A Passover Pageant

Jeremy: There are sections of the haggadah that, quite frankly, could use a polish.
Dan: You're gonna do a rewrite on the haggadah?
Jeremy: It's not written in stone, Dan.
Dan: Actually, some of it is.
- Sports Night

I wrote a Passover pageant, for the story-telling portion of my all-Gentiles seder. It went over rather well. Enjoy, and feel free to use/re-post, with credit.

NARRATOR: Previously, in Genesis:

GOD: It sure is dark in here... claps twice Hey, that worked!

ABRAHAM: Man, I can't keep track of all these gods, can't I consolidate all my worship into one easy deity?

GOD: Sure!

ABRAHAM: Yay!

GOD: Although, not so much with the easy. Go kill your son Isaac.

ABRAHAM: What??

GOD: J/k, j/k! Chill out, theologians.

ISAAC: I'm a pretty passive figure, overall. Jacob, Esau, what are you boys doing?

JACOB: Just stealing Esau's birthright, Dad!

ESAU: Do you have any idea how badly I want to kill you?

RANDOM ANGEL: Me too! I am so not on Team Jacob. Let's wrestle. On a ladder. Just because.

JACOB: Whatever, I am Israel, I can do whatever I want. C'mon, wives, let's get cracking on this “descendants as plentiful as the stars” business, if you know what I mean.

JOSEPH: Hey guys! I had this dream that you were all bundles of grain and you were bowing down to me! Isn't that funny guys? Why are you throwing me in this hole? Did someone take my technicolor dreamcoat? Hey guys? Guys?

POTIPHAR'S WIFE: You there! Slave boy! How you doin'?

JOSEPH: Err...

JOSEPH'S PHAROAH: Man, these weird dreams suck. I wonder if there's anyone locked in my dungeon who can interpret them for me.

JOSEPH: Me! Me me me! So either there's going to be 7 years of plenty and 7 years of famine, or you want to bone your mother. 5 cents, please.

JOSEPH'S PHAROAH: Such low rates!

JOSEPH: For you, I make a deal. Now let's talk royalties.

NARRATOR: And so Joseph became the Pharoah's chief of staff, and invited Jacob, Joseph's asshole brothers, and 70 other free-loading relatives to shlep down to Egypt and settle in the land of Goshen. Several hundred years pass, and the Hebrews, as we are now calling them for some reason, have been fruitful and multiplied. Then there came a pharoah who knew not Joseph...

PHAROAH: I know not Joseph, but I do know that all these pesky Hebrews are really ruining the neighborhood.

ROYAL BUTLER: You can't kick them out, sir; they've got rent control.

PHAROAH: Bah! Might as well make them useful, then. What are they good at?

BUTLER: Nothing very useful, sir. Comedy writing, standardized tests, and kvetching.

PHAROAH: Well, let's give them something to kvetch about. This view of the Nile would look a lot nicer with some big pointy brick things, don't you think?

NARRATOR: So the Hebrews became slaves, which wasn't exactly a picnic, so they just kept on having children so that they'd have someone to complain to.

BUTLER: Sir, the Hebrews still won't go away. They're just packing more children into their huts.

PHAROAH: They'll never give up a nice deal like Goshen as long as they have kids who can inherit it. Tell the midwives Shifrah and Puah to kill every baby boy born to a Hebrew woman.

SHIFRAH: What??

PUAH: This job blows.

SHIFRAH: I so didn't sign up for this.

PUAH: Let's tell Pharoah that the Hebrew women are unnaturally vigorous and give birth before we can get there. The ruling class always likes to hear that the disenfranchised are hardy and animalistic.

SHIFRAH: Sweet.

NARRATOR: Thanks to Shifrah and Puah, a Hebrew woman named Yochevet gave birth to a baby boy and was able to hide him from the authorities. But after a few months he was too big to hide, so with great sadness, she put the baby in a basket and floated it down the Nile. The baby's sister Miriam hid among the bulrushes to see what would happen to her little brother.

PHAROAH'S DAUGHTER: Hey look, a basket! With a baby in it! Aww, can I keep it?

MIRIAM: But you'd have to nurse it and take care of it and stuff.

P's DAUGHTER: Oh. Well, am I a princess or am I a princess? I'll hire someone.

MIRIAM: I know just the woman for the job.

NARRATOR: So Yochevet was hired to nurse her own son, which is a pretty great scam, and though Moses grew up in the court of the pharoah, he never forgot his birth mother's teachings. One day, Moses was slumming it in Goshen, and he saw a slavedriver cruelly whipping a Hebrew.

MOSES: Dude, relax.

SLAVEDRIVER: Relax? I've got production deadlines to meet, and these lazy Hebrews aren't meeting their brick-baking quota, and you're telling me to relax?

MOSES: Maybe if you were a little nicer to them...

SLAVEDRIVER: “Nice” doesn't get you bargain rate pyramids, mister. Or did you never think about where all your fancy papyrus comes from?

NARRATOR: He hadn't, actually, and so Moses did what any privileged young man would do when confronted with the source of his privilege – blamed someone else and killed the slavedriver.

MOSES: Uh oh.

NARRATOR: So he skedaddled the hell out of Egypt and had a nice long wander in the desert, before coming across a lovely shiksa named Zipporah.

ZIPPORAH: Hey, stranger. New to this strange land?

MOSES: Sure am.

NARRATOR: And Moses spent a couple decades chilling with the Bedouins. Meanwhile, things kinda sucked for the Hebrews.

ALL: Grumble grumble grumble grumble

NARRATOR: But God heard their grumbling. One day, Moses was chilling with his sheep at the foot of Mount Sinai, when the mountain went all lightning-y. When Moses reached the summit, he found a bush that burned with flame, yet was not consumed.

MOSES: Awe-some.

GOD: Moses, Moses.

MOSES: Here I am!

GOD: Take off your shoes. I just vacuumed the holy ground.

MOSES: Who are you?

GOD: I want you to go into Egypt and tell Pharoah to let my people go.

MOSES: Okay great, but who are you?

GOD: I Am Who I Am.

MOSES: But who should I tell Pharoah has sent me?

GOD: I Am Who I Am.

MOSES: That's... not very grammatical.

GOD: No, it's tetragrammatical! Zing!

MOSES: Oh god.

GOD: Yes?

MOSES: Listen, can't you get someone else to do this? I'm busy. I have to... shampoo my sheep.

GOD: Moses.

MOSES: No seriously. I am slow of tongue. I mean, sloooww offff toooongggguuuueeee...

GOD: Get your brother Aaron to talk for you. He was always the cute one.

NARRATOR: Moses went back to Egypt and found Aaron, who was in fact the cute one, and they marched in to Pharoah's palace and said:

AARON: Let my people go!

PHAROAH: No.

AARON: Oh. Please?

P's DAUGHTER: Okay!

PHAROAH: No.

MOSES: Psst, Aaron! Try the staff thing.

NARRATOR: Aaron raised his staff over the Nile, and the water turned to blood. Or red like blood. Depending who you ask. Either way, for seven days and nights it was pretty nasty stuff. But the Pharoah's magicians were also able to turn water into red stuff, so Pharoah was unimpressed.

PHAROAH: Moses, Moses, Moses. What else have you got?

NARRATOR: Next, Aaron summoned up a plague of frogs. Hundreds, thousands of frogs, hopping all over Egypt on their little frog legs. But the magicians could pull frogs out of their hat too, and Pharoah's heart was hardened. Next came gnats, which are really gross.

PHAROAH: Ew ew ew! Make them go away! Make them go away and you can leave!

NARRATOR: But God hardened Pharoah's heart, which is one of those problematic translation things that I'm just gonna skip right over, and everyone went back to the drawing board. There were flies, and cattle disease, and boils. Then shit got real. It hailed great big hailstones that burst into flame. Locusts came and nommed all the crops. And Moses stretched out his hand and--

MOSES: claps twice

NARRATOR: --drew a darkness over Egypt for three days.

BUTLER: Okay, sir? I'm covered in boils, there's nothing to eat, and I keep walking into frog carcasses because I can't see where I'm going. Let those people go.

PHAROAH: Sorry, my heart's been hardened. Out of my hands.

AARON: Alright, but listen. This last plague's not going to be pretty.

NARRATOR: God spoke to Moses and Aaron, and gave them a shopping list which has changed little in five thousand years, with the same old bitter herbs and unleavened bread, along with a nice dab of lamb's blood for the doorway so that the angel of death would pass over their house. And at midnight, the angel of death swept through the land of Egypt, and slew the first-born of all the Egyptians.

PHAROAH: Get out! Out out out! Scram! Beat it!

AARON: Kthxbai!

BUTLER: You're not going to harden your heart again, right sir?

PHAROAH: Well... I do have all these annoying unfinished pyramids... And that Sphinx could sure use a nose.

BUTLER: Which you'll want the Israelites for, obviously! ...It's funny because they have big noses.

PHAROAH: To the chariots!

NARRATOR: Meanwhile, the Israelites had reached the Red Sea.

MOSES: Huh.

MIRIAM: This doesn't look good. Do we ford the river?

PHAROAH: I'm coming for you, Israel!

MOSES: I guess we're not waiting to see if conditions improve. Onwards!

NARRATOR: And Moses raised his staff and parted the sea, and the children of Israel walked across on dry land. But when Pharoah's chariots tried to follow, their wheels got stuck in the mud, and when the last Israelite reached the bank the waters came crashing back down, drowning the Egyptians.

MIRIAM: Hurrah! Now what?

MOSES: I have to climb this mountain, brb.

NARRATOR: The Israelites, however, were not very patient.

ISRAELITE 1: Where's Moses?

ISRAELITE 2: I'm bored!

ISRAELITE 3: Can we eat yet?

AARON: Hey guys! You know what would pass the time? Why don't you give me all your gold and jewelry, and I'll build a giant shiny cow!

ISRAELITES: Yaaaaay!

MIRIAM: Why do slaves have gold?

AARON: We looted the Egyptians on our way out.

MIRIAM: Seriously? That doesn't seem very under-doggy of us...

AARON: Listen, do you want to hear one of the lesser-known stories where our guys forcibly circumcise our enemies? Or do you want to make a shiny cow?

MIRIAM: Moo.

MOSES: I am back! I am back and I have brought you these two stone tablets, which contain the – oooh, shiny! [drops the tablets] Uh oh. Hope I saved the receipt...

GOD: [face-palm]

NARRATOR: But God gave the children of Israel another chance and gave the law to Moses again. But as punishment, the corrupted former slaves had to die off before they could enter the Promised Land. Forty years of wandering later, they finally reached their new homeland. Unfortunately some other people lived there already, but that's not a very pleasant story and these four glasses of wine aren't going to drink themselves, so let's just pretend the Israelites made friends with their new neighbors and nothing troublesome or morally squicky ever happened in the land of Israel ever again. The end!

How my brain works

Facebook: Richard is Alternate Juror #1

Me: Hah, I hope that means he's an understudy in a production of 12 Angry Men. I've never actually read 12 Angry Men. I wonder how the character names are formatted. Like is it :

JUROR #3
Hang him high!

JUROR #9
Chill out, dude

etc? That would get really hard on the eyes. Maybe they write out the numbers, so it's like:

TEN
He's totes guilty.

FOUR
You always say that!

Although then it just looks like the script for a multi-Doctor story. Ooh!


And this is how the words "all 12 Doctors perform 12 Angry Men" appeared in my google search bar.

Well, I've written a play.

It doesn't have a title yet, and it is still at least two full rewrites away from performable. But Draft 1.5 is done enough that I made Columbia's deadline last night, by the skin of my teeth (I love you, 24-hour emergency window at the big post office by Penn Station!), and it should be a real second draft by my next deadline on the 9th.


Things I Learned About My Writing While Working On This Play:

1. I cannot write in a vacuum. This was by far the biggest project I've ever undertaken that did not involve either collaboration or feedback from a workshop. It is MUCH harder alone. And also much less fun.
   Conclusion: don't write in a vacuum. Things improved exponentially when I finally showed my sister a draft, and I should have involved her earlier.
   
   
2. I am incapable of not writing jokes.
   Conclusion: Lampshading it by having consciously joke-making characters is working so far...
   
   
3. I am very good at ending scenes. I am okay at starting scenes. I am rubbish at the middle parts.
   Conclusion: You know what has lots and lots of short scenes? Television.
   
   
4. All of my characters sound vaguely British.
   Conclusion: I watch too much British television.
   
   
5. My plots have a tendency towards the "slow reveal of a complicated backstory" style because I get too into world-building.
   Conclusion: Uhh... Work on that?
   Alternative: Become a tv show-runner.
   
   
6. I am excellent at banter (see #2) and casual or casual-seeming conversation. And pretty good at pacing big reveals. I am very self-conscious at Talking About Feelings, and generally make someone leaven it with jokes (see #2) because, well, I don't like Talking About Feelings.
   Conclusion: Get used to it.
   Alternative: Sitcoms.
   Second alternative: Musicals. The feelings are the lyricist's problem.
   
   
7. It is much, much easier to write two-person scenes than any-other-number-of-person scenes.
   
   
8. I tend to forget that in non-musical plays, you can have things like protagonists with vague motivations (no need for an "I want"!) and you don't need "finales" or any of that jazz. But that does mean you need to replace the 11 o'clock number with an 11 o'clock Scene of Awesomeness That Keeps People Awake, which is harder without dancing and trumpets. And sadly, you have to take care of the emotional stuff yourself, instead of letting it be the lyricist's problem. (see #6)
   Conclusion: The fact that I'm in a librettists' workshop and read/see far more musicals than plays probably isn't helping my effort to not default to musical format...
   
   
9. I am very good at writing my way out of corners.
   Conclusion: More corners.

I will probably add to this list as I think of more lessons learned.

Oh yes, the story! It's about two young graduate students working in a lab in the Netherlands, developing a Large Hadron Collider-style particle accelerator that, according to one guy, might accidentally invent time travel. And might also accidentally destroy the world.

Here's an impressive picture of the real Large Hadron Collider. I don't expect my set to look like this:

Profound thought

I hate straight plays. They don't have any songs in them. The characters have to actually talk about their feelings and shit, when a dance break would get the job done perfectly well while being much less embarrassing for all involved. Grumble.

Back to work.

I am writing an awful lot at the moment. This is because grad school apps are due in two weeks. Cue panic.

The first fluff piece I write when I emerge will be a sketch about the Christmas substitute for a minister who has taken the holidays off. The sub will be a Jew. Because Jews always work on Christmas.

The Second Shooter

This is a random little sketch I wrote awhile back, upon learning a new vocabulary word and determining that Aaron Sorkin could probably milk that moment for a solid minute of airtime. I decided to do the job for him. I'm pretty sure I'll never have reason to use this sketch in anything, so I'll share it here.

ONE: So I was reading this book about the genealogy of pygmies in the Pacific Northwest –

TWO: You were reading a book about the genealogy of pygmies in the Pacific Northwest?

ONE: Yes.

THREE: There are pygmies in the Pacific Northwest?

TWO: Genealogically.

THREE: Ah.

ONE: Don’t you want to ask me why I was reading about pygmies in the Pacific Northwest?

THREE: I rather assumed you were attending a midget convention in Seattle.

TWO: They prefer “little people.”

THREE: I prefer supermodels, but we can’t have everything.

ONE: Well the library sent me the wrong book from the thing.

TWO: You meant to read about the genealogy of slightly larger people, then?

ONE: No, I wanted the biography of the man who invented paperclips.

THREE: I can see the confusion.

TWO: Why does the library even have books about the genealogy of pygmy paperclip inventors? Who reads that?

THREE: He does.

ONE: No one does, that’s why they’re in the book thing.

TWO: The book thing.

ONE: The book depository.

TWO: Are they all planning to assassinate John Kennedy?

THREE: That’s repository.

ONE: What?

THREE: Texas Book Repository. The word’s repository, not depository.

ONE: No, I think it’s depository.

THREE: No.

ONE: No, it’s depository. It’s where you deposit books.

THREE: No, it’s where you reposit… Well okay that doesn’t make sense, but that’s still the word.

TWO: Actually, it’s both.

ONE: What?

TWO: I just looked it up. Depository and repository are synonyms.

THREE: Who thought that was a good idea?

TWO: Probably somebody got it wrong once and was too embarrassed to correct it.

THREE: So he declared the other word a synonym?

TWO: Yup.

THREE: I didn’t know you can do that.

TWO: You can’t. This guy had enough books that he needed a freaking deposit-reposit-thing, though, so he was probably pretty important.

THREE: You know what I’d like?

TWO: What?

THREE: A book suppository.

ONE: …ew.

TWO: Well, you could more literally tell someone to shove a book up their ass.

THREE: And it would certainly make it easier to cram for a literature exam.

ONE: Frankly I prefer the old-fashioned method.

TWO: Studying?

ONE: Osmosis. Now excuse me – I need to go take a nap on top of my copy of Pygmies Of The Pacific Northwest.

THREE: Okay, but if you try my way? Don’t return it to the library.

I learned stuff in college

From: Con

Date: Tue, Oct 28, 2008 at 1:26 PM
Subject: Foucault and me.
To: Elizabeth

Dear Liz,

WHAT THE HELL?! Books are hard:

"In the era of post-aboutness in which 'I' is at the same time both dead and resurrected; it is here that we find society begins to question who or what is doing the 'talking'. Of course, what *is* doing the talking: that is, 'what' (or should I say watt?) the pancultural unit of the questioner's power over the questioned; for it is in asking 'What am I talking about?' that the questioner at once accuses himself of madness and compels the prostration of 'am' before the towering phallus of 'I'; thus he inverts the socially prescribed order with the syntactical seduction of questioning."
(Foucault 1980)

--


From: Elizabeth
Date: Tue, Oct 28, 2008 at 1:52 PM

Subject: Re: Foucault and me.
To: Con

Here, let me parse it for you. Please read the following in the voice of the Movie Trailer Guy.


In the era of post-aboutness...

When 'I' is both dead and resurrected....

Society begins to ask: 'who is doing the 'talking'?

But is the question who... or WHAT.

[a light bulb sputters and dies]
[quick flash of a brightly lit interrogation room]
[close up of suspect's face, bruised and battered]

One man's question...

[the Questioner leaning over the suspect]
QUESTIONER: What am I talking about?!

One man's quest...

[the Questioner slumped against a wall, exhausted, with a female hand slinking over his shoulder]

Will lead him to the brink of madness...

[the Questioner locking himself into a straight jacket]
[in a padded room, the Questioner throws himself at the walls]
[the Suspect, manically, grins at the camera]

And through the seduction of questioning...

[against a cement wall, the Questioner violently kisses a woman in a red dress]

Begins the inversion of the socially prescribed order...

[dozens of identical prisoners march in step through a normal suburban street]
[close up on one of the prisoners - it is the Questioner]

To the compelling prostration....

[the rows of prisoners fall to their knees]
[the Questioner lies prostrate, but lifts his head]
[he sees before him an enormous, shining, dominating Letter I ]

[music: Also Sprach Zarathustra]

At the towering phallus of I.

[close-up on an eyeball. it blinks. when the lid re-opens, the eye is bloodied]

Text on screen:
THE TOWERING PHALLUS OF I
June 2009

Brought to you by the letter I and the number i.