Presenting the to-do list of:
You may notice that this falls well short of the goals set in January for my writing. And by the end of the year you’ll see me fail to meet even these revised deadlines. Would you expect anything less?
Urban Myth began in one of my honors classes; instead of writing notes, I wrote Prometheus’s answering machine message. “Hi, this is Prometheus, and I’m out right now,†is nothing if not naughty schoolboy humor. The full one-act grew out of that mini-monologue.
In production, I think it might be fun to continue the dormitory antics and have music play underneath Prometheus’s message. The song I’ve long had in mind is Erasure’s Chains of Love. Silly. Obvious. Perfect.
But lately I’ve been listening to Tears for Fears, and they have their own song of bondage: Woman in Chains. It’s deliciously inappropriate, just like Erasure, but does it fit? We have a Titan in chains, not a woman.
Woman in Chains begins so gently, so tenderly, that perhaps it would go best with a love scene. Maybe Urban Myth needs a new opening, in which the song plays as Amy and Prometheus embrace on the ground, sowing the seeds of love. The lights would fade, then jump to full as the Eagle wakes Prometheus, beginning the play as we know it.
One problem: this prevents the Eagle from setting the scene. His costuming and offhand comments establish the Greek myth; Tears for Fears doesn’t.
Would I really sacrifice script coherency for a cheap 80s music gag? No comment.
Does anyone know the James Bond film in which Sean Connery strangles a woman with her bikini top?
I promise this really has something to do with my Ibsen play.