Month: December 2018

Splinter (Excerpt)

BY: KAYLA HAMBEK

CHARACTERS:

REBECCA HELLER (30 years old.  Middle daughter, has anxiety.)

CATHERINE HELLER (50s/60s.  Mother.)

JACK HELLER (32 years old.  Oldest son, deadbeat “entrepreneur” living in Catherine’s basement.)

AUDREY HELLER (27 years old.  Youngest daughter, incredibly reliant on her boyfriend.)

KEITH BECKER (Late 20s-30s.  Audrey’s boyfriend.)

SETTING: Sioux Falls, South Dakota

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Book Review: Adam Nemett’s “We Can Save Us All”

By David M. Olsen

We Can Save Us All is an ambitious debut by a very talented Adam Nemett. The book begins with a chance meeting of our rather nerdy protagonist, David Fuffman, in an odd, drug-enhanced damn-building exercise where he meets the charismatic and wealthy Mathias Blue—in a frigid river, at Princeton. This clever scene is a fun springboard into the witty, satirical, and nihilistic novel that is to follow. The story is set in the near future where all-too-realistic issues of war and climate change combine with a phenomenon called “Chronostrictesis,” where time itself seems to be coming to an end as though through a funnel: human existence as we know it is no longer, as the characters have to stockpile food and supplies for the severe weather and the impending superstorm.

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TCR Talks with Min Kahng

By Grace Jasmine

Min Kahng is an inspiring and inclusive force in the San Francisco Bay area theater scene. The world premiere of his most recent play, The Four Immigrants (based on the historical, groundbreaking manga panel-drawn comic strip by Henry Kiyama), premiered at the innovative TheatreWorks, Silicon Valley, and won the Theatre Bay Area Award for Outstanding Original Musical, the Edgerton New Play Award, and an NAMT Production Grant. The Four Immigrants chronicles the lives of four Japanese students as they immigrate to the California bay area.  Kahng has also been the recipient of the Titan Award for Playwrights. His other original works include: The Song of the Nightingale, Inside Out & Back Again, Where the Mountain Meets the Moon, Bad Kitty on Stage! and Tales of Olympus. He was included in American Theatre Magazine’s “Nine Musical Theatre Writers You Should Know” issue. Min Kahng is a prolific writer with many projects in development including: Calafia: A Re-Imagining, GOLD: The Midas Musical, and Kinda Home.

To say Min Kahng has immersed himself in the theater is an understatement. One look at his expansive resume makes it quite clear that before deciding to write for the musical theater full-time as a lyricist, librettist, and composer, he has been a true generalist. His experience as an actor, a song writer, both a director and a musical director, a vocal teacher, an educator, and a pianist is vast. In addition to working on the creative side of the theater, Kahng has also done the “business side,” working as a casting director, a publicist, and a marketing director. In short, he has made the theater his home and explored as many facets as possible of what it takes to make live theater happen.

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Bomb

BY: Mir-Yashar Seyedbagheri 

“I didn’t say bomb,” Mustafa Bey said to his son David, his words inflected with his harsh Turkish accent. “I said bum. Tell them, my boy. Tell them your father isn’t a fucking terrorist.”

“You said bomb on an airplane,” said the TSA agent, whose name was Lawrence. They were both in his office, having been ejected from their flight prior to takeoff.

He had a bulbous head, like a pumpkin and steel blue eyes which bore into the two of them. He stood between his desk and the window, which overlooked the runway and the lights of the city, across the way. It smelled of stale coffee, sweat and onions, and something else, a musky scent. Outside, David and Mustafa could see people shuffling by, hear the low rumble of conversations as they moved swiftly to their gates, to the Starbucks or McDonalds, or the other souvenir shops at the center of the terminal.

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Genocide Must Be Covered Before Dinner

BY: Sarah Broussard Weaver

The college professor is calm as he describes genocide. He’s just giving his planned lecture, the one scheduled on the syllabus and outlined in his notes. The students continue doodling or staring into space, only looking up when the professor mentions a detail that’s unexpectedly gruesome.

That is not how I react.

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