Fainting.

(An edited version of this was posted on Bilerico.com.)

I was on the train coming home from work one day last week and noticed two boys standing across from me, typical kids with their iPods and goofy smiles. They could have been anywhere from 14 to 20, it's hard to tell, teenagers develop at such different rates. (When I say typical, I mean that their pants were more than halfway down their asses, and while I'm on the subject I've been wondering: does the average kid on the street or the train or wherever, a suburban grocery store, does he know that homosexual men are flipping out inside at the sight of a young guy in, essentially, his skivvies in public? Does he know? It's a real puzzle to me. I don't know how to interpret the trend except as some kind of sexual display, but it's their asses they're displaying. What? It's rebellious, so I like it. It makes regular folks blow a gasket, so I'm all for it. But aside from the discussion of what it means for young men to be offering up their backsides to public view, what I find even more interesting is the sheer quantity of attention men are giving to their pants, constantly adjusting, tugging, touching them. Have pants ever before in their history been so interactive?)

Anyway.

I was reading, so not really paying attention to these kids until one of them hit the floor like a sack of rocks in front of me. He had fainted, but he smacked his head on the floor hard enough to wake himself up. Several people jumped to help him up, tried to get him to sit down but he didn't want to. (This was a well-dressed, cute white kid. I couldn't help but think that if he had been, say, a homeless man, everyone would have scattered instead of rushing in to help.) He finally sat down, kept insisting he was fine. He was hating all the attention. I looked more closely at his friend and it dawned on me that they might have been a little high. I hate to assume, but his eyes were awfully red and he couldn't stop smiling.

At the next stop, the conductor came over and asked the kid if he needed a medic; the kid was mortified and said, over and over, "No! I'm fine. Really." A woman sitting near him insisted that he get off the train and get to a hospital. One of the men who had helped him up hovered over him and his friend, expressing concern, trying to convince his friend to get him to a doctor. Both kids -- the kid who had fainted really did look okay, the blood was returning to his face -- refused to leave the train. They just wanted to be left alone and go home.

The man kept getting closer and closer, more and more insistent, and the situation began to seem less like a person in distress being helped by a stranger and more like someone being harassed by a crazy person in the subway. Most everyone, now that the crisis was past, had returned to their anonymous shielded subway world, except the man and the boy, who was extremely uncomfortable with getting so much attention. He gave the man a look like "Oh my god will you please just get the fuck out of my face, old man?" Then the man raised his voice and said, "I care about you!" He said, "I have a son, and a daughter. I care about you."

Just a few days before this I was at the Eagle. I had a beer and had smoked a little pot before I left the house but it had been a couple hours. I was talking to a man sitting next to me. It was crowded and warm and suddenly I felt my blood pressure drop like I was going to pass out. I put my head between my knees for what seemed like a very long time. (Anyone who sang in choirs in grade school knows what it feels like when you're going to pass out, and what to do to prevent it.) The man I'd been talking to looked after me, sat with me until I felt better, and then -- we found we both lived in Inwood -- rode with me back uptown.

He turned out to be a fairly well-known actor and theater director and we had lots to talk about during our 2-hour A train odyssey to the North Pole, er, Inwood. (Will they ever finish that track work? It's been going on for at least 10 years now.)

(Incidentally, that has happened to me in bars a handful of times over the years -- one or two beers, a little pot, and suddenly I'm listing. Maybe I should find out what that's all about.)

So here's to the kindness of strangers. And not just strangers. I'm moving in a little over a week. I've been staying with my friend T since I came back to New York in September. Back in June when I was falling apart in Austin, crying on the phone with T, he said, "Come back to New York. We'll do theater together. We'll form a new company and make new work. Just come. We'll figure it out." And I did, and T has shown me unbelievable kindness and generosity, as he always has in the 20 plus years of our friendship and artistic collaboration.

Not only has it been a long time since I had a regular job, it has been a long time since I paid rent and a long time since I moved somewhere where I wasn't living with friends. I don't have sheets, blankets, towels. I'm going to be 50 in March, and I'm still starting over, and over and over.

Rent.

It comes up from time to time, it came up just last weekend when we were at Baldwin-Wallace College where the musical theater students were singing several songs from Lizzie Borden in a concert of songs from new shows and they had us on stage for a Q&A after the concert, this question about Rent and why I don’t like it -- the students are rehearsing now for productions of Rent and La Boheme (the opera on which Rent is loosely based) to be performed in repertory -- and my pat answer is that it claims to depict a time and place and milieu, one which I have a strong attachment to, it having been my time and place and milieu, yet the characters, the songs, the story, don’t look or sound or feel anything like the time and place and milieu that I remember. In fact, it seems to me that it trivializes and sentimentalizes, reduces to clichés, the things that made the East Village in the 80s so wild and urgent, so heady, so riveting: performance art, drag, AIDS.

But I accept the possibility that I’m guilty of extrapolating my own experience too widely, assuming that my own experience of that time was the experience. I’m sure there are many people for whom Rent feels authentic. I may be too harshly critical. Lots of people love Rent. They can have it. In the end, I guess I just don’t care much for the songs.

T suggested wisely that Rent may be a younger generation's Fame, a movie which -- though I have known many people in the meantime who attended the High School of Music and Art, on which Fame was based, who say that it is a terribly unrealistic depiction of their experience -- inspired both T and I and many of our friends, showed us a New York where we might go to find aspiring artists like ourselves, a place where the streets were crawling with music and love and sadness and inspiration. I'll buy that. (The comparison breaks down when you compare the movies, though. Fame is a good movie. It holds up. The movie version of Rent is a piece of crap.)

I always think, afterwards when it’s too late, that I wish I would have added to my answer about how I feel about Rent that, though it doesn’t feel at all to me like the New York in the 80s that I remember, Angels in America does, and I don’t think I’ve ever been more grateful for an artist and a work of art.

She Thinks I Still Care.

From here:

[They won't let me embed it, so click here. C'mon do it, it's George Jones.]

to here:



to here:




to here:



All beautiful, I think. The song is transcendent; you just have to sing it. If I have to choose, I have to say I'm leaning toward the Beck version.

Here We Go.

Look at how weird my life is getting now. Meetings with lawyers, agents, producers. It’s crazy. I have to keep reminding myself to keep breathing and enjoy the ride because, frankly, it’s about fucking time.

I went for a 3-mile run on Monday and that made me feel sane and stable. I run on the hike and bike trail between the West Side Highway and the Hudson River down to the George Washington Bridge and back. I want to increase the distance so that I can get past the bridge to where the trail goes down closer to the river, but I don’t run regularly enough yet. I’m pretty lenient with myself about that stuff; it’s hard to do those things – run, work out, meditate – every day when every day is different from the one before and every week is different from the one before and every year is … Anyway, the run is beautiful and invigorating, lots of traffic and the gorgeous Hudson and that bridge is awesome when you’re right next to it. It’s so high up.

The temperature dropped yesterday from the 70s to the 50s and 40s overnight. I made a big pot of white bean soup with pork and chipotle. The apartment got all steamy and smoky and the soup was over-the-top delicious. Add cooking to my list above. One of the things that kept me happy and sane (and not fat) the last few years was cooking and eating regularly at home. But it’s a different life here. In the end, I’d rather be a successful theatre artist than a successful homebody.

Where I Am Now.

Now, several months after the end of my relationship with M, it’s easy to see all the things that may not have been perfect about us being together, to see how maybe we weren’t as absolutely compatible as I was convinced we were, as perfect for each other as I begged him to acknowledge, and to say, “Look at all these wonderful things that are happening in my life now that I’ve moved on,” to adopt an it’s all for the best attitude, because of course now I’m doing this, whatever it is I’m doing without him, and if we were still together I wouldn’t be doing this and what a shame so obviously it’s meant to be, or not to be. Whatever. I still go to bed at night and sometimes just ache because I want so badly to throw my arm over him, my palm against his chest. To kiss his neck. To fall asleep and wake up not alone.

Saturday night I made out in a bar with a young man for what seemed like hours and maybe was. Long enough for my lips to be chapped the next morning. He was shorter than me, and several times he stopped kissing me to rest his head against my shoulder, and with one hand I cradled his skull. Near closing time, he took my hand to lead me to an area of the bar where it was dark, where guys go if they want to do more than kiss. As we passed the stairway to the exit, I let go of his hand. He was swallowed by the crowd. I ducked down the stairs and out the door quickly and went home alone. We never said a word to each other.

The last week or more it’s been generally in the 50s at night and the 60s and 70s during the day. The heat has been turned on in T’s building and apparently, like the heat in all these old New York apartment buildings, can’t be regulated much. There’s no thermostat; it’s either on or off. Even with the radiators turned off, the steam pipes that run through the apartment to the upper floors are still blazing hot. So, we have the windows open, because of course you don’t need heat when it’s 65 degrees outside.

Computer Love.

I’m sure everybody knows by now because I haven’t stopped complaining about it that UPS lost my computer monitor on its way to New York from Columbus, Ohio. I visited my brother there on my way here, and I left my car with him because he has room for it in his airplane hangar. Since that was the end of the road for my car, I shipped my boxes from Columbus.

I insured my computer but forgot to insure the monitor, so of course that’s the box that went missing. It was a big, fancy monitor, 27” screen, I edited my film Life in a Box on it. It and my computer were paid for by the film’s budget; I never could have afforded such nice stuff. I was sad to lose it. Since I got here, I’ve been using a 10-year-old Mac G4 notebook computer, which is functional but pretty jenky. It doesn’t play video, for instance.

But, UPS automatically insures every package for $100, and I found a similar monitor on ebay for $60. (Nobody wants a 7-year-old computer monitor except someone with a 7-year-old computer whose monitor was lost.) And the shipping was $40, so I just broke even. It arrived today, by Fedex, which is a New York miracle because this is the only day I could have been home to receive a package since I’m in rehearsals every day now.

I love happy endings.

Speaking of happy, we’ve had a couple rehearsals now with the cast. Three of the women are back from last fall’s production and one is new, the woman who plays Emma, Lizzie’s sister. The new girl is great. The old girls are still great. Our director is wonderful, very smart. She loves and understands the show. And our music director is some kind of perfect.

There was a moment in yesterday’s rehearsal, during the scene in which Lizzie begs Alice Russell to lie for her to the police, and Alice, though she loves Lizzie, cannot do it, when I started crying, and I looked to my left and Tim was crying and then to my right and Alan was crying. All three writers were crying. Hate to brag, but this show is heartbreaking. I’m awed by what this cast brings to our words and music, to these characters and this story. It’s a wonder. And it’s a privilege to work with such talented artists.

There's A Place For Us.

The song "Somewhere" from West Side Story is constantly in my head because the A train, which I take every day to wherever it is I might be going, as it approaches the station sings the first three notes. At first I thought it was an effect of the wheels on the tracks, but it is too regular and it happens at every station.

"There's a place..." That song always fills me with nostalgia. West Side Story was the first musical I worked on in a community theater production in Greencastle, Indiana. I was 13, on the stage crew, and Mike Van Rensselaer, who was lanky and handsome in a mid-70s way, played Tony. Every night as I stood backstage waiting for my cue to roll out one of the brick walls for the rumble scene, it was like Mike was singing to me. "There's a place for us...."

Anyway.

The other thing that's new about the subway since I lived here last is a woman's recorded voice on nearly every platform announcing the arrival of each train. She's super-cheerful and sounds like she's from Kentucky by way of Minnesota. It cracks me up every time, those hard nasal "a" sounds, an accent and tone so out of place here where daily one hears dozens of different accents but seldom that one. And she is announcing the arrival of trains, which is useless information. It's obvious when the train is arriving. It's big and loud. Information that might be helpful -- schedule changes, tracks changes, etc. -- is still bleated over a p.a., almost always garbled and incomprehensible. Just like the New York I remember.

I've been working part-time in a prop rental shop in Greenpoint. An old friend got me the job very soon after I arrived, and I'm grateful to have some income and to be working in a congenial place with varied enough tasks that I'm not dying of boredom.

The commute from Inwood to Greenpoint is almost an hour and a half door to door. So far, it's not bothering me a bit, though. After living in places where I had to drive everywhere -- if you know me, you know I hate driving -- I'm falling in love all over again with public transportation. I'm getting lots of reading done. I'm reading In Search of Lost Time again, the new Lydia Davis translation. (Which is great, by the way. If you've always wanted to read it but you're intimidated by its "great modernist masterpiece" reputation, don't be. It's a huge pleasure to read. I read the whole thing a few years ago when I was living and working in a very quiet, remote village in southern Utah for 8 months, but it's so long and rich and dense and entertaining that the first thing I thought when I finished it was that I wanted to go back to the beginning and read it again. Lots of time for reading may be the only thing the New York subway has in common with southern Utah.)

I work Monday next week and then I have two weeks off. I'll be working, but not for the man. As I’ve said, the two main reasons I moved back to New York were, one, because my heart was broken and I needed a change of scenery and, two, because big things are happening in my career. (I guess the real main reason I moved back is that I couldn’t make a living in Austin, but the heartbreak and Lizzie Borden are what spurred me to move now.)

The National Alliance for Musical Theatre festival of new musicals presentation is happening in a couple weeks. (If you're in New York, you can come to this event free. The performances are on Oct. 21 and 22, during the day.) I know I’ve said this before, but this is a huge fucking deal for the show and for me as an artist. Theater producers from all over the U.S. come to this conference to check out the most promising new musicals, and only eight are chosen each year to be presented. Eight. We start rehearsals on Tuesday!