Over on Mark Chaet’s blog, in his inimitably cranky style he takes on drivers who misuse the curb lane on Sunset. Which is pretty much what happened yesterday when I was a pedestrian in front of the Cinerama Dome and witness to an accident in the curb lane on Sunset — about four feet from me.
A few minutes ago I made a mistake typing in a URL, and so, instead of MSNBC.com, I wound up on msbc.com, the website of Morningstar Baptist Church. Here’s what I learned both from the home page and this podcast:
This educational message brought to you at no charge.
My friend, writer Christopher Meeks, passes along this story about how a play of his has most definitely changed someone’s life (in this case, that of actor Stephen Furst). (And, to answer Chris’s question, no it isn’t coincidence, and yes, it is something else: cause and effect.)
Coincidence—or Something Else?
While casting “Who Lives?”, actor and director Stephen Furst offered donated kidney
When I told my friend and fellow author, David Scott Milton, the following story, he said that writers have an amazing connection to metaphysics. I’ll let you figure out what the following is—coincidence, metaphysics, or something else. This week marks the 10th anniversary of the first production of my play, Who Lives? It also marks the 30th anniversary of the film Animal House. You’d think there’d be no relation, but there is.
In February, I spoke on a radio show called “Kidney Talk” about the publication of Who Lives?, interviewed by two interesting and funny hosts, Lori Hartwell and Stephen Furst. The interview was more like a morning drive-time show, with much energy, questions, and humor. I hadn’t expected humor. Furst, however, had played Flounder in “Animal House” as well as Dr. Alexrod in “St. Elsewhere.” He also had a major role in “Babylon 5” and had become a film director and producer. His own kidneys had gone out due to diabetes complications, and he was now on dialysis himself, volunteering on this radio show.
Furst was so taken with the play, he mentioned to a group of doctors in San Francisco that he’d like to direct it. That mention led to his receiving a call from a large theatre in Cincinatti, the Aronoff Center for the Arts, which was interested in producing the play with him directing for a September production, using a name actor such as John Lithgow. Of course I was elated. Furst flew to Cincinatti in June to do some initial casting. While there, he mentioned to someone that he’d been on dialysis two years already. The person want to know more. Furst explained dialysis made life complex, and he really needed a kidney transplant.
A few days after this offhand mention, Furst received a call. An anonymous donor heard about his plight and wanted to donate a kidney to him if they matched immunilogically. Now Furst was beyond elation. Tests were done. They matched. In fact, Furst should be receiving the kidney as I type this.
In short, because I wrote a play, someone’s life was changed. Of course, we writers hope that we can change lives emotionally, but here’s a case of a physical change. What do we call this? Luck?
Because Furst needs time to recover, the play’s production has now been pushed back. The play will open at the Aronoff Center for the Arts in Cincinatti in January. Those of you in the area, please come. If you want a good read, the book is available at Amazon.com, BN.com, and on the shelf at Vroman’s Bookstore in Pasadena (626-449-5320), among other places.
Certainly, some exist. I haven’t seen too many characters in wheelchairs on stage, at least not a proportion equal to that in what I see in the wider world. Same with blind people.
But I have to disagree with the people who posted this listing seeking play submissions:
Submission Guidelines
* Only unproduced works will be accepted.
* Plays must have a female or other underrepresented minority as the
protagonist
* Plays that have had staged readings are eligible.
* No adaptations, musicals, or children’s plays.
* Cast size maximum: 5.
* Length: 25 minutes maximum, no minimum.
* Settings should be simple or suggested.
* Playwrights may make multiple submissions.
* Please do not submit works that have been previously submitted.
* Scripts must be postmarked by August 24, 2007.
By “minority,” are they referring to about 52% of the population (i.e., females)?
By “underrepresented,” do they mean people choosing plays, reading plays, writing plays, acting in plays, producing plays, attending plays, etc? Because the majority of them also seem to be female.
As this analysis of classic “Star Trek” proves, if you’re part of the engineering crew, you very much want Kirk to hook up with alien women. Your survival may be at stake.
Renegotiate.
In this case, I just got off the phone with Pitney Blowes, whose monthly fee to me for my postal meter had crept upward from someplace in the twenties to $32.46, and who now sent me a polite letter informing me that they were automatically signing me up for a $15.99 annual fee for the Postal Education Program.
The latter was the final straw. Automatically enrolling customers in programs they don’t ask for (let alone don’t need) is insulting. So, filled with brio and outrage, I called to cancel the entire program, knowing full well what they would do: seek to keep me by renegotiating.
So here was their offer:
1. They would cancel the offending program and remove the charge.
2. They would lower my monthly bill to $19.99.
3. They would waive the last month’s bill.
Tally the results for one year and you’ve got $198 plus change. For a 19 minute call.
Lessons in this:
1. Seemingly little charges and incremental increases add up.
2. Yes, it’s worth the phone call to protest.