Thursday, March 12, 2015

Kids: to have or not to have?

At the outset of this post, I must mention that a few weeks ago, I learned that my friend Mako-chan had passed away.

For anyone who has read other posts in this blog, you'll know him from my "Monking it in Osaka" entry.  He was the founder of Big-I, the International Communications Center for People with Disabilities in Osaka, Japan, and the gentleman who took me on a day-long adventure to the magical Koyasan.  Even though I spent nary a couple of days in his presence with language communication challenges to boot, he was a generous, intelligent, and active man, and I felt like we "got" each other.  He was also one of the longest spinal cord injury survivors I knew, being about forty years out from his injury, which was enlivening to me.  I consider him, even in our short time of knowing each other, a dear friend, and would like to honor his memory.

Learning of his passing also made me - as I am prone to be - contemplative about my own mortality.  How long do I have?  What is my purpose?  Could I die today, tomorrow, or in forty years, and feel that I've lived a purposeful life?  My answer is resoundingly yes, regardless of the things I still long to accomplish, and rolling through my actor life in Ashland is currently a boon to this.

But, an inescapable part of being a 33-year-old (yes, oooh, I said it), or frankly being a human of any age, is the question of children.  To have or not to have.

While some immediately and enthusiastically jump at "to have!", it's a question I've mulled over in great detail since I emerged from the womb, and now I will share some of this mulling.

First, a few things about kids: yes, they are pretty great.  I've known many of them, and I've even been one.  Lots of pros: they have wells of energy and vitality, an untarnished view of life, a sense of adventure that is unimpeded by fear or judgment, they challenge adults to answer questions that seem to have obvious conclusions (until the answers start unfolding), they take risks, they're fun, they're miniature, they're raw, and if they're yours, it's like a little version of yourself to keep you company.

How nice.

My sister, who is an OB/GYN, has had her fair share of interaction with kids, and the miracle or amazing scientific process (depending on your viewpoint) of bringing children into the world.  She's even had a kid or two named after her...wow!

She is also the first to tell you, conversely, about some of the horror stories she's encountered with bringing kids into the world, and what happens when those kids grow into adults who are not particularly considerate of the realistic challenges posed by bearing, rearing, and raising children. (Or, in many unfortunate cases, are still "kids" themselves.) And let me tell you, these are not joyful stories.  They involve poverty, abuse, abominable health, disrespect, ignorance, and absence of love.  It's the ugly yet entirely realistic side of having children that usually goes un-discussed.

Many people disregard the challenges of children as "all part of the deal" that, in the end, most would say is COMPLETELY worth it.  Because kids are soooo wonderful.  (Now, mind you, the people who say this have also had kids, and therefore may not be the most objective source.) But, in considering the question of parenting, I feel it's imperative to balance doe-eyed maternal instinct with some rational philosophy, and to give space to exploring the Dark Side of kids.

Children are/can be (you pick):
Expensive.
Annoying.
Mean.
Rude.
Poorly behaved.
Judgmental.
Assholes.
Dirty.
Belligerent.
Obstinate.
Bullies.
Tiresome.
Unrelenting.
Self-centered.
A huge responsibility.
And the worst-of-all dirty little forgotten secret about kids? They grow up so fast (as the old parenting maxim laments) to be "adults".  Who overpopulate the world, consume scarce resources, get and give diseases, break hearts, break heads, get greedy, insult people, sit around lazily, get addicted, steal, lie, cheat, abuse, are depressed, purposeless, bitter, discriminatory, and hurt others. Or, have the potential for all these things.

I'm sorry if it's hard to acknowledge this truth: that children are just early versions of the messy adults we become.  Yet, because of our fascination with miniature things, we forget that kids are humans.  And that humans are BIG responsibilities. (A high school teacher I know often poses the question, why do we have so many tests and requirements for other societal responsibilities - academics, driving, getting into the military, citizenship, law, medicine, even for getting to the next level in a video game - and yet, there is none for becoming a parent?!?!)

So maybe we should incline ourselves against procreation.

Often I think people are quick to judge this line of thinking as blasphemous.  "How could you possibly prioritize world overpopulation above the miracle of children?!"  One side of me responds, "Yes, of course!  Kids are amazing!  And, it's my American, deity-given right to bear them! I'll just figure out the parenthood thing as I go, because it's the most incredible thing you can do with your life!"  

The other side of me says, "How can I NOT take overpopulation into consideration?! There is nothing more selfish, inconsiderate, and irresponsible than having children without considering their impact on the world first!!"  After all, if I have That Kid, it's gonna have to live on this planet with 7,000,000,000 other humans (look at all those zeros).  And, all the issues this world already has?  That Kid will be adding to them, regardless of whether he/she/it is a good-hearted, well-intentioned person or not.

Side note: In case you're wondering about my spinal cord injury, yes, as far as I know, I can have kids.  It's no denying that having a child with a paralyzed body could be a challenge, and demand more care and attention than a non-paralyzed body.  But, it is absolutely possible, and I know many people with SCI who have had children and are happy, successful parents.

But, just because I can, does that mean I should?  Just because any of us has a penis, vagina, sperm, uterus, etc. and general knowledge of how they produce, does that mean we should?  As my parents used to say, just because Timmy jumps off a bridge, does that mean you should, too?

I have many friends - and a couple of siblings - for whom this is a palpable and timely question.  Some are having kids that were planned.  Some are having kids that were unplanned.  Some are single and terrified that they'll never get the option.  Some are married and trying, but it just hasn't "hit."  And some are looking at the world, as I am, caught in the space of "to have or have not," but feeling the general societal pressure of "yes, of course you should - it's our human purpose!"

Now, this is one point with which I will openly disagree.  In MUCH ADO ABOUT NOTHING (the play I'm currently in), Benedick jokes that "the world must be peopled!"  I don't think that humans should feel any obligation at this point in the time-space continuum to reproduce for humanity's sake.  (If anything, we should probably feel an obligation NOT to reproduce for humanity's sake.)  And for our individual sakes, I think we are a species that has developed to a point where life can be deeply purposeful in the absence of reproducing.

Now let me redeem myself to those of you who are inferring that I hate children.  On this question of living a "purposeful" life...kids are the best ever.

As I said before, there are many "pros" of children.  In comparing with the "cons" list, I noticed that the "pros" are much less about logistics and tangibles, and much more about perspective and intangibles.  Because this is where kids blow adults out of the water, and are the saving grace of humanity (and perhaps, many of our own individual lives).

They find delight in taking off their shoes and running through a fountain, where adults worry about how they'll dry off.
They escape into books and forts and trees and their imaginations, where adults often escape into alcohol, sex, drugs, or technology.
They look at new or different things with clear-headed curiosity, rather than with repulsion, judgment, and fear.
They allow their truest emotions to show and they communicate very clearly what they want or need, rather than masking or dulling it to prevent vulnerability.

And the list could go on.  While this draws some generalizations about kids and adults, I'd say it's still pretty universally accurate.

And, it reinforces one of my hypotheses about why we really have kids: to allow a brief return to a kid-like perspective of freedom and fearlessness.  A coal miner may not sit down by herself and pull out crayons on a Saturday afternoon, but she might if she has kids, and she might secretly really enjoy it.  And no matter how much an investment banker wants to take off his shoes and walk in the grass at lunch, he probably won't...unless his kids are the "excuse."

I adore the anomaly adults who still allow themselves to be child-like, even in the absence of children.  They often get judged up the wazoo; they're "immature", "out of touch with reality", or at worst, "kooky" or "crazy" or "insane."  I'm not referring to the jerks who start bar fights because they never learned self-control, or the only-children who still behave as though they are the only human beings who matter.  I'm not saying that all of the lessons we learn through adolescence, puberty, and adulthood should be discarded.  Once you have learned not to touch your privates in public, throw temper tantrums, hit something you don't like, or put bunnies in the microwave, those lessons should STAY.  End of story.

Other lessons from kids and childhood, however, should demand reprisal by adults.  Since adults were kids in the not-too-distant past, we have the capacity to find the same youthful joy in life that we experienced as a kid...without bringing one into the world.

I was reminded of this in our rehearsal room for MUCH ADO.  I watched a few of my fellow actors perform a hilarious scene in which some of them are actually dressed like children (think Boy scout attire), and all I could see were there inner tykes.

This one: the weird kid who ventured out into the field at lunch to pick dandelions at talk to "Crystal Shimmer."
That one: the straight-A student who captained the baseball team and was madly in love with his high school sweetheart for whom he painted roses on her sidewalk.
This one: the twelve-year-old who took on the responsibility of her parents way too young.
That one: the Ferris Bueller who got along with everyone regardless of type, age, or background.

The joy in our rehearsal room is palpable, and makes me feel like a kid.  Why?  Because I'm surrounded by a bunch of "adults" who allow themselves the freedom to venture into kid-like territory.  They're vulnerable, creative, and are given the license to think outside of what they think they know.

Clearly, theatre is a safe space for people to do this, which contrasts many other arenas of adult life.  But I see it outside of theatre, too.  In the young guy playing guitar on the corner, the old woman dancing alone in the aisles at the MLK Day celebration, the scientist who gets giddy about a new insect, the middle-agers who rendezvous for a softball game every week, or simply the friendly person on the bus who isn't afraid to smile, say hello, and start a conversation.

Each one of us has the absolute capacity to make adulthood full, interesting, and joyous with the details that surround us, whatever they may be.

You don't need a kid to have permission to draw a picture.
Or walk barefoot in the grass.
Or twirl at an outdoor concert.
Or take a class on pottery.
Or have an impromptu dance party after dinner on a Wednesday night.
Or craft your mac 'n cheese into a volcano.
Or play Candyland.
Or cry.

With a bit of vulnerability and carefree spirit, each of us has the capacity to bring out the best parts of our kid-self, no matter what our age.

Furthermore, what if we remembered that adults are just bigger versions of kids? Instead of judgment and disdain, what if we could treat our post-pubescent peers with as much fascination, adoration, and compassion as we do the little tykes?  Maybe we'd accept each other more freely and fully.

This is probably the biggest argument I've developed against having my own kids.  There are already so many diverse and fascinating humans on this planet, and I have barely scratched the surface with meeting them, learning from them, exploring with them, shaping them, and being shaped by them.  I don't know if I'll have time to add That Kid! Seven billion PLUS one?  I'm already tired.

While I might be able to impress more upon That Kid than some random person I meet, is this really the argument for having kids?  To create a person who I can mold more than the Average Joe human who already exists? Seems a little egotistical to me...I may as well get some Playdough.

The point is, kids ARE amazing.  SO ARE adults.  Which shouldn't be much of a surprise, because they are one in the same...just different sizes, with a few years in between.

So I don't think it's imperative for anyone to feel less - or more - for having kids or not having kids.  In my mind, it should really be considered a matter of logistics and resources: do you have what it will require to parent?  Do you want to give what it will require to be a parent?  Do you have a good reason for why another child should be brought into this world?

And this shouldn't be a moral or emotional consideration of whether you think you're "good enough".  Good parents come in all varieties, and so do not-so-good parents.  Even people that would make "good" parents shouldn't necessarily have kids.  I'd probably be good at designing buttons or researching panda bears.  But, that doesn't mean my life has to take that path.

There is no shame in deciding that you wouldn't make an optimal parent.  Everyone has their niche.

Frankly, I think Parent should be one more career category on those tests you take in college to choose a major.  Choosing "Parent" shouldn't be viewed as better or worse than Doctor, or Lawyer, or Scientist, or Actor.  They all fulfill necessary functions in our society. (I'm sure some of you are thinking, "Wait, "Actor"?  Necessary?  YES.  That's for another blog post.)  "Parent" is a life choice and a responsibility, not an automatic badge of honor.  Can it also be a truly fulfilling life endeavor?  Sure.  But so can saving lives, or fostering justice, or researching theories, or creating stories that make meaning of life.  Kids are not the end-all-be-all.  (Again, I know, because I was one.)  :-)

To the parents among us: congratulations on spending energy on gargantuan task of raising the next batch of humans. And perhaps consider loosening your proprietary reins a bit, to allow "your" kids to be exposed to some of the amazing kid-less adults in your midst.  You don't own them, and it takes a village; they're probably better off with some variety in their elders.

To the non-parents among us: thank you for supporting the kids - and the adults - in other ways, and for trying to maintain the world as a functional place for the next batch of humans to live.

To those who are pondering the question of kids:
Thank you for pondering and not rushing.  (I'm sure my sister - and the entirety of future humanity -  would thank you too.)  Maybe some of us could be great parents.  But maybe some have energies that are better utilized elsewhere.  Perhaps consider some of the alternative options:
Adopting one of the mini humans that already exists.
Offering to take a more significant role in some of your friends or siblings' kids' lives.
Getting your fill of kid-wonder through working with them as a teacher, mentor, volunteer, tutor, etc.

In the end, our lives will be full, communal, rich, and meaningful if that's what we want them to be...kids or no kids. Like Mako-chan...who made a significant impact on the world, all without kids.

So if you see me alone in the bushes drawing with crayons, I'm not nuts...I'm keeping the kid-spirit alive via the pregnancy-free route.  Let me be.

Friday, January 16, 2015

Diversity in entertainment: it's worth the mess

Today many circles are atwitter with disappointment about yesterday's Oscar nominations, which were significantly lacking in diversity (particularly in the acting categories).  I've also seen frustration expressed about Eddie Redmayne's nomination for his portrayal of Stephen Hawking, which many (and not just people with disabilities) think perpetuates the stale-and-too-frequent Hollywood trope of "play the disabled person and you'll get an Academy Award."

I thought I'd use my first blog post of 2015 to weigh in with a few thoughts.  But first, some context on where I'm coming from.

As some may know, I have just started a yearlong contract as a professional actor with the Oregon Shakespeare Festival (OSF). Some may hear "festival" and assume OSF is a small outdoor community theatre that nobly puts on a couple of Shakespeare plays during the warm summer months for picnicking, wine-drinking older folk.  While the wine-drinking may be accurate, the reality is that OSF is a year-round theatre that produces 11 plays and musicals each season, and is one of the most prominent and well-regarded repertory theaters in the country. It's also one of the few theaters that still hires a full company of actors for the entire season, each of whom works on multiple plays or musicals beside other artists who are practicing at the top of their craft (playwrights, designers, directors, stage managers, and others).  The plays that premiere here in Ashland, OR often continue on to top regional theatres, or even Broadway (such as the play that won the Tony this year, ALL THE WAY.)  Essentially, OSF is Broadway or West End calibre, but instead of NY pizza or fish and chips down the street, you have an organic food co-op with countless natural greybeards that rival Gandalf the Wizard.

For a theatre actor - or any actor - an OSF contract is a big deal, and a dream.

And for me - an actor who uses a wheelchair full-time after being paralyzed in a car accident nearly 13 years ago - it's an even bigger deal, and bigger dream.  After all, I am the first wheeling full-season repertory actor the company has ever had. EVER. In hundreds of actors who have graced the stages since the company was founded in 1935.  Eighty years.

I did learn that one other wheelchair-using actor, Kenneth Littleton Crow, played Snout in the 1993 summertime production of A MIDSUMMER NIGHT'S DREAM.  And Howie Seago, a deaf actor, has worked at OSF in multiple seasons.  Still, That makes 3 of us with different abilities, and only 2 who have been cast in the classical "rep actor" style where an actor is in more than 1 show during the season.  This is important - especially for actors who are "different" - because it means that the company is committing to you as a versatile artist who can handle the rigor of playing multiple roles that are often contrasting in nature...not just bringing you in for one show where you fit enough.

Fitting enough: that is often what we "different" actors have to do to get the role.  You could call it the "Othello conundrum," similar to where black male actors are not called to do Shakespeare until a theatre decides to do OTHELLO and needs a black actor. (Even Othello used to be played by white actors until people realized that, oh, wait, there are amazing black actors out there who can more aptly play the role.  And blackface is shitty and racist.)

OSF doesn't just cast based on where people historically fit into theatre.  It's ubiquitously apparent on stages up here, from PERICLES to GUYS AND DOLLS.  The company's mission is to reflect the diversity of the world around us in the plays it produces onstage.   (Gee, I would say that makes a lot of sense.)  There are colors and genders and creeds and sexualities and ethnicities galore, playing all sorts of roles that weren't necessarily intended by Shakespeare or other playwrights to be embodied by such identities.  And, considering that the World Bank's estimate of PWDs around the world is about 1 billion people - or 15% of the world's population - I'd say OSF has made the right decision in adding actors with different abilities to the mix.

Now, this isn't to say that it's easy.

When I first talked with Bill Rauch, OSF's Artistic Director, about their decision to hire me, we agreed that there might be some bits of mess involved.  People might say the wrong thing.  Not know how to help.  Be less skilled in directing or designing for a wheeling actor...a foreign experience for many, even the pinnacle artists who work at OSF.  But we both agreed that MESS is an unavoidable - and necessary - part of change.  Experiencing firsthand triumphs and mistakes is the only way to learn and progress.

And within week 1, we've had our first bit of mess.

It involves understudying.  Aside from being cast in multiple shows (usually 2-3 at a time), OSF actors are given understudy assignments.  You learn another role in case the primary actor cannot go on.  I was given an understudy assignment for a couple of roles in ANTONY AND CLEOPATRA.  However, as Bill (who happens to be directing A&C) began delving into the show and its design logistics, it became clear that the roles I was assigned would have to be on multiple levels of the stage that are not accessible to wheelchairs.

He was devastated.  And as much as he tried to find a workable solution, it became clear that the amount of energy and effort it would take to accommodate for the slight (emphasize slight) possibility that I would ever have to take the stage simply wasn't common sensical, for the show or for me.  And I agree; so I will be sticking with my 2 primary roles this season, and most likely not understudying.

In the future, this may require a system change in how the understudy assignments work.  Perhaps I won't be assigned my understudies until after the shows begin to take shape, so they know which shows will work for wheels.  Or, shows will be designed with a greater focus on universal accessibility.  Or, maybe a time will come when there are multiple wheeling actors in the company who can understudy each other.

Regardless, in my mind, this "mess" equates to 1 step back, compared to the 99 forward steps OSF has taken in hiring me.  After all, the roles in which I was cast for the season were NOT conceived for a wheeling actor.  Don John in Shakespeare's MUCH ADO ABOUT NOTHING is usually played by a man, and the text has no reference toward any physical difference.  The Mysterious Woman in Stan Lai's SECRET LOVE IN PEACH BLOSSOM LAND also has no indication of physical difference.  But in both cases, the casting team and directors opened their minds to what COULD BE POSSIBLE.  In doing so, they realized that it makes perfect sense for both of these roles to be played by...moi.

Some people say that everything in the arts - theatre, music, visual art, dancing - is just a re-creation or re-envisioning of something that's already been done at some point, somewhere in the annals of human history.  I understand this argument, but I also disagree.  I can say with a good deal of certainty that what OSF is doing with me this year in these plays has never been done.  (If anyone can find evidence to the contrary, I am all ears.)

Which brings me back to the Oscar nominations, and what I personally find disheartening about them.  It's not that white able men (or women, depending on the category) shouldn't be nominated; people who distill the issue down to this absurd conclusion are just being bombastic and ridiculous. I thought some performances by the nominated actors were exquisite.  In particular, I thought BIRDMAN was inventive and refreshing, and Michael Keaton was extraordinary. (Important note here: Alejandro Gonzalez Inarritu who conceived and directed BIRDMAN is Mexican.)  And I have not seen it, but I imagine that Eddie Redmayne pulls off an impressive performance in THE THEORY OF EVERYTHING.  Plus, regardless of him, I was happy to see that a movie was made about Stephen Hawking, one of the most fascinating and important PWDs in history (who is unfortunately also the frequent butt of many discriminatory disabled jokes, even though he could mentally smackdown just about any bloke on this planet...talk about Professor Xavier!).

The problem is that Hollywood, Broadway, and much of our popular entertainment are STUCK: in ignorance and cowardice.

I was going to say that they exemplify madness, as defined by Miguel De Cervantes Saavedra in DON QUIXOTE: "...maddest of all: to see life as it is, and not as it should be!"  But this is being too generous; they don't even deserve the designation of madness, because they aren't even fully portraying LIFE AS IT IS.

Those of us who pay attention out there in the "real" world - and the real America - SEE how it is.

It's a world where stories like those told in the Oscar-nominated films - of valiant soldiers, heroic deeds, despicable actions, tragic diagnoses, fantasy worlds, or the mundane details of life - are not EXCLUSIVELY lived by white people.  Or men.  Or people who are all "normal" physical specimens without some physical difference that indicates how they've been marked or injured by life.  It's a world where people of all kinds, colors, languages, and physicalities fill different roles: soldiers, teachers, parents, CEOs, McDonald's workers, doctors, or the dude next to you on the bus.

To not acknowledge and reflect this reality is ignorance.
To not actively strike out to start changing the human make-up of popular American storytelling is cowardice.

And so I understand the frustration with the Oscar nominations.  While there have been successes in recent years with Oscar diversity, there's not a stopping point.  The world doesn't stop becoming more diverse, so why do we think that entertainment can "take a break from diversity" for a year, as though we're just trying to fill a quota before we go back to tunnel vision?

The pathways forward are there, and to some of us, painfully obvious and doable.

Yes, there might be some mess as TV shows have to arrange for an accessible dressing room for a wheeling actor (something I've experienced).  But shouldn't they have one anyway, especially because it can work for ANY actor coming on set?  Doesn't it make sense?

Yes, there might be some extra cost to retrofit actor housing for a deaf actor who needs a light to flash when the doorbell rings.  But with production budgets that often factor in the millions (some of which goes to frivolous expenditures anyway), will a couple hundred or thousand really be that big of a deal?  Particularly if you're getting an exquisite performer that will enhance the company and its artistry?  (Btw, in my own situation at OSF, they had to renovate an apartment to make it wheelchair accessible, but I've heard that it was in need of a renovation anyway...I just happened to be a good excuse. :-)  And aside from a portable ramp and maybe one or two pushbutton doors - all of which benefit every employee and patron who come to OSF - the accommodations needed have been minimal.)

If an opportunity exists to move forward into uncharted and exciting territory, why hesitate, especially if it makes perfect sense?  Does it not make sense that Hamlet, a war vet, could have some sort of permanent war injury and be played by an actor with an amputation or wheelchair?  Does it not make sense that Idris Elba, a magnificently classy and talented black actor, would play the next James Bond? (Especially because, frankly, you want me to believe that a white boy spy will be able to infiltrate a terrorist cell in Yemen, or the Boko Haram outfit in Nigeria, or other contemporary spy-worthy locations?  Good luck white boy 007.)

Diversity does make sense.  And it's reality.  And even for those who focus on the profit bottom line, it's risky and thrilling.

For those of you who think the reason is that the actors don't exist, they do.  I know hoardes of them.  Actors who are Nigerian, Puerto Rican, have cerebral palsy, amputations, are Chinese, have spinal cord injuries, are deaf...you just don't know they exist because, in most cases, they haven't been given a widespread opportunity to share their stuff.  And, in many cases, even when the casting team and directors and writers know about someone "different," and in their heart-of-hearts genuinely WANT to make a more diverse choice, they don't.

Why?  "We're not ready."  "It's too expensive."  "Maybe next time."
Translation?  "We're a bunch of wussy-ass cowards who don't actually know enough to write diverse stories, and we're afraid to put our own necks on the line for the integrity of art and entertainment." (I'm really good at translating.)

Thankfully, my new colleagues at OSF are not wussies.  They realize the risk and reward of creativity, change, and diversity.

And when it comes to Oscar-worthy films or Tony-worthy plays, I'd rather see and hear about the unique artistic solutions invented to allow my actor friends with cerebral palsy or paralysis to play Stephen Hawking.  What greenscreening would they use?  What cool wheelchair contraptions would they make?  What camera angles and makeup would be necessary to give the appearance of withered legs when someone actually HAS withered legs?

And what messy situations came up on set or backstage?!?!  Because those are always exciting.