Showing posts with label Steve Patterson. Show all posts
Showing posts with label Steve Patterson. Show all posts

Friday, September 11, 2009

Fantastic Voyage

Sorry, this post is actually not about Raquel Welch and her pearlescent wetsuit, fun through the movie of the same title is. I hope you can adjust.

No, this is about my never-ending search for a drop of water to cool my burning tongue here in the vale of tears we call Planet Earth. Toward that end, I did something Thursday morning that I’ve wanted to do ever since I read about it as a youth: experience a session in a flotation tank.

Invented by John Lilly decades ago, the idea is simply that you submit yourself to a prolonged stretch of time in an environment where nearly all sensory input is “attenuated.” In fact the earliest tanks were known as “sensory deprivation” labs or “isolation chambers,” before some appalled marketing czar put a stop to that.

This adventure was a gift from playwright and adventurer par excellence Steve Patterson, who knows that I like to explore what consciousness will do under interesting conditions. And this was certainly one.

At The Deep Haven over on Hawthorne Street, I walked up the wooden steps of a classic PDX-style house – now an herb store, actually, the kind that stocks everything but eye of newt – where Christopher Messer then took me underground, to the basement and into the soundproof room where the tank awaited.

It was a sleek black box, gleaming and clean, but the scene’s a little like something from The Fearless Vampire Killers – not for the claustrophobic, anyway. But Christopher walked me through the whole process: I would be floating in ten inches of skin temperature water, salinated with 800 pounds of Epsom salts (!) so that I would have no choice but to float. Darkness would be utter. No sound would penetrate the chamber until faint music would cue me that 90 minutes had passed.

No problem, right? But once the novelty of the first few minutes passed, I didn’t think I could hack it. An hour and a half of just lying there? As I laid there buoyed up by the salt water, my mind raced through all I wanted to get done that day, including beating a looming deadline. Really, for the first 10 minutes I was sure that at any second I was going to get up, towel off and sneak out of the house like a thief.

But somehow, without even intending it, all that dissolved into the water. I began to scan my body mentally; stretch a little; experiment with the water’s incredible density. If I fell asleep, could I drown? No, as it turns out; even turning my head to one side was effortful, and would wake me up. The water cradled me like a warm blanket.

At some point it occurred to me that my auric field shouldn’t be dependent on an external light source. So I raised my hands in front of me, and – yes! There they were, the outlines of all 10 fingers faintly illuminated by a warm glow. Interestingly, tiny pinpricks of bright light, like sparks, twinkled all around the fingertips. And when I moved my hands, the impression of light remained where it started for a few seconds.



Following that I began to hear a soft, almost toneless sound emanating seemingly from within my head. This fascinated me, because at first I assumed my brain was inventing sounds just to amuse itself. But no, as the “music” gradually became more audible, I realize it was Christopher’s doing – my wake-up call. I was astonished. It felt like a half hour had passed at most.

I’ll be back to Deep Haven soon for a longer steep; it’s worth the soak just for the return trip to the world, which had a vividness reminiscent of Dorothy seeing Oz for the first time.

By the way, I went into the tank with a hateful headache that I’d had at that point for five damn days. And though it didn’t dissipate in the tank, a concomitant pain – aches in both shoulders – did melt away. Finally that evening the headache itself faded away and has stayed away.

Oh, yeah, I’ll be back.

Monday, November 10, 2008

Local hero



Melpomene and Thalia have spoken. And the winner is....Steve Patterson! That’s Steve in the photo, looking like a cross between Hunter S. Thompson and James Bond (the classic one), incognito except for my bruiting his success about. After his articulate and poised appearance at the Wordstock Festival of Books on Sunday, Steve went on that evening to snag the coveted Angus L. Bowmer Award for Drama with my favorite play of his, Lost Wavelengths.

In his acceptance speech, he graciously thanked his PlayGroup colleagues for their support and their counsel. But hey, we’re just glad to say we know the guy.

Actually, to qualify my first reference: M & T had nothing to do with this. The Bowmer Award is the playwriting part of the Oregon Book Awards, and is offered biannually by the fabulous people at Literary Arts. The way this works is that an out-of-state playwright of note serves as the judge, so as to avoid any appearance of cronyism.

This year’s judge was an outstanding writer and also one of the nation’s best teachers (i.e., guide, guru, fellow traveler) of playwriting. No, not her. The other one: Sherry Kramer.

Author of When Something Wonderful Ends and David’s Redhaired Death, among many other plays, this daring and groundbreaking artist certainly had a plethora of innovative work to select from the many Oregon authors who submitted this year. But she gamely got it down to five nominees and ultimately selected Mr. Patterson for the brass ring.

Lost Wavelengths, a play about a Jandek-like songwriter and the outsider music specialist who is searching for him, is a haunting, sometimes eerie play that lurches madly from the laugh-out-loud funny to the achingly painful. It ought to be produced all over the U.S., and I hope the Bowmer Award will garner it the attention it deserves. It was first read here in town at Portland Theatre Works, and subsequently workshopped in JAW 2006, so it’s ready for prime time. Let me know if you’re intrigued, and I’ll put you in touch with Steve.

Monday, September 22, 2008

You are here


You know how in the past I’ve alluded to PlayGroup’s top secret, unassailable, never-to-be-scruted blog? Where we hang out our highest aspirations and most petty grievances out to dry, away from the jaundiced public eye?

Well, the post below (plus its photo above) is timely rrrrrrripped from that blog – with the poster’s permission, of course – one Steve Peterson. It’s too nice a thing not to share it on the intergalactic scale of my blog. [kidding] [blushing at my own cupidity] [anyway] Here it is:

I picked up the new issue of American Theatre, and I was pleased to see it contained four Portland theater references: a story on set design for Sometimes a Great Notion (with a beautiful photo by Owen Carey); a piece on ART's new resident ensemble, including pics of four Portland actors; a piece on Oregon Children’s Theatre's collaboration with a Milwaukee (WI) theater (the show--I forget the title--is going to play both there and here); and a JAW reference in the article on David Adjmi's play Stunning. Stuff on PCS, ART, and Milagro crops up now and then in American Theatre, but I was kind of thrown by so many references in one issue. Maybe some lobbying from those in the know could coax a story on Fertile Ground … It does have news peg in that the festival's kind of a unique cross between a fringe theatre festival and a music festival model (e.g., South by Southwest). Which would be tres cool. No?


But yes.

Sunday, June 22, 2008

Micro Fest!



With JAW still weeks away, Portland is already a hotbed of startling new work, and has been for months. To mention just a few recent hijinks: Hand2Mouth’s deliriously hallucinatory collaboration with Polish company Teatr Stacja Szamocin, From a Dream to a Dream; Fever Theater’s experiential The New Believers; and my latest addiction, the End of the Pavement Micro New Works Festival.

Yes, that’s right. So this is how we relax when not working for PCS, you think reproachfully.

Guilty as charged. Even though it's that time of year when my every waking moment of consciousness seems to be oriented toward JAW, I have been indulging in the busman's holiday of attending the Micro Fest. It’s an extra-special occasion, since it marks the end of Pavement Production's EIGHTEEN fabulous years of producing theater. Not for lack of spirit or funding or creative juice, either, but because .... “it's time to move on,” sez co-founder Steve Patterson.

Mr. P, always one to go out with a bang, is gracing us with Pavement's final foray, the above-mentioned celebration of original work. It's readings, and ambitious ones, with Nick Zagone and Matt Zrebski having treated us on the past two weekends. All the work, from the writing to the acting to the -- let's just acknowledge it -- the producing has been superb.

That's what good producing is, you know: when a sense of integrity suffuses all aspects of a creative effort. Steve's a class act, and it shows everywhere in the Micro Fest.

Next up is a new piece by Steve himself, and the final showing on the Fifth of July is a romp called Ubu Lives! -- eight short plays inspired by Jarry's manic monster. With titles such as ubu's last krapp (that one's by james moore), the Micro Fest's climax promises to be a total roaratorio.