GOLDOR $ MYTHYKA
I haven’t seen this one yet, but I can say that:
- it’s based on a true story of a gamer couple who become folk heroes following “a theft so large and brazen that even law enforcement officials admit some admiration for it”
- the coverage in the NY Times that inspired the playwright is remarkable for presenting RPGs as the opposite of a predisposition to crime:”Mr. Dillon, who regularly led long sessions of the role-playing game Dungeons & Dragons, dreamed of doing something grand with his life… Friends of Ms. Boyd and Mr. Dillon say they never drank alcohol, took drugs or smoked, preferring books, movies, music and role-playing games for entertainment.”
- the play’s production company, New Georges, is making a concerted effort to reach out to gamers, including a D&D page on their website and weekly pre-show games of D&D held in the theater every Friday at 7 pm
- this Friday the 19th I’ll be running a scenario I developed for the Tower of Gygax, as this format’s audience participation, short playtime, and fast turnover are great virtues in running games in unconventional settings. (Unfortunately I’ll be arranging for another DM to fill my shoes on the 26th. Also unfortunately I didn’t post this in time to say “hey go play with DM Andy Action of 2 Skinnee J’s on the 12th!)
- if you want to check it out on any of these Fridays, they’re offering complimentary tickets to the DMs to share with their gaming circles: I certainly plan to take them up on this offer at 8pm this Friday. See below for details!
New Georges presents
GOLDOR $ MYTHYKA: A HERO IS BORN
a new play by Lynn Rosen
developed with & directed by Shana Gold
APRIL 3 to 27
Wednesdays thru Saturdays @ 8pm Sundays @ 5pm
Mondays @ 7pm opens April 8
THE NEW OHIO THEATRE
154 Christopher Street
(between Greenwich & Washington in the far West Village)
tickets $25 / $35 premium seats
Mondays: pay-what-you-will OR ROLL OF THE DIE (at the door only)
Fridays: enter the world of Dungeons & Dragons! starts at 7pm in the lobby; curated by D&D consultant Rusty Thelin
Sundays: late brunch! FREE McClure’s Bloody Marys & crinkle-cut chips!
www.smarttix.com or call 212.868.4444
Fun and appropriate for kids, say, 12-ish and up!
WATCH, IF YOU DARETH, as love and hunger collide most fantastically with the elusive American dream. In hearty games of Dungeons & Dragons, young Bart and Holly escape the dreary reality of hauling money all day in armored transport vehicles. When jobs are lost and the boss starts looking at Holly funny, escape becomes reality, releasing Goldor & Mythyka upon the world. Thusly, lucre shall be heisted! Throngs shall cheer their criminal exploits!
And Have Nots will rule the day! Until…
SHE KILLS MONSTERS
I blogged about the premiere of this play at the Flea Theater before seeing it, but never got around to reporting “hey this is really awesome!” The frame story follows a woman who comes back to her home town after her younger sister’s death in a car crash. Big sis finds little sis’s D&D campaign notebook and, seeking to understand her better, convinces that gaming group to reform and run her through the adventure it describes.
Overall SHE KILLS MONSTERS is fantastic – funny, action-packed, and well written. If you’re in Chicago at the right time, you wouldn’t do wrong to invite anyone you know to go see it. For gamers in particular, you can be reassured that this is an accurate and sympathetic portrayal of the role-playing experience. Following one of the performances in NYC, I organized a panel about how RPGs relate to theatrical performance. Here are some reasons SHE KILLS MONSTERS is especially worth checking out in this light:
The frame story allows the audience to be led through the process of learning what a RPG is about. Our viewpoint character is initially awkward about sitting down and playing let’s pretend with her sister’s friends. As she gets into it, the staging has her and the GM sitting and talking while in the background the events described are being acted out. Soon big sis is fully into the fantasy – the actor is dressed up like the character, grooving on killing monsters as promised – and then the play cuts back to the mundane reality of being in a room rolling dice.
A gaming group is first and foremost a social gathering. I’m aware of being in a room with other human beings with whom I’m looking to have a good time. Part of the enjoyment of the game is then appreciating the imaginative performance of these people; I’m not just cheering the hobbit Lucky as he delivers the killing shot to the Beast Lord, I’m also moved by his player Quendalon’s description of these events. To the extent that the game is immersive and compelling, I care about Lucky and want to learn about how he overcomes challenges. Still, this is just a shadow of how much I care about my friends and want to get to know them better through the lens of gaming. The narrative of SHE KILLS MONSTERS gets this right – little sis’s gaming notebooks and the stories told about her by her gaming group reveal an inner self otherwise hidden from the world – but it’s the way this story is told through the medium of the theater that sells me on the idea.
In a film like Heavenly Creatures which likewise plays with the link between reality and imagination, the fantasy sequences are neither more nor less real than the depictions of the people imagining them. Special effects aside, both are just images flickering at 60 frames a second. As a rule, I prefer watching movies to seeing a play because the awareness that I’m seeing people acting dramatical tends to inhibit my immersion into the story. As a way to explore what a RPG is like, though, theater seems to me exactly the right tool for the job.
As the audience for a play, I’m normally judgemental: watching people act rarely convinces me I’m seeing another reality the way the illusions of film can. When playing a RPG, I’m not just a spectator evaluating others, I’m also a participant eagerly trying to get to another reality. The need to be forgiving of my own ham acting in the service of this goal means that I’m full of charity and good will towards my other players’ own turns on the imaginary stage.
In the frame story, I’m aware that I’m watching someone on a stage, acting out the hesitancy faced by someone who wants to be cool and adult as they try to get into the silliness of playing a RPG. When I see the character they’re playing starting to sink their teeth into the game, and then in the next scene the actor is dressed like the character in the role-playing game going wild with the stage fighting and whooping out over-the-top battle cries, it’s a great dramatization of why RPGs are awesome. Here is Zak’s famous observation about ironic distance in the form of a play; I’m simultaneously aware that I’m seeing a person, and seeing a person pretend to be something they’re not, and in my mind’s eye seeing the thing they’re pretending to be. Being a gamer trains me to cheer on this process and do everything I can to help with the make believe, and being a good play means that SHE KILLS MONSTERS keeps getting energy out of the frame shifts the same way that a RPG feeds on breaking the action to make out-of-character jokes or to admire the fact that it’s your friend who is coming up with these wild inventions and impromptu dialogue.
In the panel after the show, we talked a bunch about the idea that a key difference between RPGs and other theatrical forms is the way that RPGs combine spectator and audience. Nick Fortugno said that plays have to be good in an Apollonian sense, worthy of being held up for objective appraisal; trying to appeal to some imaginary audience of theater critics would immediately squelch a roleplaying game. SHE KILLS MONSTERS appealed to me as a gamer because it showed the process of conjuring an imaginary space, but at the end of the night I realized that it also appealed to my desire as an audience member to sit back and be entertained by people more talented than me, at no effort to myself.
If one of the high moments of your play is going to be a puppetry gelatinous cube, it helps to have the audience in the mindframe of gamers eager to imagine that the GM’s amateurish sketch is whatever it’s supposed to be. But I wouldn’t pay for the experience of being a spectator for the exact same roleplaying session twice, and if I were going to be anywhere near Chicago this week I’d eagerly see SHE KILLS MONSTERS again.