Love, lust & travel opportunities

Meridith Beaumont talks to the cast and writers of SEX, LIES & Quilting

Theater
Sex, Lies & Quilting
Tues–Sun, Dec 18–23, 8pm
Teatro Santa Ana
Biblioteca Pública
Reloj 50A
150 pesos, Show
250 pesos, Dinner Pack (show & dinner)

Bernadene Blaha’s “brilliant command of the piano,” whether featured as recitalist, concerto soloist, or chamber player, has been heralded in performances throughout North America, Europe, Asia and Mexico.

Tell me, Geoff, what was the genesis of this play?

I’d done a play-reading with Reesha, Marilyn, and Rick and it was so much fun I thought I’d like to do another. After hunting around for a suitable play, I realized the only recourse was to write one!

When Marilyn and Rick dropped by my place in Victoria, BC on their way to Alaska, in the spring of 2006, we went out to the pub and I proposed we collaborate on a script. I later plied them with tequila and they said a boozy sort-of yes—but I don’t think they took it very seriously. When I started bombarding them with emails of possible scenes, they eventually started emailing back with continuations and variations. Then the thing took serious shape, quite rapidly.

Where did the character of the Vicar come from?

In part, from my eight years as an adolescent student at a Jesuit College. Though many of the priests there were fanatically dedicated to their work, others had completely lost their religious beliefs. But as they were now elderly, had no families, and had no savings, they just hung in there. I remember asking one how he felt about being a priest who didn’t believe a word he was saying, and he replied, “Well, it’s just a job like any other. I do it as well as I can.”

Marilyn, did this proposition interest you immediately?

Yes, but I wanted to delay it as I was trying to write a play of my own. However, Geoff simply usurped my time with his energy and thought-provoking emails! There was always something that you just couldn’t help finishing off, or something that you just had to re-write! Characters grew, changed, and changed again. Hilarious situations just seemed to invent themselves.

How did you manage to secure such a prestigious director as Skippy Ponce?

After a year of all this, we met with Alan Jordan. He didn’t turn the script down flat, but suggested it be the perfect vehicle for a bunch of motley thespians we had yet to meet. Once met, we instantly recognized our alter-egos: vain, puffed-up, ingenuous at times, and frequently downright annoying. As they headed towards San Miguel, we waited with baited-breath.

I hear they were a day late arriving?

Yes. Some of you may have witnessed the Nether Footly Village Players’ arrival at the bus station. A pair of dazed backpackers watched them sashay through the courtyard. Rumour has it that frequent checkpoints on the way down were met with gales of laughter and pointed asides. Repeated stops for picnics and croquet added to their delay.

Under the director’s insistence, the Footlys are now frantically trying to learn their lines—always a challenge, and never a priority.

Rick, what was your role in writing the play?

Addicted to nitpicking, and grammatically obsessed, I was the perfect candidate for pulling it all together. ‘Continuity’ was a constant challenge, not to mention reining in overt creativity, including the Vicar’s pontifications, Bobby-Jo’s Ozark mountain streams of consciousness, and re-instating Peggy’s slashed dialogue. Even Albert’s minimalist ums and ahs required very careful shaping and editing.

What attracted you to the part of Albert Snow?

I was drawn to the character of Albert, not least because he offered the chance to get into women’s clothing again. I have never quite shaken off the experience of playing Gwendolyn in the San Miguel production of The Importance of Being Ernest. Binky Trickle was a shoe-in for the Albert role, having frequently played the pantomime dame in the Nether Footly Christmas shows—something I myself would have loved to have done for the NAGS Players in Toronto. Unfortunately, the rugby-playing chairman never allowed anyone else a look-in.

Reesha, how were you involved in the writing of this play?

I wasn’t involved apart from additions-to, or rather, subtractions-from my own lines. Oh yes, and in recommending sweeping cuts to the script: a propensity for which I am notorious!

So how did you become involved in the play?

When the role of Peggy/Babs was first suggested to me, I was assured that it would be merely a simple playreading and I blithely accepted. I thought it was commonly known that I’d decided to never again undergo the stress and horror of learning lines.

Unfortunately, by the time I became aware that the play had in fact evolved into a fully staged production, it was far too late to gracefully back out! Having recovered, somewhat, from this shock, and having sought advice (from other actors!) as to the best over-the-counter tranquilizers, I find I have enjoyed the challenge and the energy of this production and all its hilarious catastrophes.

Before we leave, any parting comments from you all?

YES! Do come for an evening of nostalgia, laughter, downright silliness, and a touch of festivity – not quite a Christmas Panto or a Pastorela, but SEX, LIES & Quilting—the title says it all ….

Skippy Ponce unplugged!
The director of SEX, LIES & Quilting speaks out!
By Skippy Ponce

I, Skippy, am enraptured in Mexico executing my directorial debut with The Nether Footly Village Players in SEX, LIES & Quilting. There are rumours galore about the Nether Footlys—and me especially; Hear me San Miguel!

Yes, I was fired from the Joffrey Ballet training camp because of a superfluous toe...and I was an office worker. I sued!

No, I was not fired from Tortoise World, in Omaha, as a choreographer. I had a violent allergic reaction to turtle shells.

Yes, I am a proud “Little Miss” consultant for little Miss pageants.

Yes, I have successfully completed my online director’s course with an E-tificate.

I, a respected faux pearl artist, have designed the crown for all the Little Miss Corn Dogs since 1989.

No, I did not misrepresent my faux pearl collection on QVC. I present my pearls as Real faux...not Real pearl.

Favourites:

Color: Winter melon

Actor: George Maharis

Actress: Lorna Luft

Play: SEX, LIES & Quilting

Marley’s journey of terror and redemption

Theater Jacob Marley’s Christmas Carol Tues–Thurs, Dec 18–20, 7pm St. Paul’s Church Cardo 6 Donation 10 pesos

The Playreaders of San Miguel inaugurate the “high season” with Tom Mula’s Jacob Marley’s Christmas Carol. “Marley was dead, to begin with…” And, what happens to Ebenezer Scrooge’s stingy, mean and sour old business partner after that? Shackled and chained, Jacob Marley is condemned to a hellish eternity unless he agrees to redeem Scrooge. So begins Marley’s journey of terror and despair and laughter and redemption. It is a journey which opens Marley’s mind and heart and ultimately ensures the salvation of Scrooge’s soul. 

This is the premise of actor/director/playwright Tom Mula’s Jacob Marley’s Christmas Carol. It came to him when he was performing Scrooge in the classic Dickens A Christmas Carol. At a dinner after the play, the daughter of Mula’s friend commented that she thought Jacob Marley got a raw deal. Although Marley arranges all of Scrooge’s ghostly visitations, Marley himself remains unredeemed and still encumbered. So Mula wrote the tale from Marley’s perspective. His play opened in 1995 and was an instant success, winning seven theatrical awards including the prestigious Cunningham Prize. It continues to be performed in theaters all over the country during the Christmas season. The audio version of Mula’s play has been broadcast nationwide on NPR for the last 10 years.

“…Nothing less than an anthem to human nature, to imagination, and to the wonder of a compelling story told by a wondrous storyteller...among the best evenings of the theatrical year…As the tale slips down the throat like a hot chocolate, it also reveals new truths about the human condition…in Mula’s warm and inviting hands, Marley becomes a tortured but poignant and ultimately redeemed soul who personally stage-manages Scrooge’s reformation and finds his own redemption therein…an inspired and moving story that makes all that old stuff about ghosts and graves seem both immediate and revelatory…a splendid and invigorating evening!” (Chicago Tribune). “Blends a Dickens sensibility with a taste for fairy tales and contemporary wit…thoroughly charming—a holiday treat…” (The Herald) “Of all the holiday shows dotting the theatrical landscape, none shines brighter than Jacob Marley’s Christmas Carol. (The Life) “Superbly written, marvelously performed…inspired…funny moving, and hypnotic throughout…” (Chicago Sun-
Times)

In this “story theater” production, there are four actors: Rudy Hornish as “Actor 1” plays Jacob Marley, Christmas Past, Christmas Present, a Boy and Young Marley; Nancy Kandal as “Actor 2” plays the Bogle (a small demon) and a Little Girl; Bob Knight as “Actor 3” is Scrooge, Young Scrooge and A Damned Soul and John Wharton as “Actor 4” plays the Record Keeper, Fezziwig, A Damned Woman, Fred, Cratchit, Dick Wilkins, Marley’s Father and The Shadow. Robin Olin executes lights and sound and Fran Rowe Robbins directs.

For a Dickensian time, come to St. Paul’s Parish Hall. The doors open at 7 pm and the play will begin at 7:30 pm (or earlier if the house fills).