June 2, 2005
Write of Passage
My first crush was the Pikesville library in Baltimore, Md. Every Saturday after synagogue, my parents would usher me into the small, ancient red brick building quietly ensconced along one of the less-developed business roads in Pikesville. I would spend what seemed like hours quietly roaming the young-adult stacks and painstakingly choosing the "friends" I would bring home with me for the week.
One week, I would ambitiously attempt to devour the entire "Box Car Children" series; another I would host a Judy Blume marathon and vigilantly try to sneak the purportedly trashy "Deenie" home in between my "Sheila the Great" and "Blubber."
After racing through all of the books with still a few days lingering between my weekly trysts, I would start reciting the books aloud, memorizing passages and acting out the various characters. Sometimes, I gawkily went so far as to continue the books in my innumerable journals. I'd imagine my own ending to the "Narnia" books and give the "Bobbsey Twins" new mysteries to solve.
My first audience was my far-too-willing parents and my far-too-unwilling younger brother. At dinner, after my parents asked us how school was and my brother, David, retorted with the perfunctorily pithy "fine," I immediately glimpsed my window of opportunity and launched into a new playlet. Everyone assumed I would outgrow this "little phase" of needing attention.
The day of my bat mitzvah proved otherwise.
November 1986. It was raining outside Beth Am, one of the only pre-century temples that stood proudly in a yet-to-be-gentrified, fairly unsafe neighborhood. My hair was curled like Farrah Fawcett's and my bat mitzvah book -- yes, book -- whose cover I had designed and whose 11 pages I had meticulously written, was ready.
A burnt orange cover, my thematic Thanksgiving color of choice, enveloped the little novella, which proudly stood in nine piles of 11, waiting for people -- my people, my audience -- to read during the ceremony. As I stood up on the bimah, I took people through my book of poems, stories and Jewish anecdotes.
It was then that I realized an audience of 99 sure beats an audience of three. My dream was to both act and write.
For a while, I put writing on hold, because acting was a lot more glamorous. Yet glamour easily tarnishes and after coming out to Hollywood, the Mecca of the film industry, I acted in a lot of plays, yet somehow felt unsatisfied.
I felt limited by the words the dead male playwrights were giving me. I was Jewish -- where was my voice?
It wasn't until I met Mark Troy, a Jewish playwright who later became my fiancé, that I realized the power of the voice within me. He inspired me to write my first play. He simply put the mirror in front of me and echoed the timeless adage: Write about what you know.
Admittedly, I knew my women inside and out. They were fiercely impassioned, obnoxiously intelligent, a little zaftig and a lot Jewish.
They were me.
My plays are a reflection of my life. My first play, "First to the Egg," was the classic boy-meets-girl; however, the boy was a nerdy schlemiel sperm and the girl was the self-important conservative egg, whom he was trying to woo. Life reflected art and art reflected life. My genesis as a playwright had fertilized and conceived.
Growing up in a middle-class Jewish neighborhood in Baltimore has given me lots of fodder for my work. Dad's a specialist on Middle East policy and Mom's a teacher, so our dinner-table conversations were fraught with arguments, lessons and thought-provoking anecdotes. Of the five plays I have running around the country, all of them employ pseudo-intellectual/quasi-political and far-too-educated characters based on my own Jewish upbringing.
Currently, at the Elephant Theatre, my play, "Ellipses...," is about two people who can't finish their sentences; yet they manage to communicate better than most people.
My family rarely finished their sentences because everyone had so much to say, articulate, declare, pronounce, state, verbalize. Dad was always spewing on and on about Arab-Israeli politics, Mom would argue the benefits of communal dressing rooms at Loehmann's, and I would champion my vegetarian ideals by disputing whether or not an egg should replace the shank bone on the seder plate.
Like the Freedman's, the couple in "Ellipses...," including the Jewish saleswoman who tries to help them pick out a wedding dress, are plagued with ellipses. These characters have so much to say, that they can't finish their sentences because their minds are working too quickly.
I attempt to explore, investigate and play with my voice in various plays. Currently playing in Northern California is "Looking for Atticus Finch," a play I wrote with Mark Troy, investigates a Jewish girl's coming of age at Haverford College (my alma mater) and her ultimate search for a real hero. In Pennsylvania, one of my favorite plays is running: "Serial Killer Barbie," which explores a young Jewish girl's evolution from kindergarten to high school as she confronts anti-Semitism head on with her wit, anger and strychnine.
Who knew once upon a bimah that my coming of age was truly reflective of my adult coming of age as a writer?
Being a writer is a process. Being a Jewish writer simply furnishes a lot more schtick with which to bless my characters.
Colette Freedman's "Ellipses..." runs through June 15 in Circus Theatricals One Act festival at the Elephant Theatre, 6322 Santa Monica Blvd., West Hollywood. For tickets, call (866) 811-4111 or visit www.circustheatricals.com/oneacts2005.html.
Colette Freedman is an L.A.-based playwright.