The text of the 1994 Obie award winning solo by writer/performer Danny Hoch.
"synopsis" may belong to another edition of this title.
Excerpts from the introduction to SOME PEOPLE by Danny Hoch:
Peace yo! Welcome to my book. I'm a third generation New Yorker, lucky enough to grow up during the birth of Hip-Hop culture on a towering brick and asphalt outer-borough neighborhood, where there was no racial majority or minority. I trained as an actor, to play everything from Moliere to Tennessee Williams to Sam Shepard to Samuel Beckett to Shakespeare, even Neil Simon. It was invaluable, and probably saved my life from some of my teenage ill-street escapades.
There was one problem. Although my teachers were wonderful, I was being trained to drop the languages I grew up with. In order to be a successful' actor, I was supposed to forget all of the rich language that was my whole cultural foundation. I was destined to be in a Broadway or Off-Broadway show, movie or TV show that had nothing to do with the people or stories from my community, or even to do with my generation. Tom Stoppard and Harold Pinter don't write about Grandmaster Flash or Disco Bar-Mitzvahs or Mofongo. To put it Brooklyn-style, I had mad beef with this situation.
Theatre is ABOUT language. Oral, physical, and spiritual language, and that's it. If I can't relate to the universality of the character's language; if I'm excluded by the abstraction of the art taking place; if I live in Brooklyn and all I get to see is ARCADIA, HOME IMPROVEMENT, THE ENGLISH PATIENT and THE MARTIN LAWRENCE SHOW, then what's's the point? There is no pathos, no catharsis whatsoever in the intellectual bullshit that calls itself art and entertainment. We sit there thinking about the holes in our socks. Or maybe we laugh or cry. But all we're permitted to do is laugh or cry at the characters, not at ourselves. We sit passively entertained, instead of actively engaged.
I wanted no part of this theatre. It defies the theatre's intentions. Theatre is for the people. Not just SOME people. Somewhere around the time I was eighteen, I decided to make my own theatre. All of the stories, voices and characters that I felt were important, I put on stage. I wrote' it orally in front of audiences. The characters were not confined to a page. They were alive, allowed to breathe, to go wherever they wanted. Eventually, I would keep the good stuff and get rid of the bad stuff and -- boom -- I had a show......
In the United States, because of our young sense of cultural history, we are not terribly familiar with solo theatre. We are, however, accustomed to stand-up comedians, talk-show hosts, mimes, magicians, politicians, rabbis and priests. Those are the solo performers we are accustomed to. Well, I wanted to be an urban GRIOT for the communities of urban North America.
I don't tape record or interview people to then play them on stage. A few people think I am some anthropological/theatrical case-study guy. This is my world! These are my inner monologues, layered composites of stories and voices from me, my family, my neighborhood, my people. I think all the hoopla about my work comes from people not being accustomed to seeing traditionally PERIPHERAL characters. In a center stage settings. Well, these characters are center stage in MY WORLD....
One last thing - although this is a book of monologues, this is a play. It is a book of monologues which is a play. Although I wrote SOME PEOPLE down (like my Director Jo Bonney old me to) the characters have evolved over the course of many performances. Even after SOME PEOPLE opened at PS 122, the Public Theatre, and throughout touring it, it changed. This edition is based on the last round of shows I did in 1996, and contains the full, uncut monologues that appeared in the 1995 HBO special, as well as three other pieces from the original live show that didn't make it to HBO - Madman, Al Capn and Flex.From the Back Cover:
Call it theatre, Performance Art, or Spoken Word. Whatever you call it, SOME PEOPLE is an outer-borough/inner-city solo performance adventure and tour de force by actor/writer Danny Hoch. New York City's rich oral languages come alive on the page, as Manhattan Boricua English, Brooklyn Polish, Bronx Dominican Spanish, Queens Trinidadian English, Jamaican Patois and Hip-Hop spit get all flipped and flexed centerstage, in a cityscape of Chinese Take-Outs, Late-Night Radio Studios, Dancehall Spots, and Tenement Apartments, by a hardcore rapper/sentimental lover, a media-paranoid yuppie, a grieving father, a concerned mother, and an AIDS-phobic yet identity -conscious young straphanger.
"About this title" may belong to another edition of this title.
Book Description Caseroc Productions, 1998. Mass Market Paperback. Book Condition: New. book. Bookseller Inventory # M096635060X
Book Description Caseroc Productions, 1998. Mass Market Paperback. Book Condition: New. Never used!. Bookseller Inventory # P11096635060X