NewEnergyNews: Dream Catcher -- ripped from the headlines, torn from the heart

NewEnergyNews

Gleanings from the web and the world, condensed for convenience, illustrated for enlightenment, arranged for impact...

The challenge now: To make every day Earth Day.

YESTERDAY

  • Weekend Video: Good News On Climate – The Public Is Starting To Get It
  • Weekend Video: The Libertarian Failure On Climate Change
  • Weekend Video: New Energy Is Doable – And Is Being Done
  • THE DAY BEFORE

  • FRIDAY WORLD HEADLINE-World Gets A Step Closer To Enforceable Climate Laws
  • FRIDAY WORLD HEADLINE-New Energy Ready To Power The World Future
  • FRIDAY WORLD HEADLINE-Sahara Sun Could Power The World
  • FRIDAY WORLD HEADLINE-World’s Biggest Offshore Wind Turbines Building Off UK Coast
  • THE DAY BEFORE THE DAY BEFORE

    THINGS-TO-THINK-ABOUT THURSDAY, September 22:

  • TTTA Thursday-Why Having Babies Could Be The Climate Change Answer
  • TTTA Thursday-Big Texas Wind Backed By Amazon
  • TTTA Thursday-Big Sun Sparkles In Nevada
  • TTTA Thursday-EV Racing Coming To The Streets Of Brooklyn
  • THE DAY BEFORE THAT

  • ORIGINAL REPORTING: In The Wake Of The Massive Aliso Canyon Leak
  • ORIGINAL REPORTING: The Rise Of Distributed Energy Resources Goes On
  • ORIGINAL REPORTING: Community Solar Matures And Evolves
  • AND THE DAY BEFORE THAT

  • TODAY’S STUDY: A Snapshot Of U.S. Solar Right Now
  • QUICK NEWS, September 20: Survey Shows People Oppose Fossil Fuels; Solar Bargain Hits World Record; China In Record Wind Build Rate
  • THE LAST DAY UP HERE

  • TODAY’S STUDY: A Utility Puts Out Its Vision Of New Energy On A New Grid
  • QUICK NEWS, September 19: People Will Pay To Fight Climate Change; Wind To Keep Getting Cheaper; Tesla Batteries To Ease Aliso Cyn-Caused Power Shortfalls
  • --------------------------

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    Anne B. Butterfield of Daily Camera and Huffington Post, f is an occasional contributor to NewEnergyNews

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    Some of Anne's contributions:

  • Another Tipping Point: US Coal Supply Decline So Real Even West Virginia Concurs (REPORT), November 26, 2013
  • SOLAR FOR ME BUT NOT FOR THEE ~ Xcel's Push to Undermine Rooftop Solar, September 20, 2013
  • NEW BILLS AND NEW BIRDS in Colorado's recent session, May 20, 2013
  • Lies, damned lies and politicians (October 8, 2012)
  • Colorado's Elegant Solution to Fracking (April 23, 2012)
  • Shale Gas: From Geologic Bubble to Economic Bubble (March 15, 2012)
  • Taken for granted no more (February 5, 2012)
  • The Republican clown car circus (January 6, 2012)
  • Twenty-Somethings of Colorado With Skin in the Game (November 22, 2011)
  • Occupy, Xcel, and the Mother of All Cliffs (October 31, 2011)
  • Boulder Can Own Its Power With Distributed Generation (June 7, 2011)
  • The Plunging Cost of Renewables and Boulder's Energy Future (April 19, 2011)
  • Paddling Down the River Denial (January 12, 2011)
  • The Fox (News) That Jumped the Shark (December 16, 2010)
  • Click here for an archive of Butterfield columns

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    Some details about NewEnergyNews and the man behind the curtain: Herman K. Trabish, Agua Dulce, CA., Doctor with my hands, Writer with my head, Student of New Energy and Human Experience with my heart

    email: herman@NewEnergyNews.net

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      A tip of the NewEnergyNews cap to Phillip Garcia for crucial assistance in the design implementation of this site. Thanks, Phillip.

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    Pay a visit to the HARRY BOYKOFF page at Basketball Reference, sponsored by NewEnergyNews and Oil In Their Blood.

  • ---------------
  • TODAY AT NewEnergyNews, September 26:

  • TODAY’S STUDY: The Future Of Offshore Wind Foreseen
  • QUICK NEWS, September 26: The Sonification Of Climate Change; Wind Is Red, White, And Green; The New Hybrid Solar-Storage Concept Module

    Friday, February 05, 2016

    Dream Catcher -- ripped from the headlines, torn from the heart

    Artistically, Dream Catcher, a new play at the Fountain Theater in Hollywood, is satisfying in every way. And it is much more.

    When Brian Tichnell’s Roy comes rushing onto Director Cameron Watson’s wide round stage to join Elizabeth Frances’ Opal on Jeffrey McLaughlin’s set of desert dirt and engaging skyblue backdrop, questions rush the audience into the multi-layered plot.

    The lighting by Luke Moyer captures a desert brightness that might seem flat if it didn’t suit so well the emerging action that goes round and round in a confusion of questions and not quickly explained tensions.

    Roy and Opal are young and excited with a lot on their minds and life racing through their blood. They are immediately recognizable members of today’s millennial generation, he in costume designer Terri A. Lewis’s Gap khakis, badly pressed dress shirt, and bland tie, she in Target jeans and a snug denim vest that doesn’t conceal her tatted shoulders and tramp stamp.

    Roy is an impassioned young engineer for Suntech, a utility-scale solar development company readying a Mojave Desert groundbreaking on a concentrating solar power project. The massive installation is backed by an $800-plus million federal loan guarantee.

    Roy has been on this Mojave ground and away from his suburban Boston home for months, guiding project preparations, driven by his unwavering belief that this is a crucial effort in his generation’s heroic and vital fight to turn back climate change.

    Opal is a beautiful young native of the Mojave, an heir to its native peoples and an heir to the plight of its native peoples’ struggle with under-employment and dead-end opportunities.

    Their hot encounter at the Mojave’s Rusty Nail bar has swept them along in a testosterone-estrogen storm to the moment the play opens. He enters exuberant about the project’s imminent groundbreaking to her as yet unexplained moody mix of impatience and withdrawal.

    They play a strange game of anxiety and avoidance that stirs all kinds of passions in both of them until she finally reveals her secret: She has followed the guidance of a dream and discovered human bones, bones of her people, on the land where Suntech plans to build.

    If she reveals her find, the federal loan will be withdrawn and the project will be stopped, Roy tells her.

    But how can she turn her back on her ancestors? She asks him.

    So begins a journey for these young searchers that turns into more than just the ripped-from-the-headlines conflict of solar development versus sacred ground when it becomes clear their struggle is tearing at their hearts.

    It is environmentalists versus progress, the holiness of the past versus the desperation to salvage the future, the needs of the many and the needs of the few.

    It is still more. It is her need to trust her heart and live up to the traditions she so poorly inherited from her mother versus his need to know and to prove himself in business. It is her need to stand up for herself and his need to stand up for the earth. It is his pressing sexuality and her urgency to be loved.

    This list of some of the opposites their struggle eventually embraces is an injustice to Sachs’ writing and the acting talents and Frances and Tichnell because the tensions of these opposites are almost never abstract. As the actors passionately circle this piece of seemingly desolate and yet all too crowded empty desert space, themes cascade over the audience.

    The opposites come through an engineer’s plain-spoken scientific preaching about the urgency of climate change and his admissions about the strengths and weaknesses of his solar solution. They also come through the darker and yet simpler language and insights of a reservation girl raised on Native American myths of darkness and light.

    It is an easy and yet difficult play to watch, easy because it is unpretentious storytelling and difficult because the dualities threaten to overwhelm the audience just as the conflict threatens to ruin Roy and Opal.

    There will be no plot spoilers here. The play suggests simple power dynamics expressed through money or gender politics may resolve everyday dualities.

    But a more profound metaphysical desert of the spirit or the soul or the eternal earth may be what ultimately will have its way.

    Credits: Author: Stephen Sachs/Director: Cameron Watson/ Starring: Elizabeth Frances and Brian Tichnell/ Producers: Simon Levy and Deborah Lawlor

    Set design: Jeffrey McLaughlin/Lighting design: Luke Moyer/Costume design: Terri A. Lewis/Composer/Sound design: Peter Bayne/Prop Designer: Terri Roberts/Production stage manager: Emily Lehrer/Technical director: Scott Tuomey/Publicist: Lucy Pollak

    At the Fountain Theater/5060 Fountain Ave., Los Angeles, CA. 90029/323-663-1525

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