Showing posts with label Berlin. Show all posts
Showing posts with label Berlin. Show all posts

Thursday, December 17, 2015

America, Germany, Israel, and Identity

In the month that I've been back in New York since my trip to London and Berlin, I've become a hermit. I get up, I go about my morning routine, I go to work, I come home. I make no plans, and those engagements I previously committed to I frequently bail on at the last minute. I skipped the NYRF reunion the weekend after my return; I skipped the Daryl Roth Theatre (where Fuerza Bruta plays) holiday party this week. I make vague half-plans for drinks or lunches and then don't follow up on them. I hide in my apartment, in books, in solitude.

While in Berlin, on my Red Berlin walking tour, I told my tour guide briefly about the play I've been writing since my last visit, and asked if he had any insight into the daily lives of East Berliners. He recommended I read Stasiland, a book by Anna Funder, an Australian writer who lived in Berlin for a time in the 90s, while Germany was still rebuilding itself. I bought the book recently, and over the last week have spent every train ride to and from work disappearing into East Germany, a country that no longer exists, but whose citizens are still largely alive and well, some only a few years older than I am. Both sides of my family have roots in Germany, and lately I constantly wonder what my life would have been like if I had grown up there.

Tonight I went to my pre-trip orientation for my Birthright trip to Israel. Birthright is a gift of a free ten day trip, from the government of Israel and Jewish communities around the world, to young adults of Jewish heritage. I come from a multi-faith family in a multi-faith country. I always felt, growing up, that I didn't really have much of a national heritage, because the heritage of America, as it was taught to me and as I've experienced it for twenty-five years, is that our nation is a one of many nations. In the scheme of countries globally, we're on the young side. We don't have thousands of years of history as a nation. And similarly, in the religious sphere, I grew up Unitarian Universalist, the religion of many religions. Because my mom grew up Christian and my dad was raised Jewish, I, like so many children of interfaith marriages, grew up in a church full of families with diverse backgrounds and beliefs. Unitarian Universalism came from the merging of two religions and technically, by definition, is a cult, because it is less than one hundred years old since the merger.

Neither my national nor my religious heritage have the longest historical background. That has always made me feel a little lost, in the greater scheme of things. I applied for the Birthright trip because I am desperate for a deeper connection to something, to my Jewish heritage. Judaism has rather a long history, you could say. But I grew up as "the only Hanukkah kid in my class," as I said when I came home from one of my first days of Kindergarten. I lit Hanukkah candles with my family in November or December throughout my childhood, and that was most of my experience of "being Jewish" for a long time. I have only attended four Bar/Bat Mitzvahs in my life, all for people I am barely or almost related to - children of my dad's cousin (second cousins? Once removed? I never know), his college friend's daughter, my "cousin" who is the child of my "uncle" Marty, another of my dad's closest college friends. But I had no such experience myself. I have only been to Synagogue on those four occasions. The only Hebrew I know is the Hannukah prayers, and that's memorization more than actual comprehension.

So I float, tradition-less, through a young secular country, and obsess over strange things. I have always felt a connection to the Holocaust even though my Jewish grandparents were born in New York. Gas masks disturb me like nothing else. I spend ten minutes of rare hour-long Skype call with my brother talking about German history from World War II to now. I text my friend John, a grad student studying the holocaust and genocide, at 10 am on a Monday morning, asking for clarifications on the Nazi-Soviet conflict and the differences between communism, socialism, and fascism during the Cold War. I am becoming an encyclopedia on the lives of strangers that lived in a country that dissolved just months before I was born.

I am German; I am Jewish. But actually I am neither; I am American and Unitarian. My passport says I have been to Germany, and soon it will say I have been to Israel, but my passport was issued by the United States of America. My passport says, in the form of seven stamps at the back, that I have pretended to travel between East and West Berlin, places that no longer exist except in the experiences of millions of now-just-German citizens. The truth lies in the date of the stamps, 30 Oktober, 2011, 22 years after the fall of the Wall.

I read my books; I write my play. I listen to Led Zeppelin and Bowie records and disappear into the 70s.  I try to tell the stories of people I never knew, a place I have never been to, because Berlin and Germany are unified again now. A place and people that have nothing to do with a twenty-five year old girl from Chicago who lives in New York and has never been anything but American, who has never fled any kind of persecution or oppression and is only now becoming "woke" enough to realize the police state we live in. (Please watch Citizenfour. I don't know what to do about what I learned from it, but just watch it.)

Daily I feel small, alone though by my own choosing. I have always been independent, but now I exist like a satellite in orbit of the lives around me, away from family, friends, sometimes sanity. I shut out the problems of 21st century New York to despair in those of Cold War Berlin, and still try to find a way to make the two eras talk to each other as we shut out refugees, and threaten the building of new walls, and want to increase surveillance on possible terrorists, and barring an entire faith population from our country. I would have lived a different life as a German Jew in the 40s. I would have lived a different life as an Eastern German in the 70s. But those lives are still being lived now, by different faiths in different countries, and I just want people to wake up. 

That's what my play is for, if I can ever finish it. As I read and research more, I feel the scope expanding, sure it will one day soon escape my grasp. There are such big concepts at play. My access point is a history I was never taught but almost lived, from so many angles.

I wear still in this moment my name tag from the Birthright event tonight. It says my name, my trip organizer - Tlalim Israel Outdoors, and my departure date.  I feel suddenly just now, like I'm wearing a yellow star, but without the danger. "This is when she will claim her history." It labels me as at least Jewish-adjacent, with a date for the homeland. Getting on a plane, not a train, in safety, not in fear. To celebrate something that was once supposed to be hidden, shameful, dirty. To confront a lost heritage, color in a missing part of my identity as I have tried to do so many times on so many trips. 

For me, my Jewish-ness is tied up in my German-ness, two identities that were once so at odds, though my existence as a union of the two is not uncommon. Both cultures are shadowed by a history of conflict - and Israel isn't exactly history's most peaceful country, and that at only sixty-seven years old. I sit here, at 11 pm on a Thursday night in New York, trying to come to terms with all of my perceived history that is not mine at all - that of Germany, of Israel, of Jusaism, and, after a while, of America, that to which I can actually lay claim but don't know how. What is the meaning of being American?  Freedom? Fear? God and guns? So much of what America stands for seems either false or terrible. But then again, I have never been interrogated simply because I wished to travel, or had a boyfriend from another country, or because I dissented from my leader's politics. I can say what I want. I suppose it's just a question, now, of whether it is heard, or whether I want it to be.



Friday, November 20, 2015

Berlindon 2015 (Part III - Berlin Tarot)

While in Berlin, I took my tarot deck with me, and photographed a card of the day in various important locations along the way. These are my posts from those four days.

Berlin Tarot I: 2 of Swords - do not blind yourself to reality. Face the truth of situations, let go of your fears and be bold. Find balace. (Location: hostel window with a view of the Gutenberg printing press office, Prenzlauerberg.)

Berlin Tarot IV: 10 of Chalices - contentment, connection, appreciation for all that is around you. Sense the thread of human connection between us all. (Location: Chapel of Reconciliation in the former death strip of the Berlin Wall, Mitte.)

Wednesday, November 18, 2015

Berlindon 2015 (Part II - Berlin)

On Tuesday morning, Kerry, her friend Matt, and I flew to Berlin for four days. I viewed my time in Berlin as a research trip, and my list of activites I hoped to accomplish strayed very little from the focus of the Wall. Though I found the Jewish Museum and Holocaust memorials very powerful last time around, there was no time to visit them again on this trip.

Tuesday afternoon the three of us did a little exploring of the area around our hostel in Prenzlauerberg, and ended up eating at Cafe Cinema for dinner. Outside we stumbled upon an alley with lots of grafitti and a cool shop of local art with a gallery attached. We spent some time looking around there, and then I departed to walk over to the Berliner Ensemble, Brecht's theatre, to see The Good Person of Szechuan performed in German. (I saw the sign below along the river on my walk.)


Three and a half hours of abstract German theatre in a very warm room on very little sleep.

I didn't stay awake the whole time, I'll admit, but I did get lucky - the lady at the box office asked if I was a student, and I answered honestly and said no. She asked me how much I wanted to pay then, and pointed out the price levels on the seating chart. Nothing exceeded 30 euros, which is pretty close to $30 right now. Imagine regular orchestra tickets to a Broadway show being $30. Right. I picked an area with 10 euro tickets, and she said "I'm gonna say you're a student anyway," and I said "Well I did go to theatre school, so I kinda am always a student," and she said "I thought so" and handed me a ticket. I went upstairs, to where I had pointed on the seating chart, and an usher said a lot of things to me in German. I smiled and nodded. The house wasn't open yet. I sat and waited. Eventually she said "You speak English, not German, don't you, because I said your seat is downstairs," but she was very nice and explained what the "parket" was and where my seat was, and so off I went, to a 30 euro seat that I paid 9 euros for, and I watched three and a half hours of Brecht in German.

Early this year I saw a production of Good Person at The Public starring Taylor Mac and it was life changing, so I was looking forward to this, thinking I knew the play, but the productions were so different that it was nearly impossible to follow. My couple weeks of duolingo German prep left me with a limited vocabulary of about a dozen words, and the only ones I really caught during the show were "wasser" (water) "liebe" (love) "risjt" (rice) and "frau" (woman). But I'm still glad I went; the scenic design was really interesting and the sound design was exciting because it was so different from what I expected. 

Wednesday I began the day with Kerry and Matt; we all slept in, having gotten very little sleep Monday night before our early morning adventure to the airport. We got food at a restauraunt down the street that seemed, to me, to be disguised as a junk shop, with lots of vintage lamps and typewriters and things covering more surfances than were left bare for eating. The three of us sat at a table with a large hole in the middle filled with legos (the reason it had caught Kerry's eye in the first place). It was a korean place, and we had rice bowls with an assortment of vegetables. Quite good and pretty cheap.

After what was essentially lunch, we headed into the city center. I did most of the navigating, both because I was the one of us who had been to Berlin before, and because I'd downloaded a Berlin metro map that came in handy constantly. Last time I visited, it took me four days before I managed to go in the correct direction on the train every time. This time around, I only went the wrong direction once in four days, and that was on a tram, which I never braved on my last visit.

We started our sightseeing at Potsdamer Platz, where I had gotten my passport stamped four years earlier with all the Cold War-era stamps required to pass from West to East or vice versa, and Matt and Kerry got their first taste of the wall - just a few segments with information wedged in between, and a couple of period-dressed guards available for awkward photo ops. Afterwards Matt and Kerry wanted to see Brandenburger Tor and Checkpoint Charlie, which I chose to skip in favor of some David Bowie adventuring.


I hopped on the subway and navigated down to Schöneberg, where Bowie and Iggy Pop lived together in the mid-late 70s while recording at Hansa Tonstudio. There's a company called Music Tours Berlin that does a David Bowie walking tour, but only on Sundays, so I had to just recreate as much of their itinerary as I could on my own. This mostly consisted of wandering the neighborhood and stopping to drink a beer at Cafe Neues Ufer, a favorite haunt of Bowie's when he lived in Berlin. The walls are now covered in photos and posters of Bowie spanning from his Ziggy days to his more recent tours in the late 90s and early 00s. It surely didn't feel like it must have when Bowie went there, but it was still a good place to sit and read Bowie in Berlin for a while and drink a tall Berliner Pilsner and attempt a bit of conversation in German with the bartender. (I knew enough to ask for my beer in German, and say thank you, tell him I didn't smoke when I was offered an ashtray, and understand how much it cost when I paid; that was about it.)

Kerry and Matt and I had planned to meet for dinner, so I met them back at Checkpoint at Charlie, and we headed in search of food, ending up at Cafe Journale, an Italian place where all three of us ended up ordering the same house special, but it turned out to be delicious so that was fine. I ran out a little early to try and catch another show, a musical about the Berlin Wall that was being performed in German with English subtitles at a theatre back in Postdamer Platz. Turned out I couldn't find it though (or so I thought; I went back the next night in another attempt, and found out it wasn't playing for a few days because of a premiere for Bambi or something). So I went back to the hostel and did some reading and planning for my reamaining time in Berlin.

Around eleven I got a text from Kerry telling me where she and Matt were - communication is difficult when you can only reach someone by wifi, which is not as common for free in Europe as it is in America. So though I was ready to be settled in for the night, I went out to join Kerry and Matt at Bar 39 in Kreuzberg, where we spent several hours drinking the cocktail of the week, called a pink elephant, and swapping stories of our days.


I forget what time we got back - sometime around 2 or 3, I think, and by cab, because the metro had shut down for the night, a possibility I had completely forgotten about as a New Yorker. Fortunately getting a cab in the area wasn't hard, and we were back to the hostel in no time, asleep shortly after.

Thursday I had big plans involving the East Side Gallery, record shops that appeared to be nearby on the map, a stop at Curry 36, the best currywurst in Berlin, and then on to the Cold War Berlin walking tour I had booked earlier in the week. Not surprisingly, I got a later start than intended, but headed straight for the East Side Gallery, where I visited all the art I had seen before. Last time this was the most uplifting part of my trip, because it is where artists made something beautiful and expressive out of something terrible and oppressive. For the first part of my walk, however, I was only very depressed, to see all the grafitti that covered and largely destroyed the works that were so clear four years ago, having been restored two years earlier in 2009 for the 20th anniversary of the fall of the wall. Parts of the wall now have a fence around them as restorations are being made again, where first workers get rid of the grafitti and then the artists hopefully come back and touch up their works as needed. It seems painfully ironic to have to put a fence around a wall, now.

Fortunately for me, though, the piece I most remembered from my previous visit had already been restored, though it was still behind a fence. It was the "Curriculum Vitae" section of the wall, which looks like this: 


The roses by each year each represent a life lost in an escape attempt over the wall. (More on the tarot card I'm holding later.)

I spent longer at the East Side Gallery than expected, so I skipped the record stores for the time being and headed over to Curry 36 for lunch. The map I was using seemed to struggle with scale, making the walk I took far longer than I expected and leaving me with less time to eat than anticipated, but I achieved my much-anticipated currywurst mit pommes frites and then rushed back to the train up to Friedrichstraße and a quick walk over to the Brandenburg gate to meet my walking tour.

The Cold War Berlin walking tour was incredibly important research for my play, which takes place in Berlin in the 70s. I've been writing it since shortly after my last visit to Berlin, though I've been stuck on how to move it forward for quite some time. I learned a ton on the four hour walking tour and saw new parts of Berlin and the Wall, and now have a lot more research and work to do to move the play forward in an exciting and complex new direction. The most powerful part of the tour for me was the Berlin Wall memorial, in Mitte, which is several blocks long and consists of many parts. Part of it runs along Bernauer Straße, where a number of escape tunnels were dug, including one about which a documentary was made that I found online a couple years ago. Bernauer Straße has been burned in my brain since I found that documentary on the CNBC website, and now I was standing on it, seeing metal panels in the grass that traced where the tunnels were underground. The memorial includes a viewing platform that looks out on a section of the wall that has been preserved as the Wall was when it fell, so that people can see just what the "death strip" or "no man's land" looked like. I was on the verge of tears for most of this part of the tour.


Another section included a memorial for the people who died trying to escape, and that I was really not prepared for. It's set in part of the former death strip (where a lot of green spaces exist now, since no one could walk there for so long before the Wall was torn down).


I learned on the tour that in the nearby Chapel of Reconciliation, every Tuesday through Friday a short service is given in honoring one of the people named here. So I planned to go to the service on Friday. It felt really important. The Chapel stands near the former site of a church that was situated in the death strip with the wall built around it, until in 1985 "upgrades" to the Wall required the church to be demolished. It was blown up, leaving remnants of foundations and a few building elements that are now preserved nearby.


Our four hour tour ended back at the East Side Gallery, where my day had begun, after which I quickly dashed back off to Potsdamer Platz to make my second failed attempt at the Berlin Wall musical. Annoyed that I had wasted time I could have spent at the record shops near the gallery, I headed back to the hostel to regroup and figure out how to spend my evening.

Fortunately Kerry returned shortly after I did, and we decided to go out together for the night. I closed my eyes and stuck out my finger, and she held up the map, choosing a place we would go explore at random. We hopped on the train and got off in a new neighborhood, though unfortunately it wasn't a great place to find a spot to eat. We did get some nice shots of the TV tower at night though.

Eventually we hopped back on the train up towards our hostel, heading to an Asian restaurant nearby that I had read about on a "hidden Berlin" instagram account. We found it, but ended up going to the Mexican place across the street because it had cheaper cocktails. It turned out to be the right choice as both the cocktails and the food were delicious, plus our server was a friendly guy so it was an all around great experience.

We got back from the restaurant kind of late and I went straight to bed since we had to check out in the morning and I had to be packed and ready to go early so that I could make it to the service at the chapel. I got all my things together and stored them in the hostel's luggage room before heading out for one more day in Berlin, with plans to meet Matt and Kerry back at the hostel around six to travel together to the airport.

My trip back to the chapel included my only wrong turn of the trip, going one stop East on the tram when I meant to go West, but I made it for the service. It was only fifteen minutes long, and in German, but I was able to determine that the rememberance was in honor of Helmut Kliem, who I learned in later research was shot by border patrol when he accidentally drove too close to the Wall. The space was one of the most powerful I have ever been in, and I took some time to light a candle in honor of the lives lost and said a small prayer before heading out to take in more of the memorial.


I continued back to the memorial museum, which we had passed through briefly on the tour the day before. This time I could take as much time as I wanted reading and listening to interviews by people who lived in occupied Berlin. It helped to fill in a picture of what daily life was like in East Berlin, important research for my play, and full of powerful phrases from everyday people.

After spending another hour and a half at a place I'd just been the day before, I walked over to Cafe Nord Sud for lunch, the cheap French place I had fallen in love with on my last visit. Prices had gone up in the four years since my last visit, but the food was still amazing and Jean Claude was still a delight. Before I left I told him I'd been there once before, and thanked him for making such a happy place. He kissed me on both cheeks (he is French, after all) and then hugged me for so long I thought he wanted to marry me or something. 

From Nord Sud I adventured over to the area with all the record shops I had intended to visit the day before. As ever I was betrayed by a map that didn't understand scale, and did a lot more walking than I expected, but it paid off. At Wowsville, I found David Bowie's Low and Iggy Pop's The Idiot, both recorded and/or mixed at Hansa Tonstudios, in Berlin. Buying authentic, vintage records in the city they were made and manufactured in is probably the most hipster thing I've ever done, but for those punks I'm proud of it.

With daylight fast fading I took one more train ride to see Hansa itself, pressing my nose against the glass since you can't actually go into Hansa without a prebooked tour (from the same company that does the Bowie walking tour). Bowie and Iggy both recorded in Hansa Tonstudio 2, a huge room they nicknamed "the hall by the wall" because it had a view of the Berlin Wall from the windows. (I might have been reading the book Bowie in Berlin during the trip.)

It was time to head back to the hostel to meet up with Kerry and Matt, so I got back on the U bahn at Postdamer Platz, only to go one stop and find out our train line wasn't running for a number of stops, up to the one where our hostel was located. It took some creative navigating involving the S bahn, the tram from earlier, and another long walk to get me back to the hostel fifteen minutes late instead of fifteen minutes early. We ended up taking a taxi to the airport since the trains were messed up, had dinner at the airport (German sausage, yay), and then flew back to London and drove back to Kerry's apartment. I'm so grateful for all that I saw and learned during my time in Berlin, and to Kerry for very generously financing my airfare and hostel. She is the queen of cheap travel deals and someone I am very lucky to call my dear friend.


Sunday, April 20, 2014

My History With Hedwig

This is a letter to Michael Mayer, the director of Hedwig and the Angry Inch on Broadway. Hopefully it will be in his hands on Tuesday, opening night.

April 20, 2014

Dear Mr. Mayer,

My name is Lindsay Hope Simon. If you don't have time to read my novel below (though I hope you do), the moral of the story is HEDWIG is the most important show that's ever come into my life, which happened a decade ago, and thank you thank you thank you from the bottom of my soul for putting it on Broadway like this. I have never in my life looked forward to something more than I looked forward to this production of HEDWIG, and it fulfilled my every wish, hope, and expectation.

This story begins on August 7, 2004. And I beg you to stay with me, because where it ultimately leads is to sitting in row H of the Belasco Theatre on April 19, 2014.

2004: I see RENT for the first time, and my subsequent obsession with my first Broadway experience leads me to HEDWIG (because of JCM's nod to it in the film). I spend most of high school very confused about gender because of my love of Angel and Hedwig and my newfound desire to be a drag queen, which I tell no one about. That's something I've never quite resolved. ANYWAY.

2005: Falling in love with HEDWIG leads me to write a paper about Plato's Symposium as a sophomore in high school. My teachers aren't expecting that.

2007: Theatre, my love of RENT in particular, and my affinity for New York cause me to apply early decision to NYU. I never consider anywhere else, and get accepted and placed in Playwrights, at my own request.

Fall 2008: I arrive in New York just before the closing of RENT, in time to see it for a ninth and tenth time in its last week. Incoming Tisch kids are each given a ticket to Spring Awakening. I see it with a friend who knows someone in the cast; I end up backstage at a Broadway show within a week of living in New York. Around Halloween I go to a not-quite-authorized one-night performance of HEDWIG at the Highline Ballroom.

Spring 2010: Second semester of second year I direct a piece of HEDWIG for my directing class (the scene including Origin of Love). I desperately want to do the whole thing, but I still haven't managed it. Spring of 2010 is when rumors first start flying that JCM is bringing HEDWIG to Broadway. (I've been waiting for this production for four years.)

April 2010: I meet you at a moderated discussion with Bob Vorlicky at Tisch. CAP girls ask about Spring Awakening, PHTS kids ask obnoxious but intelligent questions about collaboration. I ask you after about working with Michael Krass. You diplomatically don't say much.

July 2010: I see American Idiot for the first time. I listen to the soundtrack nonstop for the next six months.

October 2010: I see American Idiot for the third time with a talkback when BJA is in it for the first time.

November 2010: I go to a panel that Kevin Adams is a part of. I make sure to ask him a question (because no one else is and I want him to see me) and I talk to him afterwards. We meet up once for dinner a couple weeks later and I ask a million lighting questions. I subsequently see everything he works on (having already seen Hair and Next to Normal).

January 2011: A friend and I spend 36 hours in Boston to see American Idiot twice, the eighth and ninth time I'm seeing the show.

April 2011: I write a paper for Bob's gay and lesbian theatre class (my third class with him) about Hedwig and authentic performance beyond gender and genre.

May 2012: You speak at Tisch salute. It's an incredible speech, an extremely satisfying blend of inspiring and being honest about the faults of the institution that we love and hate and the cruel mistress of a business we're trying to be a part of. I record the whole thing for Bob, by now a dear friend, who can’t make it.

June 2013: Announcement of HEDWIG coming to Broadway with NPH directed by you and lit by Kevin. I start freaking out immediately.

October 2013: I attend an early screening of Broadway Idiot. And remember my love for rock musicals and your and Kevin’s work.

February 2014: I start working for an amazing woman who is part of the production team for the tony awards and a sometimes Broadway producer. I make sure she knows I have never been so excited about a show as I am about HEDWIG.

April 2014: She has press seats to HEDWIG. She takes me.

That was about 24 hours ago. I still barely have words for my feelings about the production. The themes of this show, of love, why and how we love, that search for wholeness, have echoed through my life for the last decade since I first met HEDWIG in 2004. The idea of duality, but that somehow duality is not synonymous with binary, is one I can never escape. I have seen these themes arise in my life, in projects I've worked on, and in everything I'm inspired to create theatrically, including a magical-realism play I'm writing about Berlin in the 1970s.

I was nervous, because the combination of you plus Kevin plus Neil doing this show put my expectations higher than anything. It seemed impossible that you could live up to what I needed this show to be, based on my love of it and all three of your individual bodies of work. (I'd never seen Neil live before yesterday, since he hasn’t been on Broadway in the almost-ten years since I started seeing shows, but I've loved HIMYM from the beginning, and Dr. Horrible, and followed his LGBT advocacy.)

I left the theatre speechless in the best possible way. The show had all the heart that it should, and it takes a lot of heart for one person to fill up that big of a space. It didn't feel lost, or small, or like it was trying to be something it wasn't. I think it's delightfully updated for today. I think using the Hurt Locker and being able to throw a mention of 9/11 into the show is brilliant. 9/11 is, in many ways a contemporary parallel. "Where were you when?" I went to Berlin in 2011 and became obsessed with history that is still present. Hedwig's history is still present on her body, and she has to come to terms with that.

I read something amazing Neil said in the interview with Out magazine last month. He said that there was a moment in his mid-20s where he came to the conclusion that he would always be alone, but that it wasn't a sad realization, just a fact as far as he was concerned. And I realized I kind of feel the same way, and my love of Hedwig to an extent come out of the idea of how love is ancient and beyond our control and all we can do is love those who come into our path, whether they love us or not. We only control how we deal with not being loved. Love has to be selfless because it's bigger than the self, it's the bit of the universe in you reaching out to a bit of the universe in someone else. Hedwig understands that and eventually gets through the pain of it to a point of acceptance. Loving deeply means hurting deeply and then letting go.

About a month ago I saw a video for the show in which you called HEDWIG universal. And I think you're totally right though plenty of people (my boss included) would disagree. It brought tears to my eyes to hear you say that; it gave me faith that the show wasn't just going to be an NPH spectacle machine. Watching the show yesterday (it's taken me an entire day to find actual words to articulate myself instead of just flailing) I was reminded of everything I love about Hedwig, the combination of aggression and vulnerability, heart and strength. It's what I'm working on myself in a new piece I'm currently calling "Stardust and Iron," about what people are made of. This show is that - ancient and cosmic and strong. I managed to behave myself pretty well, I only let out one "oh yes" out loud when the back wall opened up into the wall of lights. Everything was so smart. The evolution of the set, the lights (duh), the modernization of the script for the time and location. Midnight Radio was perfect. I cried.

I've seen a lot of bad theatre lately. And ever since I started theatre school I've said there's something to be learned from bad theatre too. But I've been reaching a point of stagnation in my own work, and frustration with the bad work I've been seeing, so I cannot tell you how inspiring, energizing, refreshing, fulfilling, and rewarding it was to see this yesterday and feel like theatre can do important things and tell important stories and broadway can take risks and be loud and not fit neatly in a box.

So in the end all I can say is thank you. My story is my thank you, because I have to believe that what we all want most as artists is to touch the lives of others, and hopefully affirm a belief in something bigger than ourselves (whatever we call it). Art is bigger than us. This production didn't change my life. HEDWIG's presence has affected my life for the last decade. This incarnation wasn't going to change any of that. But it affirmed the beliefs and values I've cultivated as I've grown up, and that's something really valuable to a 24-year-old artist hoping that what she's doing matters, or will someday. So thank you. I could talk about this show forever. I'm sure Bob and I will talk after Tuesday. And I'll be back again soon.


Rage, love, glitter, and glam,
Lindsay Hope Simon


Wednesday, June 27, 2012

The "I Just Got Out of Theatre School and Don't Understand Free Time" Guide to Avoiding Boredom

And what does a recently-graduated, barely-employed, almost-resident of New York City do with herself? (Anybody who knows me keeps asking me what on earth I'm doing with myself all day.) Thusly I present to you:

The "I Just Got Out of Theatre School and Don't Understand Free Time" Guide to Avoiding Boredom
  1. First of all don't you dare be bored in NYC. People are only bored if they're boring. Don't be boring.
  2. When was the last time you read Harry Potter? It wasn't recently enough. (I read the whole series every June, NO SHAME.)
  3. Go see FREE outdoor theatre. The New York Times kindly posted this article with a list of tons of free theatre to see this summer. You could see a show or two a week all summer without paying a dime. I'm personally looking forward to the Pearl Jam Hamlet that will hopefully be a spectacular disaster.
  4. Write a play! Try it. It's a great thing to do by yourself. David Bowie just showed up in my play. I think he's the fairy godmother.
  5. Try to "tan" in a park. Lots of parks. Read Harry Potter in the park. There are so many parks. New parts of the High Line are open! Go there! I did, today!
  6. Make funny pandora stations. I found out that if I just add Motley Crue to my David Bowie station, pandora will basically play all of the music I would normally listen to, which maybe defeats the purpose of listening to pandora.
  7. Remember that play you're writing? Does it require research? Probably! I'm obsessed with Cold War Berlin so my play is set in Berlin in 1975. I'm pretty sure reading Your Pretty Face is Going to Hell: The Dangerous Glitter of David Bowie, Iggy Pop, and Lou Reed counts as research since Bowie was in Berlin then and he's in my play. But I'm reading In the Garden of Beasts by Erik Larson, too.
  8. Learn a new language! I'm learning French for free using Duo Lingo. I'm also keeping up my Spanish skills that way. Woo. Too bad they haven't taught me how to say "I am learning French" in French. Um... Estoy aprendiendo francais! Culture.
  9. Jump on any random money-making opportunity, such as being one of approximately three women working at a gay pride party attended by no less than 1,000 gay men and a few women. (Yes, I did that. It was hilarious.)
  10. You still haven't gotten hooked on Mad Men and Breaking Bad yet? Get on that. They're on netflix. Yes, fine, you can rewatch all of Weeds first. The new season does start July 1...
  11. Write in a blog a lot. Oh and make a list of the things you do so you can feel accomplished and share it with other people.
That covers most of it... Plus working sometimes, hanging out with friends sometimes, talking to my family sometimes. And, you know, reestablishing my credit cards and bank account nonsense. Having access to cash is nice. Depositing checks is nice.

Oh and obsessively checking the weather to strategically open and close my windows in my non-air-conditioned apartment. You didn't like that mid-90s high-humidity last week? Yeah try doing it without air conditioning. Uh huh.

Gonna go back to Prisoner of Azkaban now. :)

Saturday, December 10, 2011

On the Streets of War

Much-delayed but worth waiting for photos from Berlin, October 28 - November 2, 2011.
Yet another famous arch-like structure. (Brandenburgur Tor)

In the Holocaust Memorial (Memorial to the Murdered Jews of Europe)

Nazi architecture is scary and depressing like everything else Nazi.

First view of the wall.

This cobblestone path runs throughout Berlin to mark where the wall once stood.

Church.

Memorial to all the books that the Nazis burned - the empty library. Enough empty bookshelves to hold approximately 10,000 books.

Autumn in Berlin.

Seriously.

Cities with rivers are better than cities without rivers.

Brecht's theatre!

Holocaust memorial at sunset-ish.

Berliner bier at Currywurst 36.

Street art.

The infamous balcony out of which Michael Jackson dangled the baby - Hotel Adlon's cheapest room is something like 5000 euros a night. Michael Jackson stayed in the most expensive one.

Eating a pretzel!

One of those green men is real.

This weirds me out - the tourism created by replicas of wartime.

All he needs is a monocle.

Berliner Ensemble!

Avant-garde! (Don't miss the frankensteins in the front... I kept changing my mind about whether they were part of the show or not until they stood up and started yelling.)

All the stamps you need to go from East to West Berlin!

Memorial to the murdered Jews of Germany.

Jud.

Replica of Mendelssohn's gravestone.

The only remaining real gravestones.

Autumn in the graveyard.

Art.

Graffiti.

I found it hard to smile in Berlin.

Being artsy?

Windows.

Checkpoint Charlie.

Stabbing at my soul.

Topographie des Terrors.

Topographie des Terors.

Berlinermauer.

Yeah couldn't smile in front of the wall.

Ghost of the Berliner Maur.

Jews? (Outside the Jewish museum)

About the only funny thing in the Jewish museum. (On the other side it says "My bubby is voting Obama")

Best part of Berlin. (All following photos are part of the gallery - painted on the longest remaining stretch of the Wall. You can click them to see bigger. I recommend reading the ones with text.)

























Right at the river.

Contemporary art museum.

In the art!