LOVE IS A HORSE WITH A BROKEN LEG
TRYING TO STAND WHILE 45,000 PEOPLE WATCH
Ian Tanudjaja as The Poet in the 2013 production
photo by Joe Kirschling
click the image above for more photos
Directed by Emily Rindt
September 3rd-4th, 10th-11th, 2013
All performances at 7:30pm
The Red Dot - Cabaret Style with Table/Drink service during the performances
2498 N Bartlett Ave, Milwaukee, WI 53212
A man, haunted by the death of his childhood pet, is on the verge of eviction. A business school drop out wagers everything to get the girl of his dreams. A lovesick photographer turns her subjects into stone. All are plagued by the inability to change. All are offered an opportunity to do so.
Drawing from influences and experiences ranging from Bukowski to Joyce to life-as-a-twenty-something to the Absurd, LOVE IS A HORSE debuts in its first full production after several local staged readings and development workshops at Peck School of the Arts (2011) and Chicago Dramatists (2012).
Shepherd Express Theatre Year in Review features "LOVE IS A HORSE" "The more serious end of surreal experimentation was on display in a very promising staged reading."
- LOVE. REPEAT. (Part 3 of LOVE IS A HORSE) was published in Great Lakes Review Spring 2013.
about the world of the play:
the understanding of time becomes broken, fragmented, cyclical, and/or repetitive as the play progresses
GOLDFISH (part 1) takes place in one progression of time, in one space.
AND THE SUN WIELD MERCY (part 2) takes place in two progression of time in two spaces.
An intersection occurs that brings us around in a circle.
LOVE.REPEAT. (part 3) takes place in several times (some real, some imagined) in several settings, sometimes several at once,
from the perspective of one man sitting at one table.
GOLDFISH - an apartment
AND THE SUN WIELDS MERCY - a basement (not much unlike the apartment), and a diner
LOVE. REPEAT. - the same diner, or a race track? or maybe a strip club...
all characters from the entirety of the play exist within the same space, if not the same time.
about the poetry
the language of the characters of the play, as well as the characters themselves, are
grown grafted glued genetically modified mixed stirred stripped torn
from the poetry of charles bukowski, the novels and plays of james joyce
and my own experiences, and my own experience of their work.
the most influential of hank and jim's works on the play:
the night torn mad with footsteps (collection of poems)
the roominghouse madrigals (collection of poems)
it is not an adaptation, but an amalgamation or something-similar-in-flavor-to...