Early this morning as I worked in my shop, there was a knock at my door. I opened it to find Fisher and Sylvester. Both looked rather solemn, but there was something especially peculiar in Fisher's movements. I invited the gentlemen to come in and warm up, then shut the door behind them. After several long moments of silence, Sylvester cleared his throat. It must have been some sort of signal to Fisher for he suddenly jumped, as if startled from a spot of deep thinking. He looked at me for a moment, not quite meeting my eyes, and then began to speak. "I apologize for my emotional outburst the other day. It came from feelings I had been harboring, and should not have been aimed at you. I hope you'll forgive me." I quickly accepted his apology, and Fisher fell silent. It was then that I found out that by the time we had our meeting last Thursday, Fisher had already experieced heavy rejection. Sylvester handed me yesterday's paper and pointed to an article I had missed entitled "Fit for the Ocean Floor". As I took in the article, I could not help but feel very sorry for Fisher. It was a review of his new play, and read as follows:
After nearly three hours of failed attempts to be "edgy", "dramatic", and "good", Red Skye in the Morning leaves the audience wishing they had been hung at the beginning of Act III with the rest of the pirates.
From its transparent, political undertones to its reprehensible, shock seeking portrayal of the life of a good-hearted pirate with a bad reputation, Mr. Jones' play seems nothing more than a litany of trite observations on a completely irrelevant culture. From Scene 1, this play reeks of anti-neocolonialist sympathies. We've won the war Mr. Jones; move on.
The acting throughout leaves much to be desired. Mr. Jones' portrayal of the antagonist turned protaganist, Captain Skye, falls a far cry short of a stirring performance. While the character holds much potential, the actor must realize that there is indeed a difference between stoicism and plain, old-fashioned, stodgy acting. As for the crocodile tears in the final scene, this vain attempt at emotion was about as believable as the notion of a flying machine.
While Mr. Jones' acting revealed no emotion whatsoever, others revealed far too much. Susanna Jones, Mr. Jones' daughter, leaves me wondering whether or not the pirate first mate was supposed to be addicted to opium.
Some patrons may also detect some traces of misogyny, considering the play's one female character, a nameless kidnap victim, meets her demise early in the opening scene.
The overall writing is hackneyed and insensate. The dialogue is broken, and the plot is artificially driven. I don't even wish to comment on the poor use of the Deus Ex Machina in Act IV. Even in the hands of a talented company with a competent and capable director, I see little hope for this play's future.
The play is showing behind the courthouse Fridays and Saturdays at 6:00pm with a Saturday matinee at 1:00pm, but in this critics humble opinion, save yourself a nickel and three hours of your life.
When I reached the end of the article, it was clear to me why Fisher reacted the way he did last week. I didn't know what to say, so I simply looked at him and said I was sorry. Fisher nodded, then walked over to me and firmly embraced me. I hesitantly patted his back as he quietly cried on my shoulder.