I Want to Do Damage!

1976 Pacer – What happy car!

I am a pacifist. Totally, impractically, naively against all forms of violence. I have never hit another human being. And no one has ever hit me. (I am exempting my belt-wielding father who hit all kinds of things because, well, that kind of thing was accepted in the early ‘60’s). True, I possess a temper that can flare hot and impulsive as a gusher, but it never explodes through a gripped fist, a baseball bat, or (god forbid) a trigger.

For thirty-two years I’ve lived in a neighborhood, Strawberry Hill, whose 1, 2, and 3-family houses used to be inhabited by working families, predominately Italian, on the furthest edge of Cambridge. As far as you could get from hip Harvard Square within the same zip code. Back in 2018 I marked Strawberry Hill’s evolution from an enclave of electricians, mail carriers, and fire fighters, to one of consultants and professionals, and though I acknowledge to being a pioneer in that transition, at least I’ve never succumbed to my environs’ most blatant sign of limousine liberalism: I don’t own a Tesla.

Today, any lingering hipness in Harvard Square is corporate illusion, while my dual-Tesla-owning neighbors have fixed a sticker to their bumper: “I Bought this Tesla Before Elon Went Crazy.” But the more worrisome change is personal. I am possessed by a wanton desire to do violence.

The Cybertruck has invaded. And I want to beat on it.

It is an established fact that our society has grown less civil; less tolerant; more enraged. And our vehicles match this descent. The bodies have grown bigger, the windows smaller, the grills angry. Remember the 1970’s Pacer? So much glass, it looked like The Jetson’s space cars. Compare them to a 2021 Lexus, with its pinched grill, mammoth sides, and narrows windows. A tank for soccer moms.

Lexus’ are definitely anti-social. But they’re meek compared to the turbo-tanked Tesla Cybertruck. How can these things even be allowed on our streets?

Two of the beasts have arrived in my neighborhood. I see them often, their cold grey steel and slot lights and sharp angles taking up too much space on our narrow pavement, menacing in their domination threats. Every time I see them, my blood pressure surges, and I yearn for a bat. I’ve never been called upon to test my testosterone levels, but I’d gladly have it measured while beating the crap out of those unwelcome machines.

The good news is that I don’t carry a bat. So the Cybertruck owners in my neighborhood (those mother$&*#@ers) are safe from me doing any damage beyond mere imagination.

The even better news is that, apparently, Cybertrucks are lousy vehicles. They’ve all been recalled due to accelerator problems (all bullies have accelerator problems). Some have electrical problems that result in random shut downs. A few have even gotten stuck and have been towed out of mud by, gulp, Ford pickups.

Like so many swaggering bullies of our era, Tesla Cybertrucks are wimps hiding a false coat of armor. Apparently, their tough looking steel finish is easy to scratch and stain; difficult to clean. They can actually be damaged by a conventional car wash! I’ve been thinking, maybe, I might toss an egg at one and give its over-inflated owner a buffing challenge.

But in truth, I’m too much of a pacifist for even that. Besides, I’m take solace in the hope that the Cybertruck will wither to insignificance under the weight of its own delusions of importance.

SKA Architects actually put their logo on their behemoth! An embarrassment to the profession.
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Pru Payne

Pru Payne

Speakeasy Stage

By Steven Druckman

Directed by Paul Daigneault

October 18 – November 16, 2024

Gordon Clapp and Karen MacDonald in Pru Payne. Photo credit: Niles Scott Studio

The twenty-first century has ushered in a new form of drama: the dementia story. Hollywood apparently loves to see nature actors unravel, bestowing Oscars on Julianne Moore for Still Alice (2014) and Anthony Hopkins for The Father (2020). My personal favorite Alzheimer’s film is Sarah Polley’s Away from Her (2006). Based on an Alice Munro short story, it stars Julie Christie as Fiona, a woman who withers before our eyes. When Fiona deteriorates to the point that an institution is required, she sparks a sudden, illogical, romance with another resident, much to the despair of her devoted husband.

A parallel relationship fuels the drama in Pru Payne, a five-actor play in which an intellectual, opinionated creative critic crashes through cerebral crevices to collapse in a confining clinic. (The play features exhaustive alliteration, of which I will spare you any more). While under ‘observation’ Pru falls for fellow patient, Gus, the custodian/bus driver of a local prep school. They each have one son, who were brief lovers years ago at that prep school. The subplot of these boys all-grown-up reuniting in the gay-sex-wary year of 1998 is as completely predictable as the love story between Pru and Gus is unexpected. And therein lies the challenge—and opportunity— for playwright and audience member.

The relationship between Pru and Gus is unbelievable as every level, except perhaps the level of dementia. For though there’s much we don’t know about the condition, we do know that as it clouds certain dominant aspects of a person’s character, it often unveils unexpected attributes and affinities. In their right minds, Pru and Gus would have barely passed the time of day. She’s an aloof, critical, never-been-in-a-relationship woman (her son, who’s Black, having been born by strategic insemination as a weapon against writer’s block). He’s a likable stump. Their passion defies credibility, which, in the context of dementia, gives it credibility.

Once we dismiss all of our misgivings about Pru and Gus as a couple, the strange dichotomies that are dementia come to the fore.

Pru Payne isn’t a great play, but it lingers in your mind because of the courage playwright Steven Druckman took in pairing these unlikely lovers. Speakeasy’s austere production with its bare stage, clinical curtains, and five cafeteria-style chairs is too cold. If the dialogue didn’t remind us, often, it was 1988, we’d have no way of knowing. I was there; 1988 was mauve. Still, the austerity focuses our attention to the production’s strongest asset: the indomitable Karen MacDonald.

Karen MacDonald in Pru Payne. Photo Credit: Niles Scott Studio

Karen MacDonald has been a Grande Dame of Boston theater for years. One of the final members of the A.R.T. back when it was true to its initials—a reparatory company—Ms. MacDonald is a regular in memorable roles with The Huntington, Lyric, Speakeasy, and other local theater companies. Karen MacDonald is always good. In Pru Payne, she is amazing. She inhabits this brilliant, difficult, unfulfilled woman with gravitas and humor. From her strident opening monologue to her final dithering in a wheelchair, Ms. MacDonald illuminates an eighty-minute spiral from the apex of personal capability to the internal confusion of a hell none of us ever wants to enter.

Karen MacDonald is the real reason to see this Pru Payne. Or as she caustically rephrases her own name in a moment of demented clarity: Pru-Dense-Pain.

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Once Upon a Time…

Nassim

The Huntington

October 4 – October 27, 2024

The set of Nassim on October 9, 2024. Photo by Mike Ritter.

I try not to know too much about a movie or a play before I see it; I like to form my own impressions. But often it’s difficult to duck the media onslaught in advance of a premiere

In the case of Nassim, I knew it was more performance piece than conventional play. I knew that playwright Nassim Soleimanpour offers a one-person show that features a different special guest at each performance.

The evening before the Press Opening I had dinner with a theater-friend who’d seen Nassim in previews. No spoiler alerts, but she wondered who’d be special guest for the press. “Maybe Michael Maso?” (recently retired Managing Director of The Huntington and Boston theater hero).

“I don’t think so,” I said. “I’d go with Jared Bowen.” (WGBH Arts Reporter and all-around-town handsome, witty man.)

“Oh, that would be great,” my companion replied. “Give the press one of their own up on the stage.”

The following evening, as I entered the Wimberley Theater at The Calderwood, I smiled in satisfaction. A table sitting on the mostly black, mostly empty stage contained a cardboard box with the name: Jared Bowen.

Jared Bowen at Nassim. Photo by Mike Ritter

The premise behind Nassim is simple as it is effective. When the stage manager concludes the usual pre-show housekeeping announcements, he introduces the evening’s special guest. Jared comes on stage and gets his instructions: open the box, follow the directions, and perform the script. No prior exposure; no rehearsal. Oh, and by the way, the script is 456 pages long.

Stage Manager leaves. Jared opens box. Finds a single piece of paper that directs him to read whatever comes on the screen. A large screen illuminates, and Jared starts to read. It’s awkward. It’s funny. Jared figures out he’s only supposed to say normal case words out loud (italics are stage directions). Whoever is manipulating the illuminated pages has a sense of humor.

After a while, the script requires Jared to try to pronounce words in Farsi, which proves farcical. But the man behind the screen, much as the man behind the curtain in Oz, proves to be gentler, kinder than one might imagine. A simple tale emerges, about a boy who lives in a house with a balcony, whose mother reads him stories of a little bear. Eventually, Jared is invited to meet the man manipulating the screen. He leaves the stage and appears onscreen, with a greenscreen background of Iran. Soon thereafter, both Jared and Nassim Saleimanpour himself come to front stage. It’s difficult to explain why this is all so funny, yet it is. The audience is in hysterics. Except when we swoon in empathy.

Farsi and English are languages on far ends of the comprehension spectrum. Yet the story, simple as it is, is a universal one. And therein lies the genius of the piece. A playwright from a country that we are more or less conditioned to hate, a place where the populace is indoctrinated to hate us, threads a lovely needle of commonality.

Nassim has been produced all over the world. But not in Iran. None of Soleimanpour’s plays have ever played there. Yet, by the end of Nassim, Jared Bowen is telling Nassim’s mother a fairy tale, over the phone, in Farsi, because what Nassim truly wants, is for his mother to hear his play in her native tongue.

It’s a bit of a puzzle, why this play is banned in Iran. It’s not political in the least. But scratch the surface, or tickle the little bear, and you uncover the most subversive of all messages. That communicating with the enemy is good. That you might actually become friends. In a world where the powerful maintain control by mongering against ‘the other,’ where would the powerful be if we all just decided to be friends?

Nassim Soleimanpour at Nassim. Photo by David Monteith-Hodge

I’m particularly attuned to how theater can (must) be different from whatever’s available on a screen in order to be relevant in our world. Screens are ubiquitous; content is easy, cheap, and plentiful. So why go to theater? When I see a set whose primary element is a large screen a large screen, I shudder. I came to see live! Yet I know that my eyes will be drawn to whatever is projected over the physical action on stage.

Nassim tweaked my worries. A lot goes on the screen, but everything on the screen is live. The weakest portion of the show was when Jared went backstage and all we had was screen. When he returned, and Nassim joined, and the screen manipulation became visible, the fusion between theater and: You Tube; Instagram; you name it; was closer than I’ve witnessed.

Days after the performance, I’m hard pressed to deliver an elevator speech about the plot of Nassim. But I keep thinking about it. Which is cool.

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Bringing a Play to the Big Stage…and small stages…and free stages

October 1st is Nigerian Independence Day. This year, it also marked the kick-off of an impressive theatrical endeavor across Boston.

The Ufot Family Cycle is a series of nine plays written by Mfoniso Udofia, that follow three generations of a Nigerian-American family. Ms. Udofia, an American of Nigerian descent, grew up in Southbridge, MA and attended Wellesley College before heading west to American Conservatory Theater (A.C.T.) and a theatrical career that has taken her all over the country.

Over the next two years, thirty-three Boston-area organizations will collaboratively produce all nine of Ms. Udofia’s Ufot Family Cycle plays at a variety of local theaters, as well as in pop-up locations throughout the city. The scope of this undertaking was on full display on October 1, when The Huntington invited a crowd of philanthropic and theatrical folks to attend the first rehearsal of the first play of the cycle: Sojourners, which will run at The Huntington’s main theater from October 31-December 1, 2024.

Over a hundred people convened at the Michael Maso Studio for the noteworthy kickoff. The opening portion of the event included an overview of the entire cycle by Huntington Director of New Work, Charles Haugland, followed by introductions by playwright Udofia, and director Dawn M. Simmons, as well as presentations from the set, sound, and costume designers. I’m usually allergic to the workshop tradition of going around the room and introducing ourselves, especially with such a big crowd, but the breadth of representation at this event was so remarkable, I was fascinated to learn everyone’s involvement in this massive undertaking.

Afterward, playwright, director, and cast; dramaturg, dialogue coach, and assistants sat around a large table, while the rest of us circled our chairs and listened to the first read-through. In keeping with Loretta Greco’s (Artistic Director, The Huntington) winking comments to the press that no form of review is allowed, I will only say that the language of this play is beautiful, and I am looking forward to see it fully staged.

Walking home from the event I was struck by the complexity of putting together a work of theater: so many more people than we ever see on stage pooling their talents in light and prop, dress and sound to reinforce the words, movement, and emotions expressed on stage. Then, that fascination was eclipsed by the sheer wonder of undertaking this entire nine-play cycle. It’s a privilege, and a phenomenon, to live in a time and place where, within our culture of divisiveness and complaint, we can come together to create such a huge piece of art that celebrates our freshest Americans.

The 33 organizations bringing the Ufot Family Cycle to life. Image Courtesy The Huntington.

Where to See Sojourners:

October 31- December 1, 2024: The Huntington Theater Main Stage

Free Pop-up Performances around Greater Boston:

Wednesday November 13 at 7 p.m.: Riverside Theatre Works, Hyde Park

Tuesday November 19 at 7 p.m.: College of the Holy Cross, Worcester

Friday November 22 at 7 p.m: Zumix, East Boston

Tuesday November 26 at 6 p.m.: Roxbury Community College

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Dirty Rotten Scoundrels

Dirty Rotten Scoundrels

Moonbox Productions

Arrow Street Arts Center

Cambridge, MA

September 28 – October 20 2024

Matthew Zahnzinger, Phil Tayler, and Sophie Shaw in Moonbox Production’s Dirty Rotten Scoundrels.
Photo by Molly Shoemaker

Moonbox Productions‚ once again, delivers a top-notch production of a Broadway musical. This season’s opening score is Dirty Rotten Scoundrels, David Yazbek and Jeffrey Lane’s 2004 musical based on the 1988 movie. The set is sleek, the orchestra lush, the dancing phenomenal. Matthew Zahnzinger is suave as Lawrence Jameson. Shonna McEachern’s voice resonates all the way back to soap-queen Christine Colgate’s native Cincinnati, and Tader Shipley spins a star turn as an Okie Oil-heiress on the hunt. But the real reason to go is: Phil Tayler. This man can amp up any manic stage role to eleven. He’s so frenetic and hilarious you wonder how he can possibly sustain the energy through Act Two. But his zaniness spirals right through curtain calls.

The plot of Dirty Rotten Scoundrels is thin, really just a through line to link hysterical send-ups. A pair of con men—one sophisticated, one boorish—elbow each other for a French Riviera turf and then make a bet to see who can swindle an American heiress. The show has an old-school musical feel: the eight-person song and dance team twirl onto the stage on the flimsiest pretense. But who cares because they are so very fun to watch! Dance Captain Jake Siffert is a stand out in every number. I wish they could have found a way to solo showcase his amazing ability.

I attended the Press Opening, but due to some snafus in days before, Moonbox announced it would be a ‘soft opening:’ i.e. there might be few flubs. In fact there were. Some rocky transitions, a couple of dead moments, a few too many times when the dancers had to reference each other to make sure they were on step. All of which I am confident will get smoothed by the time you read this. On the flip side, the rare times when Matthew Zahnzinger or Phil Tayler missed a line during this dress-dress rehearsal they recouped it, in character, with such wit, they simply added to the silliness.

There are two significant elements of the show that disappoint: both due to problems with the play rather than Moonbox’s production.

First, the second act is too long. There had to be three, four, maybe even five places where I thought the show would end, but no, it kept on going, without offering any fresh satisfaction. Too much coming and going in an overly complex resolution of the plot (which we hardly care about anyway). I wished for one more big number so we could all exit humming and tapping.

Second, the characters are unlikable. No matter how wonderful Zahnzinger and Tayler are, they play—as advertised—dirty rotten scoundrels. For me, this is a problem in a musical. When we, the audience, suspend belief to the level that we accept people singing and dancing as an appropriate response to any joy or tragedy, we do it to embrace themes and emotions that rise to a musical pitch. Therefore, it’s important to like the main characters, even better to embrace their cause. Sorry, David Yazbek. The two low-life’s who headline this show are simply not worthy.

So, put aside any noble ideas and go see Dirty Rotten Scoundrels anyway. The surface fun that Moonbox delivers. Every bit as good as Broadway. As close as Harvard Square.

Shonna McEchern and cast of Moonbox Productions’ Dirty Rotten Scoundrels. Photo by Molly Shoemaker.
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Urinetown at Lyric Stage

Urinetown: The Musical

Lyric Stage Boston

September 20 – October 20, 2024

Little Sally (Paige O’Connor) tries to escape from Office Lockstock (Anthony Pires, Jr.) in Urinetown: The Musical.
Photo by Nile Hawver

What do you call a musical whose heroine spends the second act kidnapped, gagged, and bound to an office chair in an underground sewer? What do you call a musical whose hero dies an ignoble yet hilarious death? What do you call a musical whose intrepid chorus rebels against Power only to recreate the stink years? Obviously…you call it Urinetown: The Musical.

Lyric Stage’s production of this “exuberant musical comedy with a truly dreadful title,” is pitch perfect at every turn. The cast of fourteen, under Artistic Director Courtney O’Connor’s snappy direction, pour out of every niche and aisle of Lyric’s cozy theater, and fill the main stage with catchy songs, clever choreography, and punch lines that land solid in your gut. The set of shattered plumbing fixtures is effectively atrocious. Ditto the outlandish, threadbare costumes.

The plot of Urinetown is simple as it is broad. A twenty-year drought has delivered a shortage so severe that all water is rationed, dribbled out to the people by the private company UGC (Urine Good Company). People have to pay to pee! From that premise, no potty joke remains unzipped.

Urinetown premiered on Broadway in 2001, garnered ten Tony nominations, and won three. Like all great musicals, major themes underpin the lightheartedness. More than twenty years later, the show’s prescient exposure of our climate crisis, it’s satire on capitalism, populism, corruption, and bureaucracy percolates beneath the surface silliness. Nevertheless, the human capacity to rise in stirring song transcends evil, without ever dampening the hysterical antics of townspeople writhing to relieve themselves.

Even as Urinetown parodies corporate greed, so too it parodies itself as a Broadway musical. Theater aficionados will find traces of Kurt Weill, Les Miz, and Bob Fosse embedded in the song and dance. But you’ll be laughing so hard you’ll likely miss them. Not to worry. The tunes are so hummable, they’ll accompany you beyond the theater, and into the real world where—say it isn’t so Little Sally—we are running short of water.

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Leopoldstadt

Leopoldstadt

The Huntington

September 12 – October 13, 2024

Leopoldstadt at The Huntington. Photo by Liza Voll

Leopoldstadt is an epic play. The Huntington has created an epic production.

Tom Stoppard’s highly autobiographical play is the sweeping tale of an extended Jewish family from the glorious dawn of the Twentieth Century, through a pair of World Wars and the Holocaust, to the paltry trio who remain by the 1950’s. A story that could easily fill an eight-part television mini-series is contained to a mere two acts on stage, while infused with intellectually satisfying commentary on culture, politics, and mathematics that Netflix will never deliver.

The Huntington’s production rises, in every respect, to the daunting heights of the script. The set is all sinuous curved surfaces, rich in art-nouveau details that proclaim the glory of 1899 Vienna, even as they become downright gloomy by World War II. The opening scene costumes are sumptuous, while again, as each era proceeds, they become trimmer, even shabby.

The thirty-six characters spread over four time periods are portrayed by twenty-two different actors. In truth, I often did not know who was who or how they served the story, but the opening bustle of an opulent family gathering with sixteen mothers and husbands and cousins and children made the last scene’s meeting of the three remaining Merz’ all the more meager. Not to mention the repetitive power of the final lines, iterating how each of the extended family member died: Auschwitz. Auschwitz. Auschwitz.

The play is about the Holocaust. And so much more. Eldest son Hermann converts to Catholicism under the false illusion that assimilation will yield equality. Cousin Ludwig, the university mathematician who acknowledges that his life has no real purpose, lives comfortably in his quest to prove the Riemann Hypothesis, which posits how prime numbers are distributed. Mathematical puzzles permeate the play. I wondered what purpose they serve until cousin Ernst, keen to the reality that the affluence and surface acceptance of Jews in 1900 Vienna is impermanent, advises, “The rational is at the mercy of the irrational. Barbarism will not be eradicated by culture.”

Thus, this family descends into the hell of the Twentieth Century, Riemann’s’ Hypothesis remains unsolved, and the threat of barbarism eradicating culture shadows over us even today.

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Let the Season Begin!

The Hound of the Baskervilles

Over the years The Awkward Pose has evolved. This blog, initially centered on yoga, became a forum about Haiti post-earthquake, then a chronicle of bicycling across America (a couple of times) while our nation descended into divisiveness. Recently, it’s been a potpourri of personal essays.

For the past three years I’ve written articles about Boston-area theaters for NETIR (New England Theatre in Review). I’ve seen some extraordinary local theater—more than thirty performances last year alone. NETIR is an archival record, published after the theater season is over. Therefore, what I write is already history. So this season I’ve decided that when I see inspired local theater, I’ll post it to The Awkward Pose in real time.

Perhaps it will motivate local readers to attend some of the terrific theater Boston and Cambridge offer. Perhaps it will move distant readers to discover local theater wherever you live. Either way, I hope it will encourage everyone to support local theater, an art form that no screen can rival.

The Hound of the Baskervilles

Central Square Theater

September 12 – October 6, 2024

An empty stage. The ghost light. What a perfect welcome to a new season of theater.

Central Square Theater kicks off its 2024-2025 season with Steven Canny and John Nicholson’s creative retelling of The Hound of the Baskervilles, directed by Lee Mikeska Gardner and showcasing the versatility of three stellar females: Aimee Doherty, Jenny S. Lee, and Sarah Morin.

Yes, Watson, your deduction is correct. A mere three women present this entire Sherlock Holmes’ mystery, portraying a dozen or so Victorian men, along with a few rather dazzling damsels. However, truth be told, the piece lacks one major component of the original—it’s not the least bit scary. Rather, it’s funny. Very, very funny.

CST’s Hound is a riotous concoction of stodgy source material, stirred to a Monty Python level of comic excess, laced with pop-culture references, served up in female drag. Within the space of a few minutes I caught allusions to Barry Manilow, The Man from UNCLE, A Chorus Line, and Goodnight Moon. And the really weird thing is: each out-of-context reference makes perfect sense in this zany interpretation.

Not every aspect of the production is perfect. The set is rather banal, the stage is actually too large for all the bounding and hiding, and the second act goes on a bit too long. But such criticisms are minor compared to the perfect synchronization of actor, lighting and sound throughout. There are moments when the actors literally change character every line, but the audience stays with them because each character, no matter how minor, is so well crafted.

There are even moments when the actors play Aimee, Jenny and Sarah themselves, commenting on the play even as they are performing it. Ultimately, this meta- aspect of the play is what makes the entire evening so worthwhile—and hilarious. The quick change, the aside wink, the in-joke that we all get because we are all together in the flesh. These are elements of art and performance that do not translate to the screen. That energy, that passion, that sense of commonality can only be felt live and in person.

So don’t just sit there, reading this on your screen. GO!!!!

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Summer Fun of Water and Sand

I pedaled over to Revere Beach on a gorgeous July day to see the sand sculptures at the 20th Annual Revere Beach International Sand Sculpting Festival. Got say, Revere Beach is looking better than any time in my 40+ years around Boston. The crowd was large and friendly and full of energy. What the artists do with nothing but sand and water is amazing.

My favorite was “Fish Rising” by Karen Fralich of Canada. I loved the fine gradation as sand went from smooth to rough, as well as the sculpture’s dynamic shape.

Sculptors came from the US, Canada, Europe, even Japan. There were lots of girls and young women. Alas, not a single sculpture of a man.

Also, lots of cats; no dogs. This one had amazing fur.

The winner of all categories apparently captivated everyone but me. Congratulations to “Blending In” by Jobi Bouchard, also of Canada.

Happy August to all!!!

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The Circles of Verizon Hell

Several folks told us we had antiquated internet and streaming services; that Cambridge is no longer a Comcast-captive town; we should upgrade our package and pay less for more options. We made a spreadsheet of our respective costs, my housemate discussed what we wanted with a salesman in advance, and made an appointment at the Verizon store.

All images courtesy of Reddit

I showed up for our 3 p.m. appointment on time. A cheerful guy came up and said he’d be right with me, then went back to another customer. Dante’s first circle of hell is limbo, where I loitered as it became clear that the staff wait on people as they arrive. So why bother making appointments? More than fifteen minutes later, the salesperson attended to us. My doctor’s office is more punctual.

We had a list of the services we wanted. Combine our two phone lines to one account, add internet, MAX, Netflix and You Tube TV. The salesperson began with, “Let’s switch your accounts.” We paused. “First, we want a list of what this is going to cost.” “Oh, I can’t do that. You Tube TV is a separate platform and requires perk service.” “Do I buy it through Verizon?” “Yes, but I can’t give you that in an accounting.” “Why not?” “Because it’s a separate platform.” “So, can you give us the total cost, with the platform?” “No.”

This triggered the I-hate-to-shopper in me. I skipped right over the most enjoyable circles of hell: lust, gluttony, and greed, and dove straight into anger. “Don’t yell at me,” the salesperson said. “What do you want me to do? I ask for a monthly total of what this is going to cost and you tell me you can’t give it to me.” “I can give it to you, just not in a printout. I will have to add the YouTube TV by hand.” “Whatever.”

The salesperson jabbed his at tablet. This is one of those stores designed to be spare and uncomfortable. No real counters, no cash registers, just a quad of guys in black wandering with tablets. The lack of pen and paper make my nervous. Nothing feels solid.

“I’m having technical difficulties.” He kept poking. Finally, he disappeared and reappeared with a single piece of paper. The strangest price list I’d ever seen. The cost of Internet, with a discount applied. Blank space. The cost of my phone. An icon. The cost of my housemate’s phone. Turn over the second side. The cost of Max and Netflix. A credit for Loyalty 55+. A Bold cost of the next bill (including various start-up charges). Bold monthly cost.

Then the salesperson stated pointing at the sheet. “Ignore this $5. This $10 is for the YouTube Platform, then we subtract $15 from that. Add five dollars per month to the bold cost, and the $72.99 for YouTube TV service.

“Do you mind if I write on this?” “By all means, it’s yours.” I tried, unsuccessfully, to make notes of what he had said. Then I realized, all the line items were in my housemate’s name. We’d requested the service in my name. “We can’t do that because you have a metered service.” “Can I switch to an unlimited service?” Back and forth we went until, another bizarre price sheet later indicated that the same set of services in my name would cost $37 per month more than in my housemate’s name.

At this point I have descended beyond anger. Every word and printed figure illustrated circle six, heresy. Thus I arrived at the seventh circle of hell: violence. Fortunately for the salesguy, though I am a master of anger, I’m milquetoast at violence. Never hit a person in my life and besides, this guy’s just a pawn in corporately concocted confusion. We are not supposed to understand our internet bills, by design.

To save the mysterious $37, we agreed to put everything in my housemate’s name. I envisioned the hell that will ensue should he ever move, but the near-term result was good for me: after a few more password exchanges, I was free to go.

Since you’re always just one bike ride away from a good mood, I took a nice pedal along the river to cool my jets and rise out of Verizon hell. When I got home an hour later, I was surprised my housemate wasn’t there. Until I got a call from him. Still at Verizon where they needed me for another round of password exchanges. To what end I do not know.

Finally, after two and half hours in the store, my housemate returned, apparently all settled. We had a drink and shared our frustration until we could laugh about it.

The next day my housemate got a call from the salesguy. The discounts on his quote were wrong; our service will cost more than he described. I expressed no surprise. After all, the eighth circle of hell is: fraud.

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