disdain to bubble under until it eventually erupts and overflows.
Janie E. Howland raises the bar for Lyric when it comes to Scenic Design. That remarkable staircase becomes another significant character on the already star-studded stage.

7. SUNSET BOULEVARD (North Shore Music Theatre)
And speaking of sets! Kyle Dixon's elaborate staircase is the perfect complement to the top-notch talent it holds. We even get a car!
Nicholas Rodriguez is the perfect Joe to Tony-Winner Alice Ripley's Norma. She plays the troubled actress with such dignity and passion that we instantly fall in love with her with just one look.

6. THE WOLVES (Lyric Stage Company)
Sarah DeLappe's Pulitzer Prize Finalist gets it right. Rather than hearing dialogue that sounds contrived or the way kids might be talking, these characters are real! This is the way children of this age communicate, and their words are authentic.
Just as impressive as the text is the ensemble. Not only do they deliver the script with unapologetic reality, but they do this while performing some intricate soccer moves while never missing a word or step, thanks to A. Nora Long's impressive attention to detail. And Laura Latrelle's haunting entrance as Soccer Mom is one that will stay in our heads and hearts for a long, long time.

5. DEAR EVAN HANSON (Broadway In Boston)
Everything you have heard about this landmark Tony-Winning Best Musical is true. Instead of the projections taking over the story -- the projections are the story. They represent the claustrophobic climate in which we live -- sometimes feeling connected via social media reminds us of how lonely some of us are.
Everyone wishes to connect and reconnect, and nobody explains that better than Ben Levi Ross's heartbreaking portrayal of the main character. Sometimes it does not matter what side of the window we are on.

4. JERSEY BOYS (North Shore Music Theatre)
Director/Choreographer Kevin Hill's magnificent re-interpretation of this Tony-Winner might sound too good to be true on paper, but that doesn't stop the production & design teams at NSMT. The manipulation and coordination of the elaborate, intricate set establishes limitless opportunities in an otherwise intimate space while still remaining faithful to the original material.
None of this would matter, however, if it weren't for the indefatigable talents of the men portraying said Jersey Boys. Oh, what a night of wonderful theatre!

3. COME FROM AWAY (Broadway In Boston)
One of the many reasons why this show resonates with audiences and will continue to do so, is Christopher Ashely's Tony-winning Direction. Physically, the show is breathlessly non-stop. Metaphorically, it represents the fact that despite what is going on in life, we can't stop. We have to keep moving. When something needs to be done, do it. If someone needs help, help them. Think later.
The story of frightened, angry passengers stranded in unknown territory reminds us that there is still good in the world and that there is so much more to be done. Coupled with Book/Lyrics/Music by Irene Sankoff & David Hein, it is uplifting rather than morbid. It is more inspirational and less hopeless. This is Theatre at its finest of how stories and messages can be told and still be entertaining. Hopefully, this Rock will be here for a long, long time.

2. CHOIR BOY (SpeakEasy Stage Company)
This Tony Nominated script by Tarell Alvin McCraney receives the royal treatment! Director Maurice Emmanual Parent knows how to combine suburb acting & incredible writing with gorgeous harmonies & some awe-inspiring choreography by Yewande Odetoyinbo & Ruka White.
Isaiah Reynolds handles the lead role with incredible determination and wit. This is what storytelling is all about, and Speakeasy does it right again!

1. THE BAND'S VISIT (Providence Performing Arts Center)
When a band of musicians arrives in the wrong town at the right time, what follows is one of the most profound Musicals ever to hit the Broadway stage. David Yasbek's Tony and Grammy Winning Score is as haunting as it is beautiful. This show tells us how strangers can become friends because we have more in common with each other than we realize -- love, loss, loneliness, and longing. Sometimes it is easier to tell a distant stranger our most intimate fears. Since we are all traveling around in a circle, it is important to connect and stay connected. We don't want "I remember you when" to be replaced with "I haven't seen you since."
We are here for only a visit, so let's enjoy it


Thank you for another wonderful year of Theatre!
Sincerely, Scott/Broadway From The Balcony

Unbreakable Bond

You’re asking me
If it’s all worth it
Do the days we spend here
Really deserve it?

The times we hope
The times we pray
The times we go
The times we stay

The times we give
The times we take
The times we love
The times we hate

We remember yesterdays
And await tomorrows
We recall clouds
And see rainbows

The days we cried
The days we smiled
The days we were an adult
The days we were a child

The days we understood
The days we inquired
The days we disagreed
The days we admired

Only we understand us
We communicate in one special way
Nothing will change our emotions
We think of each other every day

The hours we save
The hours we spend
The hours we receive
The hours we lend

The hours we fight
The hours we love
The hours we are too much
The hours we are not enough

One unbreakable bond is all we see
The future is in the stars
Wishes and plans and dreams and goals
Are what we really are

The time we’ll talk
The time we’ll hear
The time we’ll be away
The time we’ll be near

The time that is
The time that will pass
The time that files
The time that will last.


Copyright 1985/2005 Scott C. Forrest

Wizard Strength & Tales Unborn

Innocence & fairy tales

Awesome Lords & thoughts prevail

Castle walls & Dragon’s gold

Wizard strength & tales untold

Dark nights with full moons

Lying o’er the lands

Different thoughts unconnected

Flowing from my hands

Knights on horses; Princesses fair

Kings & Queens & golden hair

Pegasus & Unicorn

Wizard strength & tales unborn

Strong winds; warm night

All across the sea

Shared by everyone

Is Peace & Serenity.

Copyright 1987 Scott C. Forrest

We Used To Think

We used to think that the days would last forever

We didn’t know they would soon complete

We wish we knew there was something known as Never

We thought there would always be “we.”


Copyright 1989 Scott C. Forrest

Part Four

Boring days of snow-filled skies
Deceiving mouths of truthful lies
Paisley clothes and cardboard boxes
Keying in on charms and lockses
Innocence, kite-flying, broken glass
Icicles, paper cups, and purple brass
Signs on windows with reflecting sights
Passing by with blinking lights

Forget the present, and live for now
Riding horses that look like cows
Technical handprints that think of me
Spray the ceiling with what will be
Let that flow, and take the plunge
Unbelievable soaking sponge
It’s wild, and I can’t believe it’s like that
But they don’t mind the good-looking hat

Glad either way; we’d all fit in
Isn’t it wild? It feels like a sin
Thank the Lord for all the ways
Thank the Lord; He knows we pray
No kidding, and we like it this way
It’ll be like that if you live every day
Smoke-filled walls that rage with desire
Letters are scattered all over the wire

It’s so cute; the way you think
Fragrant grass that looks so pink
Singing songs of inspiration
Writing words that become creation
Relax and look, but don’t be worried
Snow-filled skies full of flurries
Flowing glass that shines the sky
Holding hands that make us fly

Clouds and Stars; the Sun and Moon
Store some in your velvet spoon
Plastic worries in your wallet
Say the word so I can call it
Rosy bottles filled with sand
Hold them close, and rule the land
Painted silver reminds me of
The day that we discovered love.


Copyright 1988 Scott C. Forrest

I Know A Man

I know a man who will stand up with you
Yes, I know a man who will know what to do
Oh, my darling, I promise you true
That I know a man who will stand up for you

I know a woman who will pray for you
This is a woman who will heal your wounds new
Oh, my child, the pain you go through
But I know a woman who is praying for you

Rest, my dear, please rest
Blessed; you’re blessed

I know the moon will light up dark nights
Yes, I know the moon will guide your sore eyes
Oh, my friend, this life is not right
But I know the moon will glow in the night.


Copyright 2004 Scott C. Forrest

The Illusion

Life is the illusion of what one wants it to be
Cross over the bridge to get to the sea
When I am with you, how joyous are we
Because you are the illusion of what I want me to be

Smack me with words; punch me with hate
One does not mind when he realizes too late
Shine on the water; shine on the seas
You are the illusion of what I want you to be

The sand and the water are too much for the beach
The tide comes in, in order to reach
See the young child climbing the tree
That is the illusion of how it should be

The mountains that tower over the trees
The ice that breaks and flows to the sea
Two loving bodies as close as can be
Are all part of the illusion, and so are we.


Copyright 1983 Scott C. Forrest

The Right One

Please forgive me

I’ve been hurt too much before

I just couldn’t stand the feeling

Of that pain anymore

I know you’ve been so kind

But I can’t get it out of my mind

What I’ve been through

I don’t know what to do

Please let me 

Forget my awful past

I just want our love

To last and last

I am not one to take chances

I’ve forgotten what romance is

My life’s all new

Still, I don’t know what to do 

I want to be free

Free from worry and fear 

Filled with courage and strength

Knowing you’re always near

I want to be sure

Sure that you’ll always be by my side

I hope that you are the right one

My arms are open wide

So, here I stand

Like so long ago

Wondering how you feel

Wondering if you know

That my love for you

Could never be stronger

Hold me now

Hold me a little longer

I want to be free

Free from worry and fear

Filled with courage and strength

Knowing you’re always near

I want to be sure

Sure that you’ll always be by my side

I know that you are the right one

My arms are open wide.

Copyright 1983 Scott C. Forrest

THE PLAY THAT GOES WRONg

THE PLAY THAT GOES WRONg

at the Emerson Colonial Theatre, Boston MA

THE PLAY THAT GOES WRONg is the Tony-Award winning London import now touring across America. Currently enjoying multiple extensions in New York, PLAY introduces an amateur theatre company attempting to produce a murder mystery.

As the title suggests, what can go wrong will go wrong in this relentlessly hilarious production that opened Wednesday evening in Boston MA. 

Anchored by the deliciously dry Evan Alexander Smith, portraying the play-within-the-play’s director and star, the audience is welcomed by his charm. He is paired with a stellar cast who re-examines the argument for a Tony Award for Outstanding Ensemble. 

Scott Cote, Peyton Crim, Brandon J. Ellis, Angela Grovey, Ned Noyes, Jamie Ann Romero, and Yaegel T. Welch display not only impeccable timing and precision, but also ultimate trust with and dependability on one another. It is truly impressive to witness the actors sustain this level of physicality as well their characters’ attempts to remain professional and under control.

Director Matt DiCarlo has choreographed the ultimate Schadenfreude meets Noises Off! on acid.

Then we have the well-deserving Tony-award winning Set by Nigel Hook. Not only has he created a set that looks like it was built by a local theatre troupe, but also it must endure the treatment it receives during each performance as well as convey safety to the audience members.

One of the reasons why PLAY works so well is the script penned by Henry Lewis, Jonathan Sayer, and Henry Shields. Despite the title, they manage to keep the show from being a one-joke wonder by peppering it with word play, on-stage drama, missed cues, and organized chaos. Yes, there is plenty of physical humor, and all of it very creative and original.

Another reason why the play succeeds is because there is actual script within the show! And in spite of – or maybe because of – the action, we can still follow the murder mystery and are never truly distracted!

Those of us who perform in the theatre can certainly relate to occasional hiccups that sometimes occur during performances. One hopes that it would never reach this extreme!

This English farce will certainly have you laughing – or at the very least smiling – for over two hours, because it gets everything right!

LITTLE SHOP OF HORRORS at ARTS AFTER HOURS

Based on the film of the same name, LITTLE SHOP OF HORRORS with Book & Lyrics by Howard Ashman and Music by Alan Menken, receives an outstanding makeover at Arts After Hours in Lynn, MA.

It is the story of Seymour, a meek botanist who discovers a “strange and unusual plant” and sees his life change in ways he could never have predicted.

Jason Hair-Wynn effortlessly brings to life Seymour’s idiosyncratic personality. His physical humor and dedication to the role are a joy to watch.

Amanda Raponi portrays Audrey’s vocal characteristics and her deep-rooted pain perfectly. Her “Somewhere That’s Green” is beautifully devastating.

Mr. Mushnik is played by the charming Paul Stickney who expertly balances both his love for and frustration with Seymour.

Tristyn Sepersky, Ali Sarnacchiaro, and Alice Vaught set the scene and anchor the production as Chiffon, Crystal, and Ronnette respectively. It is so much fun to watch them interact with the other characters and audience patrons.

Orin Scirvello, D.D.S. is perfectly cast by Kent Walters. He knows how to play the dentist who is both rebel and psychopath as well as multiple roles and keep those characters unique and funny.

Then we have Audrey II. Nick Raponi literally embodies the infamous plant in a way this pundit has never seen. What a thrill it is to witness and enjoy his untraditional approach to the role. Mr. Raponi takes the concept and runs with it at full speed. His interactions with Seymour are as humorous as they are creepy. Well done!

Director Samantha Gambaccini intelligently plays homage to the original material and films of the 1950s by showcasing the over-the-top dramatic flair of the day. She updates the material by including the audience in portions of the production and adding some inside sight gags. Clearly, Gambaccini recognizes that with every comedy, there needs to be some drama or reality to ground it so the humor works. This is evident in the turn-on-a-dime moment in the ensemble number “Skid Row.” Underneath the laughter is much pain, and we feel how each of the characters ache and yearn to get out of their individual situations.

Costumer Designer Kay Marsella has created an impressive color palate for the production. A great example is the changing of the outfits for the girl group to properly reflect what is happening in each scene, and of course, Audrey II!

Lighting Designer Michael Clark Wonson establishes the drama and intensity throughout, especially in the musical numbers.

Set Designer India Lee has created a beautiful set, reminiscent of the films of the 1950s.

Music Director Shane A. Stecher has captured the essence of the music of the day, particularly early pop and doo-wop.

Sound Designer Dave Simmons has properly balanced the music and dialogue and has created some impressively real sound effects.

One of the joys of seeing live theatre at Arts After Hours is to see the interpretation of shows and productions that are already audience favorites. It is their unique approach such as the current production that keeps live theatre thriving and satisfy our hunger.

artsafterhours.com

"The Leader" by Paul McCarthy & Scott Forrest-Allen

(READER DISCRETION IS ADVISED.)


     "Mr. Baxter! Come quick!"

     "Yes, Tommy? Did you find Matt?"

     "No! He's still missing! I can't find him anywhere!"

     "Okay. Calm down. Breathe. We'll find him."

     "He was just here a few minutes ago. He said he was going outside the cabin to get more wood. 

He was gone such a long time I went to search for him. Remember?"

     "Yes, I remember."

     "I took my flashlight--"

     "As all good scouts do."

     "--and went outside. I circled the cabin. Twice. It's dark. DARK out there! I thought he was 

playing one of his usual jokes, but now I don't know." Tommy places his flashlight in his jeans

pocket.

     "I heard you call his name. He didn't -- he hasn't answered yet. I'm sure he's just playing one of

his usual tricks on us."

     "You always say a good Scout would never play a harmful trick on his fellow Scouts, Mr. Baxter."

     "Yes, I did, but not everyone listens to me like you."

     "What's the big deal about Matt?" Spike interrupts. "He's just playing a joke on us like you said! 

That loser will show up soon. Why the panic?"

     "Because we're out here in the middle of nowhere!" Tommy shouts. "He's been gone for over an 

hour!"

     "He's been going for ten minutes, you Nancy!"

     "That's enough, Spike!"

     "Sorry, Mr. Baxter."

     "Now, there's no reason to panic. Matt is out there somewhere, and we will find him, as good 

Scouts do!"

     "What if he fell down and hurt himself or got bit by a snake and lying dying somewhere, or--"

     "Will ya stop it, you drama queen?"

     "Spike! That's enough! We will discuss your punishment later!"

     "Sorry, Mr. Baxter."

     "Tommy, you stay here in the cabin with Jack. Spike, you and Kris take flashlights and search 

for Matt. Good Scouts always stick together and help each other in need. We will find him!"

     "Mr. Baxter?"

     "Yes, Spike."

     "If good Scouts always stick together, why did Matt go for wood alone?"

     "We will discuss that later! In the meantime, I will circle this cabin and keep a close eye on 

all of you," Mr. Baxter promises.

     "Yes, sir," the Scouts reply in rehearsed unison.

     And with that, Spike and Kris go out as bravely as they can into the black to search for Matt. Jack

stays inside and does his best to comfort Tommy. Mr. Baxter steps outside, and locks the only door to 

the cabin. Jack and Tommy see Mr. Baxter's flashlight reflecting and bouncing off the four 

windows on all sides of the cabin.

     Mr. Baxter checks his watch. It is almost 11PM.

     A lonely wind brushes Mr. Baxter's face. 

     Inside the cabin, the only source of light had mysteriously distinguished not long ago along with 

the dying embers inside the potbelly stove. Less than a handful of candles try in vain to illuminate the 

interior to no comfort to Tommy. Or the other Scouts. Or their leader. Though none will admit to that.

Except, of course, maybe Tommy.

     Outside the cabin, the wind can barely make itself audible in the density of the woods. Leaves 

and branches rustle against the starless sky. What animals that are lurking behind the trees are 

remaining still until the proper moment.

     Even Mr. Baxter could not have predicted how loud silence could be. In the still of the night,

the quiet is anything but soothing. In the middle of nowhere, the lack of sound threatens.

In the not too far distance, the two boys' flashlights dance in the darkness. The two Scouts are 

careful not to holler the name of the missing boy so as not to arouse any critters.

     "Everything will be alright, Tommy," is the cliche that exits Jack's mouth. "Matt will show

up. I promise."

     A high-pitched scream pierces the air.

     Jack and Tommy shudder together on the floor.

   "MR. BAXTER!" It's Kris's voice. "MR. BAXTER!"

     The leader arrives to find one flashlight on the ground, shedding its beam along the blades of

grass and dirt patches. He also find Spike's companion trying desperately to explain what just

happened. He places his hands on the boy's shoulders and attempts to interpret the words 

escaping the youth's mouth.

     Amidst puffs and pants, the leader hears the words "man," "cloak," "grabbed," and "Spike!"

     Mr. Baxter's mouth goes dry.

     GET KRIS INSIDE!

     GET KRIS INSIDE NOW!

     GET THE BOYS TO SAFETY!

     Another high-pitched scream pierces the air.

     The leader grabs the boy's arm, and they race in the darkness toward the sound. Toward the cabin

where the sound is coming from.

     Mr. Baxter and Kris stumble into the cabin where Jack had been.

     As the leader rushes to Tommy's side, Kris slams and locks the door and joins his

companions, dropping his flashlight on the bare, wooden floor.

     The leader must decode again, after he turns off his flashlight and places it carefully on the floor

next to him. 

     Amidst sobs and breaths of terror, Tommy manages "man," "cloak," "grabbed," and "Jack!"

   

     911! THIS IS A FULL-BLOWN 911 EMERGENCY! THIS IS IT! Why didn't I take action before?

Because before -- oh, I wish it was "before" again -- I thought -- I KNEW I would find these boys, and

we'd all return to safety! But now -- things are different. Where's my phone? Where's my cell phone??

When I was these boys' age, we didn't have cell phones. When I was there age. I want to be their

age again.

     Mr. Baxter pulls his phone out of his shirt pocket.

     He flips it open.

     He turns it on.

     He waits for a signal.

     He waits.

     And waits.

     The two remaining boys wait.

     Nothing.

     No signal.

     Mr. Baxter throws the phone against the wall, and shattered phone pieces fly and land on the 

floor.

     Mr. Baxter apologized for his behavior. The boys understand.

     The two boys shriek in response to something behind their leader's head.

     He turns around and feels every hair on his body stand on edge.

     The face.

     There is a face in the window!

   

     The light from on the remaining candles cast shows on the expressionless face.

     "Who are you?" Mr. Baxter commands. "What do you want?"

     The face turns to its side.

     The left eye darts at them.

     The mouth alters into a puckering position.

     "What doo I want??" the face taunts.

     Mr. Baxter feels his stomach drop away from his body, which turns cold. 

     "You already gave mee what I want! But I want moore!!"

  

     "GO AWAY!" demands the leader. "GO AWAY!"

     The face turns and faces the leader. "Okay!"

     The mouth puckers and blows against the window as if to blow out a candle.

     Which is exactly had happens.

     The candles extinguish, leaving the remaining troop members in the black, save for Kris's

flashlight, which he has dropped after his final entry into the cabin.

     "Are you guys okay?"

     "No, no we're not," whimpers Tommy.

     "We'll get through this," the leader promises.

     "Enough, guys! The joke has gone too far! Come back! Come back now!" Jack demands.

     A confused leader looks ahead to find Matt, Kris, and Spike entering sheepishly from the back

door of the cabin.

     "So," begins Mr. Baxter, "this was all some elaborate prank to play on your leader!"

  

     The five Scouts hang their heads in shame. Even they know there isn't any use in apologizing.

     "We will all go to bed and return home in the morning. Your punishments shall be severe!"

     The Scouts remain silent.

     "Just one question. Which one of you was at the window? I didn't recognize the face."

     The Scouts look around at each other, giving Mr. Baxter more chills than he has already

experienced so far.

     "We don't know," answered Tommy.

    Mr. Baxter and his Scouts pack it up for the evening and never speak of that night again.

Copyright 2010 Scott C. Forrest-Allen & Paul McCarthy

     

NUTS by Tom Topor at The Burlington Park Playhouse

NUTS, the1979 courtroom drama by Tom Topor, dares to blatantly address issues of mental illness, sexual abuse, misogyny, and exploitation of the court system. One might be familiar with the 1987 film of the same name headlined by Barbara Steisand, but one might not be familiar with the emotional impact the current production at Burlington Park Playhouse will create.

The story focuses on Claudia Draper, a woman who exchanges money and gifts with gentleman callers. When she is accused of manslaughter, she is brought before a judge to see if she is mentally competent to stand trial.

Wow! Just wow!

Tom Astore as Office Harry Haggerty is never out of character with reactions both subtle and believable. The same can be said for Cathy Merlo as the Recorder. She is always in the moment but never steals focus. Paul A. D’Onofrio is perfect as Judge Murdoch who perfectly balances his professional objectivity and personal frustrations with the proper amount of sensitivity and impatience.

Dr. Herbert Rosenthal, played by Lou Fuoco, portrays his character’s infuriating one-way opinions with impeccable credibility and consistency. The tug-of-war between Prosecutor Franklin MacMillan (H. Webb Tilney) and Defense Attorney (Lee Pallotta) is a courtroom battle to be witnessed. Both actors know how to their get points across with credibility rarely seen on stage.

Tim Vincent and Christine Connor as Arthur and Rose Kirk bring amazing dramatic texture to their portrayals of the defendant’s stepfather and mother. Both actors launch their individual testimonies and slowly build to emotional climaxes on devastating levels.

But this production of NUTS belongs to Kerry Rosen Moe as Claudia Faith Draper. A local favorite in the musical theatre circle, her stellar performance flexes her theatrical muscles with an explosive performance that is to be experienced. Hers is a complex character that Kerry brings to incredible life with controlled intensity and solid understanding. The first two acts allow her to react silently to her doctor’s and parents’ statements. When it is her turn to take the stand, people sit up and take notice.

Robert Hallisey’s direction is has an acute attention to detail and subtlety. This is evident by his impressive set design (along with Jason Toppan) complete with realistic EXIT sign and an actual working clock.

This production and Kerry’s performance are emotionally wrenching and thought provoking. This rarely performed piece receive due justice.

burlingtonplayers.com