The Script, Edition 8 - August 2011

Its August - which means its festival season!! Not only socially, with Independence Day and Raksha Bandhan, but theatrically as well. NCPA plays host to the 'Marathi Natya Utsav' from the 5th to 9th and also 'Comedy Ka Bauchaar' from the 13th to 15th of August. Not to mention, our very own festival, Thespo 13 has also kicked off with various activities and building towards the main festival in December.

Also this month see's the debut of many new productions. Artistes Studio presents 'Crystal Anniversary', Ashwin Gidwani presents 'Kennedy Bridge' - which also marks the theatre debut of Himesh Reshamiya, Procenium presents 'Pop! Goes the Weasel' - a collage of 10 scenes from popular Broadway plays and Essay Communications presents 'Sunte Ho' - Gulzar Saab’s dramatization of Rabindranath’s short story. Wish i were there to see these!!!

On the QTP Front, Orientation Meeting for Thespo 13 have been completed in Bombay and Pune. Our next stop is Delhi. Also, the last date for registering your full length play is September 1st 2011. So rush your registerations now!!!. Thespo at Prithvi welcomes 'Naali Ke Kutte' and our monthly Great Text reading - this month we reading a Neil Simon.

Our quiz section picked up last month. Yay!! Our question was:
Which play won the 'Best Play' award at the 2011 Tony Awards?

A whopping 71% got the answer..............RIGHT! Well done.

The correct answer was 'War Horse'. The play also won Best Direction, Best Scenic Design, Best Lighting Design and Best Sound Design.

In this month's edition of 'The Script', Here's what you can look forward to this month:

Trivia Time: Ford's Theatre, Washington
Great Text: Continuing our Comedy Quarter.
Thespo at Prithvi: Naali Ke Kutte returns!
Thespo 13: More Orientation Meetings!!!!
Friends of Thespo: Become one now!
Point of View: Priti Bakalkar reviews 'Me Grandad 'ad an Elephant'
4 Corners: Payal Wadhwa shares her experience of watching Jasmin Vardimon's 'Yesterday' in London
Dolly Thakore's 'Life in Theatre': Dolly Thakores shares her thoughts on the Sujaya Foundation.
AK's Various Thoughts: The Rhymes and Trying Times of July.
Up & Coming: Complete Schedule of what to watch in August.
Theatre Training: 2 Workshops by Theatre Professionals.
Other Theatre News: Patrick French Discussion and Sultan Padamsee Award for Playwriting.
Curtain Call: Robin Williams know's what to expect next year at Broadway.

Yours Sincerely,

On Behalf of Q Theatre Productions,

Himanshu.
Editor, The Script

> Trivia Time

Ford's Theatre, Washington

Ford's Theatre is a historic theatre in Washington, D.C., used for various stage performances beginning in the 1860s. It is also the site of the assassination of U.S. President Abraham Lincoln on April 14, 1865. After being shot, the fatally wounded president was carried across the street to the Petersen House, where he died the next morning.

The site was originally a house of worship, constructed in 1833 as the second meeting house of the First Baptist Church of Washington, with Obadiah Bruen Brown as the pastor. 

In 1861, after the congregation moved to a newly built structure, John T. Ford bought the former church and renovated it into a theatre. He first called it Ford's Athenaeum.

It was destroyed by fire in 1862, and was rebuilt the following year. When the new Ford's Theatre opened in August 1863, it had seating for 2,400 persons and was called a "magnificent new thespian temple".

Just five days after General Lee's surrender at Appomattox Court House, Lincoln and his wife attended a performance of Our American Cousin at Ford's Theatre. 

The famous actor John Wilkes Booth, desperate to aid the dying Confederacy, stepped into the box where the presidential party was sitting and shot Lincoln. Booth then jumped onto the stage, and cried out "Sic semper tyrannis" (some heard "The South is avenged!") just before escaping through the back of the theatre.

Following the assassination, the United States Government appropriated the theatre, with Congress paying Ford $100,000 in compensation, and an order was issued forever prohibiting its use as a place of public amusement. 

Between 1866 and 1887, the theatre was taken over by the U.S. military and served as a facility for the War Department with records kept on the first floor, the Library of the Surgeon General's Office on the second floor, and the Army Medical Museum on the third.

In 1887, the building exclusively became a clerk's office for the War Department, when the medical departments moved out. 

The front part of the building collapsed on June 9, 1893, killing 22 clerks and injuring another 68. This led some people to believe that the former church turned theatre and storeroom was cursed. The building was repaired and used as a government warehouse until 1931.

It languished unused until 1968. The restoration of Ford's Theatre was brought about by the two decade-long lobbying efforts of Democratic National Committeeman Melvin D. Hildreth and Republican North Dakota Senator Milton Young. 

Hildreth first suggested to Young the need for its restoration in 1945. Through extensive lobbying of Congress, a bill was passed in 1955 to prepare an engineering study for the reconstruction of the building. In 1964 Congress approved funds for its restoration, which began that year and was completed in 1968.

The theatre reopened on January 30, 1968, with a gala performance.

The Ford's Theatre Museum beneath the theatre contains portions of the Olroyd Collection of Lincolniana. On display are multiple items related to the assassination, including the Derringer pistol used to carry out the shooting, Booth's diary and the original door to Lincoln's theatre box. The blood-stained chair in which he was sitting is now on display at The Henry Ford Museum in Dearborn, Michigan.

The theatre was again renovated during the 2000s. The re-opening ceremony was on February 12, 2009, which commemorated Lincoln's 200th birthday. It has a current capacity of 661.

> Great Text Reading

Come read a play with us!

On the last Monday of every month people meet in Q's drawing room to read a play they may have heard of but not necessarily have read. Writer's come to see how the greats wrote, actors come to play multiple parts and theatre lovers come because it keeps them in touch with the art form. It is open all and everyone takes turns in playing characters from the play. Discussions ensue after over tea and biscuits.

In July, we started our series of comedy plays with Woody Allen's 'God' - 'Neurotic playwright Hepatitis and reluctant leading man Diabetes ponder the implications of God's existence as they desperately search for a way to conclude their play.'

God, subtitled A Comedy in One Act, was first published in 1975, along with Death, and other short stories in Woody Allen's book Without Feathers. The play comes close to utter absurdity as ancient Greek masters have to argue with lonely Manhattan late night theatre visitors in a plot that seems to be falling into pieces every time Allen introduces a new character, which seems to have no relation to the creatures which have already appeared. 

The story line in Woody Allen's God is twisted and turned. It comes close to utter absurdity as ancient Greek masters have to argue with lonely Manhattan late night theatre visitors in a plot that seems to be falling into pieces every time Allen introduces a new character, which seems to have no relation to the creatures which have already appeared. The reading lasted for 45 minutes and before we knew it, the play came to an end. But what was great to see, is the animated discussion that took place between the 22 readers that we had in the drawing room. A fully packed house, the discussion varied from the humor in Woody Allen’s plays to the bizarre endings of each of his plays. The humor in “God” seemed to get out the funnier side of our readers. An evening well spent!!

In the month of August, we will be reading Neil Simon's 'Chapter Two' - An autobiographical play, about a writer whose wife has died and his matchmaking brother.

The plot focuses on George Schneider, a recently widowed writer who is introduced to soap opera actress Jennie Malone by his press agent brother Leo and her best friend Faye. Jennie's unhappy marriage to a football player has dissolved after six years, and she's uncertain if she's ready to start dating yet. Neither is George, whose memories of his first wife threaten to interfere with any effort to embrace a new romance. The play had its world premiere at the Ahmanson Theatre in Los Angeles on October 7, 1977. It ran through November 26 and then transferred to the Imperial Theatre on Broadway, where it opened on December 4 after seven previews. In January 1979 it moved to the Eugene O'Neill Theatre to complete its total run of 857 performances. 

The play was nominated for the 1978 Tony Award for Best Play. 

Simon adapted the play for a 1979 film directed by Robert Moore and starring James Caan and Simon's then-wife Marsha Mason, on whom the character of Jennie was based.

A portion of the play and the 1979 movie was used for the plot of the American sitcom Seinfeld's third season's episode, The Letter.

The play was also produced by QTP in 2004 and was directed by Kunaal Roy Kapur and starred Pushan Kriplani, Devika Shahani Punjabi, Kunaal Roy Kapur and Sukeshi Sondhi.

So come on the 29th of August at 7:30pm at 18 Anukool, Sq. Ldr. Harminder Singh Marg, 7 Bungalows. Next to Daljit Gym. All are welcome. If you need directions call Varrun on 26392688 or 9930666332.

> Thespo at Prithvi

Naali Ke Kutte returns!

Thespo at Prithvi was started in 2007 to provide a more regular showcasing of the best youth theatre talent in the country. Thus every first Tuesday and Wednesday each month, the next generation of theatre wallahs stride across the hallowed Prithvi stage.

Thespo at Prithvi is also providing an opportunity for young theatre groups to showcase their short plays, as a pre show appetizer before the main show on each Thespo at Prithvi show day.

If you have a play that you think can work in the outdoor areas of Prithvi Theatre, email us at thespo@gmail.com

Thespo at Prithvi in August 2011

Hara Masala presents 

NAALI KE KUTTE

Winner of MoodI '09 - Best One Act Play, Best Actor
After NCPA, Thespo Fringe, Split Second@Prithvi,

Now as a full length 75 minute play at Prithvi Theatre

A lone Indian soldier is left to man a remote border outpost. Just as boredom draws in, he gets a new soldier for company. Things seem alright except for the fact that the new guy is from Peshawar and no one told them they were at war. Share the fun as they lay the chess pieces, haul up the stakes but forget all about the endgame.

Naali Ke Kutte does an excellent job of communicating the story of two rival soldiers, who while manning their respective bunkers get talking & slowly develop a bond between themselves.

They soon learn about the war between the two countries and are ordered to shoot the enemy at sight.

But will they follow the orders or somehow salvage the situation?

Date: 2nd and 3rd August 2011
Time: 9pm

Ticket Rates: 80/-

Cast:
Siddharth Kataria
Aniket Behera
Gaganjeet Singh
Rohit Goyal

> Thespo 13

We're getting warmed up!

It's finally here. India's largest youth theatre festival is back in it's 13th avatar. So while the festival is not till December, now is the time you can get involved in all the dramatic ways you've dreamed about. 

THESPO 13 ORIENTATION MEETING

We kicked off Thespo 13 with Orientation Meetings in Bombay and Pune, where we had huge turnouts and fantastic responses. We already got nearly 10 full length play entries.

Our next Orientation Meeting will be on the 

10th of August at 12pm in Delhi in the Activity Room of Ramjas College

On the 15th of August, Thespo 13 kick starts its curtain raisers by organising a Street Theatre Festival at Mega Mall in Oshiwara. You will see performances by Maryada Party Zindabad! by Jai Hind College, Jaago! Jaago! Jaago! by IIT Bombay and Thespo Theatre Units first ever performance. So don't miss this exciting event which starts at 6pm.

If you are under 25, interested in theatre and looking for an opportunity, Thespo 13 is here for you. Find out how you can get involved in acting, writing, directing, graphic design, film-making, and much more!


Also remember - Last date of Registration for full-length plays is 1st September 2011. So Register Now!!!

How you can get involved:

* Stage a Play: Any play on any topic. Must be at least 1 hour long.
* Short performances in a non-regular space are held before every show. (Includes mime, short plays, poetry reading, monologues, etc.)
* Attend a Workshop: Workshops each month conducted by eminent theatre veterans on a variety of topics.
* Design A Poster: Poster designing competition, where participants design posters for the short listed plays, which will be exhibited at the festival.
* Write an Article: Submitting an article on theatre for the festival magazine.
* Join Team Thespo: Design posters, sets, interior décor, work in PR, marketing, backstage, lighting, interact with theatre professionals, organize performances and a whole lot more. 

Thespo 13 - Get Lucky!

For an overview of last year's festival, watch the video here.

For further details: 2639 2688 /Join 'Thespo' group on Facebook/ www.thespo.org

> Friends of Thespo

Become a Friend of Thespo TODAY!

Come be a part of a community of Thespo-lovers.

The purpose of Friends of Thespo is to build a network with Thespo lovers. Allow us to keep track of those that have moved on past the 25 year old barrier, and to keep a connection going. Allowing ex-Thespoans to ensure that the assembly line of theatre lovers continues.

The features of Friends of Thespo is relatively simple:

For a fee of a minimum of Rs. 2,000/- we will provide the following:

· A Free Friends of Thespo Tshirt

· Two Free Tickets to any performance during Thespo 13.

· Priority booking with regards to tickets for shows.

· A Free Thespo 13 Magazine.

All you need to do, is email us on fot@thespo.org saying that you are interested, and send us a cheque in the name of “Theatre Group – Play Thespo” and we will provide you with a FoT registration number, which you can quote when booking or collecting you tickets.

So don't delay...become a FOT today!

> Point of View

                                                ME GRANDAD ‘AD AN ELEPHANT!

“Me Grandad 'Ad An Elephant!”. Quite weird name, and took me a while to remember. Was that just me or it happened to others too.. I wonder!

I was recommended this one by someone when it played last at Prithvi (if I am not mistaken) but I could not make it then. So, NCPA, 7pm show on Friday was perfect, given the fact that my workplace is just across the road.  

Me Grandad.. is an adaptation of Vaikom Mohammad Basheer's story of the same name. It is a simple story of a Malayali Muslim family in a village from North Malabar. The central character of the story is this young girl of marriageable age. The story revolves around her desires and her conservative Muslim family’s (especially her mother) expectations from her and the changing equations of the relations with downfall of family fortune. It is a very simple story but very beautifully presented by NOT QUITE THERE & HI9H-POT-IN-USE-TRI-AN9LE.

The play begins with introduction of riches of the family of Kunjupattuma (Ahlam Khan) and her family members and the elephant that belonged to Kunjupattuma’s maternal grandand. Initial part of the play which goes on and on about the elephant gets a little annoying but as the story progresses the reference becomes interesting and relevant to the undercurrents of the story. 

As the father (played by Aakarsh Khurana that day) loses his fortune to a dispute with his sisters, the mother (Ayesha Raza) starts losing her mind. The darling daughter Kunjupattuma, is no more darling daughter, she becomes the root cause of all the misfortune.  

Ahlam Khan’s character is of an innocent, ignorant young girl who is brought up on the stories of how she will marry the best and spend all her life with him. Her ultimate goal is to be able wear a saree and bodice and bear children of “the one” she is destined to marry. However, as the father loses his fortune, her marriage prospects become bleak and her mother’s tantrums add to her misery. The journey of Kunjupattuma from a rich, carefree girl to a poor, responsible yet ignorant girl who falls for a young educated guy in neighbourhood was wonderful.  The moments between her and Nisar were so very endearing.

Ayesha Raza, as Kunjupattuma ‘s mother was fantastic. She plays beautifully the character of a spoilt daughter of a rich and respectable man of village, who cannot cope up with the downfall of fortune. She is unable to forget the days of her past glory and makes life miserable for her family. But, the audience does not hate her; she gets all sympathy from us.

Zafer Karachiwala and Dilshad Ebrahim’s entry bring pace to rather slow moving story. Zafar as Nisar Ahmed was fantastic. It was heart-warming to see his relationship with Kunjupattuma who is hardly educated as against his educational and cultural background. He is protective towards Kunjupattuma be it when she falls in a pit while saving a sparrow or be it when her mother attempts to get her free from clutches of “bad spirits” with help of a witch doctor. The chemistry between the Nisar and Kunjupattuma exudes warmth.

Dilshad as Nisar’s teenager sister studying B.A. was just superb. She brings the stage to life with her innocence and pranks. She was just fantastic when she realises that her brother and her newfound best friend are in love and her friend would be in a position of authority over her by virtue of that relationship. The entire audience was in splits with her outburst of emotions.

I would have loved to watch Tom Alter playing the father but Aakarsh was as dignified. Especially, in his encounter with Nisar, where he is trying to protect honor of his wife though he is ashamed of her behaviour.

The story was well supported by the chorus of narrators. A special mention to them because without them the story would not have moved ahead. They all were so cute, especially each time the elephant’s reference came.

What I also liked about the story is that it makes subtle comments on the Muslim community in Kerala. It shows the conflict not only between Hindu and Muslims but also within the community between the progressive and orthodox faction. However, while doing this it is nowhere preachy or provocative. The commentary just goes with the flow of the story.

There were some beautiful light effects, especially the scenes by the water lily pond. The sound and choreography was catchy. The set was very simple and the transitions were super smooth.

Overall, it was really an enjoyable evening watching this musical story of Kunjupattuma.   

> 4 Corners

Jasmin Vardimon - YESTERDAY

A means to share, describe and reminisce.

Living in a city littered with performances every evening (London), drives me to pick a few every odd month. And while I watch them, I take mental notes, sometimes grab a quick unobserved image over my phone or record a sound piece to take back home and store up within the bank of things I will go back to every now and then.

I walked into THE PLACE at Euston square almost a year ago, knowing not very much about Jasmin Vardimon. I'd heard of her prowess over the artform given her presence at a few dance festivals that friends had once mentioned, but save that and a few youtube videos (to check if buying tickets would be worth my while), Jasmin Vardimon Company, wasn't particularly within my umwelt.

If a retrospective of ten years of work looks like what I saw that evening, it sets a very high benchmark for any artist in any sphere of performance to live upto. For a company to produce a body of work that braids technology, dramaturgy and dance so rather seamlessly, is nothing but a feat unmatched. The performance draws in it's audience as they walk in and take their seats. And the long curtain call almost cheers out an encore.'Yesterday', the retrospective piece by the Company is a tale of triumph, of endurance, dexterity and above all, a collective notion of enraptured space and time. A movement pattern etched out so completely on a palette that comprises the human body, the lines in space and driven form, music , technology and carved space within an intimate setting for a captive audience. It defies every rule in the game, every note on the score and every point of contact with the piece that the audience already presumes. The performers, aren't smaller cogs in the wheel that turns deftly and spans a duration of evocative latitudes. They are, but the larger system that allow the weft of technology and stage properties to be woven within. The affordances of the object, the human body, the screens, projections, lights and sound are stretched elastically and they garner shape that the choreography lends them to creating multiple strata of poignant frames and freezes that progressively form the whole.

The performers almost lend their bodies to the performance and stand away, in ekstasis, watching their limbs take forms that instill meanings and methods beyond their own means. The bodies buckle, fall, bounce and drift across the stage like marionettes in the hands of a lucid dreamer. Their skins become almost transluscent media for creating larger pieces of automatic art, canvasses for detailed maps and elongated mindspaces. The facets tell their individual stories yet they don't add up to the whole. Infact, the summation of piece lies in grander truths that the performers explore and astutely convey. Form dissolves into darkness and the eye traces the outlines of what remains or may have been. Escapades and stolen notes from diaries of youth come to life upon a stage set afire by souls in stop motion, watched in their personal staccatos and legatos. One stares into a theatre laboratory and finds a madhouse of scientists busy at work, imploding intentions and preserving the inviolate.

The collective energies propel the performance into a league, unmatched. The narratives seep in from the lacuna, as the performers breathe spirit into the ordinary and make it indelible. Humor, strikes its note and the falsetto echoes a sympathetic chorus. The dramaturge, sits perched on the throne (or in this case, the chaise lounge) the choreographer sits nimbly upon, with those who infuse the night. His role, is perhaps the most pivotal in the series of works that the audience is subjected to. And as elements of mass choreography tend to play repetitions (which does help hold the performance together, though I did hear people complain about similar routines), the dramaturge smokes his pipe and blows rings in phosphorescence. Thermal screens, live projections, stylised videos, animated sequences, simplistic prop elements and costume, basic percussion and lighting plots set the ball rolling. In this case, it's almost a dribble run.

Each piece is short, concise and structured within the meta-narrative almost gleefully. The dancers emote, sing, squeal, shout and thump almost as well as they swing their sinewy frames across a gargantuan expanse that seems too little to contain them. Yet, they stop when they do, robotically, mid-motion, mid-air, mid-speech, mid-thought and mid-intention, choreographed, almost by a ghost pull or swerve that changes their trajectories and delights at newer syllogisms.

The audience, on its part, forgets to breathe. Some, forget they gape. I think I did also observe people clasping shut the mouths of those they accompanied as the performers lined up for a curtain call.

A standing ovation, but obviously.

Introspective.

Retrospective.

To find some of their work, here's a youtube lead.

Similar searches may reveal more recordings. Certainly, a performance company, way up on my list of favourites.

> Dolly Thakore's 'Life in the Theatre'

SHOWTIME FOR SUJAYA FOUNDATION

A recent news item about film actor John Abraham wanting to do a theatre workshop with Naseeruddin Shah must have caught the attention of many readers.  It is bound to provide a much-needed boost to theatre and its practitioners.  As it is the newspaper columns regularly announce numerous workshops for varying ages and purses.

But what delighted the cockles of my heart was the Sujaya Foundation’s Language, Thoughts, and Theatre Showtime at the Tata Theatre in Mumbai last month.  And the ‘sutradhar’ came on to explain that since cricket and football and such like engage and entertain the participants and onlookers alike, the organisers had devised a theatre sport with coloured score cards which involved the audience voting for the best team of six groups that were to perform.

Those who are interested in more than just fashion and sports, may be aware that there is a demand from the lesser privileged who attend Municipal Schools to introduce English as a subject to be taught to them for better prospects in the world outside.  And the objective of the Sujaya Foundation founded by Neelambari Rao is to introduce language and bring about this change for the betterment of the underprivileged.

To quote from the programme brochure:  Aristotle was the first to mention ‘improvisation’ as being at the source of theatre.  In the centuries that followed Improvisations were used by vagabond theatre groups that performed on secular occasions.

The Italian Commedia dell’Arte used this form to diffuse social messages up until the 20^th century, In the 1980s, this technique was found to be very useful in teaching languages.  And the Sujaya Foundation adapted this technique to allow the children to play out their interpretation of the world.  While the ideas and the story was their own, the children were given time to practice with their teams – divided into red, pink, yellow, green, blue and orange.The children were from varied backgrounds studying in vernacular medium schools.  Speaking English is aspirational and hard work for them. So they had to make it entertaining.

Sujaya Foundation very admirably displayed how they used this theatre technique -- not only for acquiring language skills but also as a means for the kids to reflect, to wonder, and to venture into new ways of thinking and being.

The children had to put on a show without a script; to observe what is happening in the world around them, and create a story about it – create a setting, create credible characters, get the story to roll and climax – and all within the span of one minute.

It was their awareness and sensitivity to the world around them that amazed me. I’d like to share some of the themes that the children tackled….

Amchi Mumbai – about all the green spaces being taken over by the hotels; the constant refrain of turning Mumbai into Shanghai and an international city – while   there was flooding all over, and  local residents swimming in overflowing roads and gutters!!

The next theme was about Fair & Lovely….girl going for a job interview and keeps preening ‘I am fair and lovely’ but the dark one gets the job; the mother who keeps boasting about her fair and lovely daughter, but when blood transfusion is required it the dark boy who comes forward and helps; another fair and lovely who fails and the dark one who passes.

Another delightfully topical theme was about Osama – with all his wives fighting over him.  And the conclusion they don’t need the Americans to kill him off, the wives will finish him!

It was one of the more exciting theatre evenings I have attended…so touching, and thought-provoking --and with an intention and message very close to my heart.

> AK's Various Thoughts

THE RHYMES AND TRYING TIMES OF JULY

July put us to the test.

First, simultaneous shows at two venues across the city.

Then an international tour that almost didn’t take off.

And then a weeklong trip down south that served up some bizarre and altogether new experiences.

But we got through it all and lived to tell the tale.

So here goes.

In rhyme.

Sort of.

JLT.

Getting public shows in Bombay is tricky business

Dates at affordable venues are hard to come by

So when NCPA offers us dates that clash with Prithvi

How can we give them up? We have to try!

Simultaneous set-ups in two corners of the city

Enough co-ordination to grey the darkest hair

So here I was putting up lamps and a deer head

While the lads were busy struggling with platforms there.

The shows went off well, and we moved on from there

To hours of packing and planning for an exciting trip abroad

But when you’re traveling to Muscat, getting a visa in time

Depends on the immigration department and on God

Visas were late, terror struck in the city, and traffic was mad

There was no way on earth we were making the flight

But Air India was super helpful, and we made it just in time

Only to be delayed since the pilot had suffered the same plight.

It was very hot in Oman, and the people were very warm

The food was great, and the actresses shopped in every mall

Some prudes said a couple of plays were ‘profane’ or ‘racy’

But the majority loved it, as was apparent in each curtain call

We came back for a few hours and left for Bangalore next

To perform in schools for children, which is always rather grand.

A good show in a forest, followed by a show with no sound

Which led to the ordeal of performing with cordless mics in hand.

The rest of the shows were solid and mostly uneventful,

The kids were happy, and there’s a chance we’ll be going back.

August seems to have some breathing space as of now

But a couple of new productions need to get back on track.

Didn’t see any plays this month, even missed What a Lota!

Also missed Memorandum and The Real Inspector Hound

Need to catch Falsafa, though I’ll miss Stories in a Song again

What on earth should I write about if I’m never around?