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Posts Tagged Sons of the Prophet

Sons of the Prophet: A Gift to Our Audiences

Sons of the Prophet was produced with special support from Pat and Paul Sackett and the Park Square Premiere Producers’ Club. Wondering how and why this particular play proved to be such a powerful choice for its producers, I received this response from Pat Sackett:

 

Pat and Paul Sackett

Pat and Paul Sackett

Paul and I first saw Sons of the Prophet at Roundabout Theater in New York in October of 2011 during a two-week stay for business.  As we were heading back to the hotel that night, we recast it with Twin Cities actors (no easy task, the options are so extensive) and concluded this was A Park Square Play.  When we returned home, we handed over our collection of 15 Playbills to the PST staff and put Sons on top of the heap, saying this was one they definitely needed to explore further.  We enthused over it, we hinted, we suggested, we cajoled, we badgered, we nagged, we forwarded the glowing reviews from the NY Times and The New Yorker, we made sure everyone was aware it was a finalist for the Pulitzer, we got to the point that Artistic Director Richard Cook knew we were going to corner him about Sons every time he saw us and probably avoided us on occasion as a result.  After two and a half years, we gave up and tried a different tactic: we bought the script, handed it to him and pretty much stood over him tapping our feet until he read it.  At that point, he was hooked and suggested we put our money where our mouths were and provide the cash to secure the rights.  So we did, and it finally found a spot in the 2015/2016 season.

Why are we so obsessed with this play?  The tagline is “A comedy about suffering” and, yeah, that sounds like a hard sell.  Everything in Joseph Douaihys’s life is going wrong and he might just as well have been named Job.  Yet the writing is so excellent, you find yourself laughing out loud; the characters are so well drawn and so decidedly human, you find yourself wanting things to work out for each of them.  They are us, just trying to get through life with as much happiness as possible and striving to overcome whatever difficulties they slam into.  It’s a tricky piece to pull off, and I suspect that’s why it’s taken so many years for it to find a place in theaters across the country.  Some plays are immediately forgettable; some you wish you could forget immediately; some you keep returning to for days or weeks or months afterward.  This is one of those works–the ones that bring you somewhere you’ve never been and make you think about how that might fit into your own life.  In short, A Park Square Play.

Any residual fears we might have had about whether we’d totally missed the boat recommending this piece totally dissipated when we were honored to attend the cast’s first read-through in late April.  When we introduced ourselves to the actors as the folks who’d brought the play to Park Square, they couldn’t thank us enough for the juicy roles they’d received; and each of them told us how rich the language was, how much of a challenge the play presented.  Despite this being the very beginning of the process, it seemed to us that even without costumes, sets or movement around the stage, each of them had nailed their roles and were going to produce a truly memorable experience for themselves and their audiences.

Come join us during the final shows—the play ends on Sunday, June 5–and see for yourself!

 

 

Running On: Three Marathon Runners Talk More About “Sons of the Prophet”

After seeing Sons of the Prophet at Park Square Theatre’s Proscenium Stage in which the main character, Joseph, is a former marathon champion sidelined by health issues, runners Peter Erickson, Eric Larson, and Jon Thomas met to talk about the play. This is a continuation of that discussion. (You can read the first part of their conversation in the blog, The Run of a Lifetime.)

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Eric Larson

Eric Larson

Peter Erickson

Peter Erickson

In Sons of the Prophet, the Douaihy family –Joseph, his younger brother Charles, and their uncle Bill—are Lebanese-American. Larson wondered if playwright Stephen Karam had purposely made them Lebanese as a tie-in to a Persian War event that later inspired the first Olympic marathon race in 1896. In that war, the Greek soldier Pheidippides ran over 25 miles from the battlegrounds of Marathon, Greece, to Athens in 490 B.C. to announce the defeat of the Persians. After such a strenuous run to deliver the news of “Niki!” (Victory!), Pheidippides dropped dead. Did this possible link to the Persian War also foreshadow death in the play? And do our lives carry messages that get passed on?

Thomas noticed the connection between the Lebanese to the pervasive theme of suffering in the play. The Douaihy’s are Maronites, an oft-persecuted Lebanese Christian group that migrated to the mountains of Lebanon for refuge. And in the play, a painting of Saint Rafke, born in Hemlaya, Lebanon, in 1832 was cherished by Joseph and Charles’ recently deceased father. She had devoted her life to Christ, asking to share in his suffering. Thereupon, she experienced continual head and eye pain as well as joint deformities, all the while rejoicing in prayer and remaining ever-patient in her suffering. (Perhaps she would also make the perfect Patron Saint of Marathoners, who feel euphoric even while patiently enduring pain to complete the last miles!) Isn’t life also like that–a test of perseverance, of mind over matter?

Erickson brought up more than once the notion of choice—how we can lose choice when trapped by a debilitated body, as we witness with the ailing Bill and Joseph, and how we can gain choice through our outlook on life. With all this suffering, what can one do?

“Try to enjoy what you can in life,” Thomas suggested. “We can dance . . . listen to the music . . . move on . . . .”

Jon Thomas

Jon Thomas

The Run of a Lifetime: Three Marathon Runners Talk About “Sons of the Prophet”

 

Jon Thomas, Eric Larson and Peter Erickson

Jon Thomas, Eric Larson and Peter Erickson

Joseph, the main character in Sons of the Prophet, currently showing on Park Square Theatre’s Proscenium stage, is a marathon champion sidelined by chronic knee pain and unexplained physical symptoms.  His entire life has taken a downturn as unrelenting challenges ensue–from his father’s unexpected death to witnessing his uncle’s own declining health, from taking a crappy desk job under a needy, unstable boss to have health insurance to necessarily becoming his uncle’s medical advocate in the convoluted Medicare system, from becoming head of household for himself and his younger brother Charles to facing loneliness as a gay man in Nazareth, Pennsylvania.  The emotional toll has left him “cut off on the knees,” with enough stress to cripple even the strongest of men.

Knowing only about the lead character’s marathon background, three marathon runners attended Sons of the Prophet on Saturday to watch then give us their take on the play.  They were:

Peter Erickson, who ran in junior high as an outlet to get out of the house.  With continual travel in his adulthood, he stopped exercising for years but returned to running in 2008.  He loved running 5Ks, increased to half marathons, then finally committed in 2010 to his first marathon, the Twin Cities Marathon.  With a fall this past winter, Erickson was sidelined to walking the dog but has no plan to stop running.

Jon Thomas, who was introduced to running by a mentor during his 1986 residency at the Mayo Clinic.  Thomas had exercised and remained fit during medical school, yet felt dreadful after his first long-distance run.  To see his over 50-year-old mentor complete a mile in seven minutes truly impressed the then 25-year-old Thomas.  He continued running and, in 2011, ran his first marathon, also the Twin Cities Marathon.  He has now run it and the Los Angeles Marathon more than once.  His future goal:  the Boston Marathon.

Eric Larson, who attended junior high in a class of 35 students in Shepherd, Montana, recalled that “everyone” went out for sports.  He was a skinny 13-year-old who lacked arm strength and also not fast so settled on long-distance running.  He especially loved 10Ks.  Like Peter, Eric did not return to running until his adulthood when a friend talked him into doing a relay marathon in Rochester, Minnesota.  After passing the baton in that race, Eric decided to continue running, specifically aiming to actually complete a full marathon.  In 2003, he ran Grandma’s Marathon in Duluth, Minnesota.  He is currently a diehard squash player, though still runs the odd 5K with his teenage daughter.

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Being a physician, Thomas initially related more to the medical aspects of Sons of the Prophet, which he felt were portrayed quite realistically, such as patients’ struggle with healthcare costs, the nightmare of navigating Medicare, and most strongly, the diagnosis and treatment of patients.

Thomas wondered, as Joseph’s doctor performed a spinal tap and ran tests to find the root of his symptoms, whether Joseph’s psychic pain had actually manifested as physical pain.  At the hospital, Thomas sees many patients overly stressed by the complexities of modern life and pained without explanation.  Their tests come back negative; there is no diagnosis for them, yet they are suffering.

Larson noted that even Joseph himself wonders in the play:  “Could the inflammation be caused by something…else ….?” As a squash player, Larson notices that he is in good shape for squash but not necessarily for soccer, biking, or now running, whenever he dips into those sports.  Similarly, each character in the play does well in their own area “of being” but when set in situations that they are not “in shape” for, then they have problems and experience intense stress.

Having been sidelined from running this winter, Erickson could relate to what it’s like to want but not be able to run.  He would have been miserable (and been a pain to be around) had he not been able to mitigate his loss by taking long walks, something Joseph could not do.   Erickson knows how it feels when “running becomes a need; you can’t wait to get out there, especially after a hard day.”  Joseph had no choice but to stop running, which was a core part of his being.

All three reflected on the transformative stages of a long run–how one can reach a point of being “meditative yet actively thinking” for Erickson, of being in the zone when “solutions to seemingly intractable problems would organically come about” for Larson or “becoming one with the environment and feeling in flow–smooth–as if running on pillows” for Thomas.  Pleasure is followed by the agony of pushing through those last miles, when the body may feel like it wants to break yet the mind holds firm through all the hurting.

To the runners, playwright Stephen Karam’s decision for Joseph to be a marathoner rather than a football or baseball player, was, of course, because a marathon–not a sprint–is a journey, just as life is a journey.  They connected how a marathon has its stages–meditative, euphoric, suffering–similar to life stages.  And they understood how as in life, according to Erickson, “marathon running depends on the strength of your mind to get through the difficult parts.”

“There are multiple layers of struggle in the play,” said Erickson.  The play delves into race, gender, religion and generational issues, to name just a few.

“And each of those layers is a marathon, ” Thomas pointed out.

(Upcoming blog – RUNNING ON:  Three Marathon Runners Talk More About Sons of the Prophet)

 

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