Also, philosophy, theology and metaphysics. I know next to nothing about any of them, but they seem like worthy disciplines of interest.
I'm very much interested in astral projection. In fact, I've read many books on the subject, practiced all the suggested exercises, but still remain unchanged and within. I guess I am not willing to enter the state of mind that would actually allow belief. Perhaps my interests are purely academic and I'm not as adventurous a soul as I pretend.
I enjoy browsing yard sales and thrift stores. I've never met a movie I couldn't find something good about. I love "pithy" conversations where I'm free to giggle and be silly. I enjoy photography and graphic design. Among my guilty pleasures are fairs, carnivals and amusement parks.
Music
My taste in music is extremely eclectic. What I listen to is pretty much determined by mood and what side of the bed I get out of on any given day. 'Though I am very fond of Damien Rice and Amy Winehouse.
However, on any day of the week and at any hour I am most always in the mood for Billie Holiday, Ella Fitzgerald, Blossom Dearie, Dinah Washington and all the divine ladies of blues, jazz and swing. And let us not forget Mel Torme.
Movies
I am most interested in directors. Some of my many favorites are Ken Russell, Lars Von Trier, David Cronenburg, Luchino Visconti, Robert Altman, David Lynch, Pedro Almodovar, Julie Tamor, Wim Wenders, Mel Brooks . . .
I believe Michael Moore ought to win a Nobel Prize, but then I believe that I ought to win a Pulitzer!
I love 50's science fiction and everything Vincent Price.
Some of my topmost watch-again-and-again movies are: The Thief of Bagdad (Alexander Korda, 1940), Le Ballon Rouge, King of Hearts (Le Roi de Cœur), This Island Earth (predecessor to Close Encounters), 2001: A Space Odyssey, Titus (Julie Tamor’s Felliniesque Shakespearian romp), Women in Love (great screenplay by Larry Kramer), Tommy (seeing Anne Margaret covered with and rolling in beans and chocolate is worth the price of the rental), The Music Lovers, Wings of Desire (brilliant screenplay by Wim Wenders and Peter Handke), The Lives of Others (magnificent screenplay and direction by Florian Henckel von Donnersmarck), Videodrome, eXistenZ, Zentropa, Dogville (life-altering screenplay by Lars Von Trier). That’s just a small taste of my very, very favorites.
Television
I watch far too much TV and most of it junk—like pizza, Cracker Jacks, Mounds, 3 Musketeers and ice cream, I am addicted. My favorites at the moment are True Blood, Hung and Entourage. I DVR Craig Ferguson and watch him every morning with breakfast.
Books
What with my poor old diabetic eyesight I don't read much anymore. When I did, among my favorite writers were Thomas Mann (favorite is The Magic Mountain), Gertrude Stein, Saki (H.H. Munro), D.H. Lawrence, Proust, E.F. Benson, Joyce (the short stories), Gore Vidal, Anthony Burgess (Earthly Powers is my favorite), Anne Rice (the vampire books)....
Heroes
I was raised by my grandparents on a small dairy farm in Harriman, NY and they are my heroes. We were financially poor, yet I had everything I needed. They were an example of selfless love and common sense. I think the idea that we are all somehow connected and that this planet is a living and conscious entity comes from their influence.
I don't know that I'd call Williams, Albee, Orton and Peter Shaffer "heroes," but they are the quartet of writers whose work I most admire and to whose level of accomplishment I aspire.
EDWARD CROSBY WELLS (Playwright) has had scores of plays produced from coast to coast in the U.S. and in Europe. He is the winner of no less than half a dozen
international playwriting awards and has won the Spotlight On Best Play Award for Excellence in Off-Off Broadway Theatre three times running. Mr. Wells’ work is published by Greyridge Press, Meriwether Publishing Ltd., Smith and Krause Publishers and Samuel French, Inc. His essay, “On the Art of Playwriting,” was published in the November 2008 issue of The Loop. He is a member of the Dramatists’ Guild of America.
Among those who have produced the work of Mr. Wells are Circle Repertory Company (NYC), The Greenwich House Theatre (NYC), Mesa College (San Diego), PEOPLE*S Theater of Chicago, New Mexico Rep, Amarillo Rep, Dallas Museum of Art, Tony Award-winning The Glines (NYC), Wings Theatre (NYC), Iridium Jazz Club (NYC), Els Mullats (Barcelona, Spain), Changing Scene and Vintage Theatre (Denver), AYTB Productions (Boston), Tron Theatre (Glasgow, Scotland) to name but a few.
“Edward Crosby Wells is an accomplished and original playwright whose varied works have gained growing esteem over the last few years. He shows remarkable and equal proficiency in comic, dramatic, and fantastic works. One never knows what to expect from each new play of his, except that they always show technical skill, poetic insight, and theatrical acumen."
—Robert Patrick, Drama Desk and OBIE Award Winning playwright and author of over 50 published plays including Broadway’s Kennedy’s Children
“[Wells’] works are expertly layered and the characters are well thought out, portraying real people. He is equally talented with both comedy and drama. His dramas are beautifully crafted and engrossing and his comedies are arguably the funniest you will ever see.”
—Frank Calo, SPOTLIGHT ON PRODUCTIONS, New York City
TOUGH COOKIES
(Winner of the Festival of New Plays sponsored by The Society for Theatrical Artists’ Guidance & Enhancement (S.T.A.G.E.) Dallas, Texas.)
Available through Samuel French, Inc.
"Wells' dialogue is snappy, clean and often very funny. He has a talent for writing lines for his characters that rarely miss their marks. Whether it is outrageous humor or cutting cynicism, Wells is always on target. TOUGH COOKIES may be one of the best small plays performed on an Albuquerque stage . . . a beautiful script . . . great characters. The plot is quirky, intimate and black, suggesting the work of Beth Henley and Joe Orton . . . holds essential truths . . . the essential truth about human frictions rings true beneath the acid silliness. Wells shows talent for offbeat dialogue that makes heavy themes bearable."
—ALBUQUERQUE JOURNAL
"TOUGH COOKIES is a slice-of-life story of a woman trying to live under the senile wing of her mother. In the middle of the conflict sits Billie, attempting to make sense of the vicious maternal relationship. The script is teaming with malicious comments and accusations between mother and daughter, often to the point of a sick reality. Wells' dialogue is clever and witty. "
—NEW MEXICO DAILY LOBO
". . . another response to Americans' seemingly bottomless love of black-hearted, foul-mouthed elderly female characters."
—DALLAS TIMES HERALD
". . . a family sitcom with emotions that essentially explode the form . . . it's as if Mr. Wells removed Aunt Pearl and her poisoned bitter pills from Greater Tuna and set her loose on the rest of the family. This is camp Southern-gothic taken to an extreme . . . .”
—THE DALLAS MORNING NEWS
"TOUGH COOKIES is a powerful hour of theater, exploring jealous love and hatred . . . an extraordinary play.
—CORRALES COMMENT
THE PROCTOLOGIST'S DAUGHTER
“Master of Period Mirth Edward Crosby Wells provides us with another fun send-up”
—Louis Lopardi, Artzine
“…a new comedy in a film noir style...very funny...extremely campy.”
—Sherry Braun, NYC STAGE PAGES
FLOWERS OUT OF SEASON
"In a dusty town in New Mexico salvation is a stranger."
"[Flowers Out Of Season] throws together sex, religion and suicide in a fresh, original and transcendent way . . . I think I have just seen the future of American Theatre.”
—Michael Bourne, Circle Repertory Company, NYC
“Spiritually barren lives given meaning by fundamentalist religion. Comfortable lifestyles devoid of passion. And the finality of the gun. All reflect what happened to American values . . . and they form the subject of Edward Crosby Wells’ challenging new play, Flowers out of Season."
—Jeff Bradley, Denver Post
“Powerful stuff . . . riveting . . . thought-provoking . . . Flowers Out of Season is a production that promises revelations regarding working rural poverty, American health care, and religion as well as a healthy dose of dangerous eroticism . . . the show delivers on all of these promises – brilliantly at times . . .”
—THE CHICAGO CRITIC
“Something significant . . . be advised that this is the show that will soon make the journey worth the effort.”
—Windy City Times
“Edward Crosby Wells' play hails from the Nick Cave School of magic realism: set in the same sort of vaguely southwestern, vaguely antediluvian, lightning-driven flood plain of the mind, it has a Murder Ballads-style hero who may literally be the devil in disguise. The expressionism and outright fantasy of Wells' audacious, borderline supernatural scenario are well matched by director Madrid St. Angelo's stylized, sensual staging . . .”
—Brian Nemtusak, Chicago Reader
THOR'S DAY
“. . . a mysterious and seductive game of rent boy and patron that spirals into an unexpected fight for life and death. Edward Crosby Wells’ play is a bit Gods and Monsters and a bit Zoo Story . . . compelling and intriguing drama.”
—nytheatre.com
“. . . an intriguing mixture of the erotic and dangerous.”
—HX MAGAZINE
“. . . strong, haunting, intense, suspenseful and engaging.”
—HI DRAMA TV
“A brilliant creation! . . . the heir to Zoo Story . . . Electric . . . The story-telling is assured and highly intriguing. Every behavior leads logically to the next. . . original and universal. This property has a movie in it.”
—Kenneth Weller, NYC STAGE PAGES
“Each transition, from opening the first beer to pulling the final trigger, had its own psychological logic—a sign of complete commitment by the playwright . . . it’s not a show for the faint of heart.”
—John Chatterton, OOBR
“Thor's Day is a new sort of thriller, one that blends the terror of the everyday unknown with the more powerful supernatural unknown. Set on the West Texas-New Mexico border, it examines the strength of both latent and overt desire . . . the play builds to a strange and startling climax . . . It's not a play for those uncomfortable with frank sexual situations . . . it's a Tennessee Williams play without a woman . . . enthralling . . . playwright Edward Crosby Wells has built a solid story on an exciting and original premise.”
—Jenny Sandman, OOBR
“. . . a great masterpiece of art.”
—INSIDER ENTERTAINMENT NEWS
3 GUYS IN DRAG SELLING THEIR STUFF
(2000-2001 Winner of the Spotlight On Best Play Award for Excellence in Off-Off Broadway Theatre.)
“. . . a trashy delight . . . Diva and Lillian hark straight back to Jackie Gleason and Art Carney . . . And finally, a la South Park, results in a police shootout when someone plays with a cap gun. A satisfying result for a laugh-a-minute, harebrained play. It takes place on a suburban planet of its own.”
—John Chatterton, OOBR
“With the help of some brilliant dialogue, and the clever antics of the three characters, your mind's eye will create the entire neighborhood including an elderly friend who is hit by a truck, a handsome Greek motorcyclist, and Diva's mother in the nursing home across the street. Lillian's punch, made especially for the occasion, is heavily spiked and the plot gets more outrageous as the "girls" imbibe.”
—KDHX, St. Louis
“3 Guys in Drag Selling Their Stuff is side-splitting, to say the least . . . wicked wit. . . hilarious. Wells' script is silly, but structured and sprinkled with sensitive moments that further endear his characters to audience members.
—Elias Stimac, New York Off-Off Broadway Review
“This play does what Beckett was trying to do, but Beckett was too squeamish to face the facts of the decline of the West. Wells faces them with hilarious completeness, and therefore is able to be both funnier and more tragic than Beckett ever was.”
—Robert Patrick, Drama Desk and OBIE Award Winning Playwright and Author
“3 Guys in Drag Selling Their Stuff. . . a surreal but touching comedy by Edward Crosby Wells. Whether you call them drag queens or cross-dressers, whether or not you admire their heightened appreciation for the extra dimensions of style in female clothing, these males have all the human emotions of everyone else. Just because their joys and sorrows are more color coordinated doesn't mean they are different . . . a quickly moving production that puts the emphasis on heart. These three guys may be in drag but they aren't flouncing around or calling up all the gay stereotypes. They know firsthand that going through life in a dress is tough enough when you're a gal. Much more, when you're not. So what if they feel more comfortable in heels. They are still willing to take out the garbage, to do their part. Ultimately, you have to admit that courage in any gender is a quality to be admired.”
—Chuck Graham, Tucson Citizen
"For two hours, we witness the dysfunctional antics of the trashiest members of the Social Register; it's a sort of Grey Gardens garage sale."
James Reel, Tucson Weekly
“A raucous comedy gets unleashed . . . hilarious . . . The unexpected complications create the high humor.”
—Jesse Greenburg, The Desert Leaf, Tucson
“This play is raunchy . . . dances with color and kitsch . . . flamboyant . . . And that script . . . a moment of insanity."
—Kathleen Allen, Arizona Daily Star
“. . . it actually connects to issues that profoundly matter . . . we have a duty to think on these things and do what little we can to make this world a better place.”
—Andrew Eaton, The Scotsman, Edinburgh
“. . . very, very funny. It is also extremely rude, but if you are broad-minded enough then the one-liners come so thick and fast you barely have time to recover from the last joke before the next one slaps you in the face . . . Like any good play, the audience felt drawn to the characters and by the time they finished with a big show tune the fact that they were men in drag seemed to be the most natural thing in the world.”
—David Muncaster, The Knutsford Times, England
“. . . fun, campy, sometimes poignant. It may not change your life but it may make you change your red muumuu. The show is filled with witty one-liners and the expected crass sex jokes and vibrators. If you are looking for an evening of campy barbs and drag-queen bitchiness, you’ll get your money’s worth.”
—Susan Zelenka, Daily Loaf, St. Petersburg, FL
"I was stunned . . . captivating original script by Edward Crosby Wells."
—Michael Lazor, Naked E. Entertainment
TALES FROM DARKEST SUBURBIA
A black comedy constructed in seven interconnected tales that explore the typical quirks associated with American Suburbia—murder, adultery, blackmail, kidnapping, cutthroat art critics, dismemberment, devious financial advisers, cannibalism, back-stabbing divas, flesh eating perfume, Tallulah Bankhead and the nature of reality.
* * * * * * * * * * * * * *
To read any of the plays of ECW in their entirety, including THE JUNGLE TREE, a memoir-in-progress, click on the link below.
Who I'd like to meet: Producers with deep pockets, Directors with inspired vision, Publishers who read through all the layers, Lovers of Theatre, Slaves to Thespis . . . an Audience.
Scary Sweetpea loves all things Halloween. Thanks for the pithy comments. Continuing congrats on the weight loss and exercise. Haven't seen Christmas decorations up yet, but not looking too closely. Love, Debbie
My "man" James is in rehab and gets to read a lot.(Pictured)...He is a phenomenal singer and poet so I need to get him in the biz. Just sent him THOR recently and he LOVED IT. thanks for making his day.
I have been too busy trying to put out a veggie garden between spurts of rain. Glad you reminded me. I will start looking for the perfect lamp post to lean against and get them taken! Thanks for the yell. Hope all is well with you!
![Holly Miceli [Wacky Holly]](http://c2.ac-images.myspacecdn.com/images01/116/s_91de3baa523926f34a1bb6b4f3f71479.jpg)
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