Feed The Hole

by mike
Genre: Play

FEED THE HOLE
Michael Stock
MICHAEL STOCK was born in London, England, in November
1975, during Thanksgiving, Hanukkah, and a doctors’ union strike.
Michael grew up outside Chicago, where he created Sideway Theater
Company while a sophomore at New Trier High School. Sideway
then traveled to the University of Illinois where Michael spent two
years in the BFA acting program. Sideway completed its Illinois tenure
in Chicago, while Michael earned a degree in performance studies
from Northwestern University. In 1999, Michael and Sideway moved
to New York. Michael has acted in more than 50 productions in New
York theatre—Cask of Amontillado (Present Company and Yale University),
Henry V (Mazer Theater), and Othello (Primary Stages
Bukowski Theater)—and as an actor for Sideway Theater—Hustle
(MOMFEST in Austin, Texas), The Dumbwaiter, Amadeus, and Feed
the Hole. Michael has studied with Uta Hagen (he appears in the PBS
documentary Uta Hagen, Masterclass), Austin Pendleton, the Pivens,
and The Lab at New York Shakespeare Festival/Public Theater. He
was honored with the Excellence in Playwriting Award at the 2001
New York International Fringe Festival for Hustle, a piece he originally
wrote and directed for Sideway. Additional playwriting includes
The Ice Lid, which he wrote and directed at the Kraine Theater; and
the soundscape for Tesha Buss’s Euphrasy/Eucrazy, which won a Communicator
award for sound design. Unproduced scripts of Trojan
WomeNYC, Bender, and Lady Chaplin and Her Tramp are in development.
2 MICHAEL STOCK
Feed The Hole was first presented by Sideway Theater Company, April
10–27, 2003, at Altered Stages Theater, New York City, with the
following cast and credits:
Steve .................................................................. Alexander Alioto
Shelly ................................................................. Melissa Picarello
Rob ......................................................................... Adam Reiner
Brett ..................................................................... Michael Stock
Samantha ....................................................................... Fay Wolf
John ..................................................................... Anthony Wood
Assistant Director/Stage Manager: Shana Solomon
Scenic Design: Kevin Judge
Lighting Design: Justin Burleson
Production Photographer: Kim Jackson
Technical Director: Robert Mahon III
Scenic Painter: Leigh Sellinger
Scenic Shop: Daedalus
Graphic Design: Blythe Zava/Michael Stock
Publicists: Spin Cycle
Original music was created for this production by the following artists:
Jeb Loy Nichols, www.JebLoyNichols.com; Anne Heaton,
www.AnneHeaton.com; Jennifer Paskow, www.JenniferPaskow.com;
James Vidos, www.JamesVidos.com; Karen Baxter, www.KarenJill.com;
Edie Carey, www.EdieCarey.com; Jay Collins, www.InterJazz.com/
JayCollins; David Stock (lyrics by Sara Stock), www.Amazon.com
(keyword: David Stock); Rose Polenzani, www.RosePolenzani.com;
Paul Cortez, visitortacticsyahoo.com; Kevin Heaton,
gentrificidehotmail.com; T.J. Larsen and Michael Stock,
Shilock_419yahoo.com.
The original score can be obtained by contacting the playwright:
sidewaytheaterhotmail.com; www.SidewayTheater.com.
A portion of the proceeds were donated to Steppenwolf Theatre
Company’s Arts Exchange Program, www.steppenwolf.org/opportunities/
arts.html.
Special thanks to those who contributed in earlier readings and for
their encouragement: Stacie Green, Adam Hunter Rosenblate, David
C Barrus, Ashley Knaysi, Mary Mittell, Danielle Fink, Julie Baber,
Emmy Lou Diaz, Tesha Buss, Connor Heaton, Leah Gale, Margaret
Nichols, Mara Levin, Scott Horowitz, K. Todd Freeman, John Dias,
Michael Cumpsty, Austin Pendleton, Past/Present/Future Sideway
Theater Members, Alexander Gram Smell, and of course, Riguez.
FEED THE HOLE 3
CHARACTERS
(All mid-twenties)
BRETT: Shelly’s boyfriend, Steve’s best friend since college
SHELLY: Brett’s girlfriend, Samantha’s best friend since childhood
SAMANTHA: Rob’s girlfriend, Shelly’s best friend since childhood,
John’s best friend
ROB: Samantha’s boyfriend, Steve’s friend for several years
JOHN: Samantha’s best friend, Shelly’s friend
STEVE: Brett’s best friend since college, Rob’s friend for several years
TIME
After September 11, 2001. Before The Public Smoking Ban.
PLACE
Various bars, boutiques, and bedrooms in Manhattan.
A THOUGHT ON THE PUNCTUATION AND THE
VERBIAGE
PUNCTUATION: The punctuation, although sometimes utilized
unusually, is intended to serve as a potential emotional guide for the
actor. This process for notation was developed by Sideway Theater
Company, and owes a great debt to my work on Tennessee Williams
with Kim Rubenstein at Northwestern, my work on Shakespeare
with the Master Teachers at the Public Theater, Austin Pendleton,
and my readings of John Barton and Cicely Berry’s work with the
Royal Shakespeare Company. If this aids the actor, fantastic; if not,
feel free to disregard these ideas and develop your own.
Suggestions as follows:
• A period indicates a full stop.
• A comma indicates a change of direction on the same thought.
• A colon indicates an introduction of a quotation, an explanation,
an example, or a series.
• A semicolon indicates a bridge between two distinct, but related,
ideas. Literally, a period over a comma. It has helped us to embrace
the notion of jumping up from the first sentence to the second,
both vocally and in thought.
4 MICHAEL STOCK
• An ellipsis indicates an omission or suppression of parts of words or
sentences by the speaker. There is an internal search or wrestling
within the speaker.
• A dash in this piece does not indicate an interruption; it indicates,
rather, a stop of speech by the speaker. With the silence, the
speaker is reaching towards the listener for a response.
• A question mark indicates a direct question or interrogation, and is
important because of the curvy lilt that the voice makes at the end
(it sounds like a question mark looks). Often this indicates an
emotionally weaker state in the speaker.
• A parenthesis indicates explanatory or qualifying remarks and are
often asides. Dropped both vocally and in thought into a different
register.
• CAPS indicate a boldness of feeling.
• An exclamation point indicates, well…an exclamation! The end of
the sentence goes up, both vocally and in thought.
VERBIAGE: The text contains what Sideway Theater Company calls
the characters’ life philosophy, in that each character’s particular
word choice and sentence structure attempt to reveal the unique
filter through which they view the world. I wholeheartedly assure the
reader of this text that every apparent typographical error, malapropism,
stutter, and word omission is correct.
A THOUGHT ON THE SET
The set can be anything as long as it allows for a seamless transition
between scenes. The original design accomplished this with a transformative
space. I believe that the audience knows we are at dinner
because in the last scene we said we are going there; we do not need
tables, food, glasses, and other restaurant accoutrements to define the
space. In the original production a beautiful set was designed by
Kevin Judge, which consisted of five Chinese red chairs, a rock garden,
and a stool. The rock garden and stool, stage right, defined John’s
area. Up center stage a line of three chairs defined Sam and Rob’s
space. Downstage left, two chairs defined Brett and Shelly’s space.
Steve was free to roam. Hanging along the stage right wall, Chinese
red swings swayed. The floor was intricately painted with lines and
swirls to suggest sand. The walls had a single stripe of sky blue painted
all the way around the space, a brilliant piece (!) of sky encroaching
the darkness.
Date uploaded: Sep 28, 2013, 20:16 EDT Show more info
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Rex Yehudi (shoham) gave feedback to mike for “Feed The Hole”:
mike,

I agree with JZC. This was well worth the drive from Philadelphia to New York to see.

I'll really liked the "A thought on the_" sections. Very helpful in getting a picture of what's going on.

We need you in the 'Burgh!
-Sho
 Oct 07, 2013, 19:10 EDT


JZC gave feedback to mike for “Feed The Hole”:
great play! even better in person!
 Oct 07, 2013, 11:57 EDT