A Playwright’s Predicament

“Who are you writing for?”

A respected friend of mine asked me that after reading my new play, Wiser than the Night. As it happened, Pat and I were discussing that very question over breakfast that morning. It’s a good question, I suppose. Maybe even the only question. I’ve always believed that writers must always write for themselves, then hope for the grace of kindred spirits for readers, however few those readers might be—or in the case of a play, however small the audience.

As I worked on this play, I found myself remembering what Simone de Beauvoir wrote about Sartre’s The Flies (a play I’m pretty obsessed with):

“The real function of the theater, Sartre thought at the time, is to appeal to those who share a common predicament with the playwright.”

Sartre’s “predicament” was that of a patriotic resistance fighter in Vichy France. My predicament is that of a 72-year-old man who has lived through enough of this split second we presume to call “human history” to be puzzled by its fruits, staring down the barrel of an awful future for humanity.

The action of Wiser than the Night ranges from the 18th-century Enlightenment to the election of President Ronald Reagan. Its characters include an elderly Russian dancer who survived the Russian Revolution, and also Catherine the Great and the French philosophe Voltaire.

“Why Voltaire?” I’ve been asked.

I was raised to revere the influence of Enlightenment thinkers on the world of ideas, especially our civic values and our systems of governance—and Voltaire is the Enlightenment personified. Like a character in my play, I find myself wanting to ask Voltaire, “What went wrong?” How did an epoch that began with the United States Constitution and the French Déclaration des droits de l’Homme et du citoyen bring us to the ascendency of Viktor Orbán, Vladimir Putin, and Donald Trump?

I don’t have an answer to that question, but in my own mind, it’s what Wiser than the Night is all about. And it’s a question that must be asked.

If only I can find an audience, however small, that shares my “predicament” …

—Wim

Download a PDF of the play Wiser than the Night HERE.

Illustration for “Wassilissa the Beautiful” (Vasilisa the Beautiful), a Russian folktale.

Casanova, Constanze Mozart, and the shape of life …

Engraving of Constanze Mozart at 19 or 20. Artist: Joseph Lange, brother-in-law of Mozart. Date: 1783.

“My husband makes things that live forever.”
“Then he must be a fool.”

I’ve been doing a bit of work on my new play “The Rake’s Visit: A One-Act Capriccio on a Theme from Don Giovanni,” about a fictional meeting between Giacomo Casanova and Constanze Mozart (downloadable here). These new lines come right after a playful improvisation in which Giacomo and Constanze create a little “opera” set in an imaginary place where people live truly free and creative lives:

GIACOMO.
But you are crying.

CONSTANZE.
It’s nothing.

GIACOMO.
Tell me.

CONSTANZE.
Am I dreaming—or am I dying?
It must be one or the other.
Here we are, the two of us together,
and I don’t believe I’ve ever felt so lost—
or so lonely.

GIACOMO.
Have you never felt it before—
this loneliness that must be shared by two?
It is the bitterest loneliness of all—
and also the loveliest.

CONSTANZE.
It’s sad—so sad.
Soon we’ll forget—all this ever happened—
this—this warmth of the brandy in our throats,
this yeasty aroma of fresh-baked stories,
the taste and—and tempo of our words—
this moment will die.

GIACOMO.
As all moments must and shall.
That is what moments are for,
to abide and then to perish,
and thank God for it.
We breathe, and then surrender every breath.
We light a candle, and we snuff it with a pinch of dampened fingers.
So it is with our lives, yours and mine and everybody’s.
A life without death would not be worth living.
Death is what gives life meaning, gives it …

CONSTANZE.
Shape?

GIACOMO.
The very thing.
Death is the boundary that holds us back
from formlessness and void.

CONSTANZE.
My husband makes things that live forever.

GIACOMO.
Then he must be a fool.
I myself am writing my own life story,
from beginning to end—
my joys and sorrows,
masterstrokes and blunders,
triumphs and debacles,
feats of magic, feats of fraud,
mortifications manifold and glories ever-fleeting,
and, oh yes, ladies, ladies, ladies—
in dozens of volumes, thousands of pages, millions of words—
and my greatest fear is that I’ll die
before I get the chance to burn them all,
every last scrap of ink on paper,
unread by any living soul …

—Wim

The Cleansing (Holy Monday) — a short play

Characters:

Mary and Martha
Jesus
Judah Ben-Hur

The scene is the Mount of Olives; Jesus sits on a stone bench staring forward; Mary enters, followed by Martha.

MARY (to MARTHA).
I’ve found him.

MARTHA.
Where?

MARY.
Sitting right here like nothing happened.

MARTHA (to JESUS).
What do you think you’re doing?

JESUS.
Watching.

MARY.
For what?

Jerus-n4i

Temple of Herod, Holyland Model of Jerusalem.

JESUS (pointing).
The Temple is about to fall; soon
not one stone will be left upon another.
Watch here and see for yourself.

MARTHA.
Nonsense.

MARY.
Let’s run.
Your disciples have fled already.

JESUS.
Why run? What’s the danger?

MARY.
After what you did just now?

MARTHA.
You’re joking!

MARY.
The Temple guards—
they’ll find you here and take you!

JESUS.
No. Not today. My betrayal is still
four days away—I’m safe till then.
Do you know how my Father makes figs?

MARY.
No parables, please!

MARTHA.
Not right now!
Let’s hurry home to Bethany
where we will all be safe
and you can tell your stories
and I can make you dinner
while she sits at your feet
doing nothing as usual.

Jacopo_Tintoretto_008-2

Tintoretto: Jesus at the Home of Martha and Mary.

JESUS.
Since you’re curious, I’ll tell you.
My Father sinks his mighty hand
into a soft shaft of sunlight
as if it were riverbank clay—
like this, you see? And he seizes
a warm, pliant fistful of it
and squeezes it tight—like this.
See how the yellow light
oozes out between my fingers?
He holds the sunlight fast
a little while—just like this—
then slowly loosens his grip
to reveal a ripe and luscious fig
that tastes just like the sun.

(JESUS opens his hand to reveal a coin)

MARTHA.
But I don’t see a fig.

MARY.
I see a coin with Caesar’s face on it.

(JUDAH BEN-HUR enters.)

Denarius_of_Tiberius_(YORYM_2000_1953)_obverse

Denarius of Tiberius, known as the tribute penny.

MARY (to JUDAH).
Go away!

MARTHA.
He’s innocent!

MARY (to JUDAH).
You’ve got the wrong man!

JUDAH.
Foolish women—what do I look like?
A priest, a Temple guard, a stooge
of Herod or Pilate, either one?

MARTHA.
Who are you, then?

JESUS.
I’ll tell you.
His name is Judah, a son of Hur—
an angry soul, filled with hate.
The friend he most loved in his youth
betrayed him into Roman slavery;
he was chained for three years
to a galley’s oar; but he won freedom
and became a Roman citizen;
yet still he remains a Jew—
the most bitter Jew in Israel.

MARY.
You’re bitter yourself today.

Miracleofthefig

Byzantine icon of Jesus cursing the fig tree.

JESUS.
So I am. I wish I knew why.
(to JUDAH)
I killed a tree this morning
an innocent fig tree just outside
the city gates. A strange thing to do.

MARY.
It bore no figs.

MARTHA.
It’s not the season.

JUDAH.
You’re a carpenter, and a carpenter’s son;
that wasn’t the first tree you’ve killed.
Learn to kill men, my Lord.
It’s the one thing I have to teach you.

JESUS.
Can you teach me to kill men without rage,
the way a carpenter kills a tree?

JUDAH.
What you did just now at the Temple—

1024px-El_Greco_13

El Greco: Christ Driving the Money-Changers from the Temple.

JESUS (interrupting).
A mistake. The Temple now
belongs to Caesar, not my Father.
I had no business there at all.
Its time is over—in moments now
a breath of icy love will send it
crashing under its own weight,
the weight of this world’s greed.

JUDAH.
The Temple won’t fall—not till
you bring it down yourself.
The moment is now—you mustn’t wait!
The money changers’ backs are stinging
from the whippings you gave them,
and they scuttle about like scorpions,
grubbing up the coins you spilt
when you overturned their tables—
denarii, drachmas, darics, shekels,
the currencies of all the world
jumbled in gibbering heaps,
worth nothing until they’re sorted
and weighed anew. All commerce
is suspended—and all authority,
the power of priests and Rome alike.
The time is here—this very moment—
to cast off the yoke of Rome,
to lift up the poor and crush the rich,
and make of Israel the Kingdom
that you yourself have promised.

JESUS.
And you’ve raised three legions
to bring me victory. Right now
they mingle like cutpurses among
these millions who have come
to Jerusalem to celebrate
the Passover.

JUDAH.
How did you know?

ramon novarro-1

Ramon Novarro as Ben-Hur, 1925.

JESUS.
Three years you followed me
with thousands of men with knives
in their belts. I wasn’t supposed
to notice? While I sought farmers
and fishermen and tax collectors
and mothers, wives, and harlots,
you gathered soldiers. You trained them
in the lava beds—to guard and strike
with their fists, to cut and thrust
with javelins and swords,
an army of Galileans styled
like Romans to destroy the Romans.

JUDAH.
Your army—the Kingdom’s army.

JESUS.
Are you sure they are enough?
Do they have spears that hurl themselves
from tunnels forged from iron
and tear men’s bodies to pieces?
Do they ride winged chariots
that drop fire from the sky,
consuming cities faster than thought?
Can you make the winds themselves
breathe writhing and devouring death
into your enemies’ bones?
Can you unleash the power of the sun?
Do you have an arm like God?

JUDAH.
Rabbi, why all these riddles?
Why do you brood and wait?
Rome’s power is puny beside yours.
Rise up now, work miracles
to liberate Israel—the kind
I’ve seen you work a hundred times.

JESUS.
Miracles? What miracles? Tell me.

JUDAH.
You’ve healed the sick and lame,
the palsied and the paralyzed,
cast out devils, made blind men see;
you cured and cleansed my own
dear mother and sister of leprosy;
and Lazarus, these women’s brother—
he died, you gave him life again;
and when a multitude was hungry
you fed them, all of them.

200px-FeedingMultitudes_Bernardo

Bernardo Strozzi: Feeding the Multitudes.

JESUS.
Wait—I fed a multitude, you say?

MARY.
Of course you did.

MARTHA.
You know you did.

JESUS (to JUDAH).
Were you there?

JUDAH.
Right near you, yes.

JESUS.
So tell me—how did I do it?

JUDAH.
My Lord, everyone knows—

JESUS.
No—not what you’ve heard,
but what you saw and felt and did.
I want to hear it.

JUDAH.
Five thousand gathered by the sea
to hear you speak—but where
was food enough for them to eat?
Two hundred denarii would not buy
enough bread for that multitude.

JESUS.
And you—did you lack food as well?

JUDAH.
No. I’d brought bread of my own,
and so had others, but not most;
thousands more were waiting, hungry.
Then Andrew found a boy who’d brought
five loaves of barley and two fishes.
You told the multitude to sit
and gave thanks to your Father;
you broke the bread and gave it to some,
and you gave away the fishes,
and then … Oh, Lord, I am ashamed.

JESUS.
Tell me.

JUDAH.
I’d had no wine, and yet
I became drunk—drunk and hungry.
I tore my own bread, stuffed my mouth,
and then …

JESUS.
Tell me.

JUDAH.
The old man next to me—
his hunger became mine,
his wrinkled lips, his aching belly,
I felt his craving as my own.
And on my other side, a mother
unfed, her baby at her breast—
I became her too, I felt the grip
of her baby’s gums pulling her dug,
felt the dryness inside her.
And then … Oh, Lord …

JESUS.
Tell me.

JUDAH.
I rose stark mad to my feet, reeling
with bounty and munificence,
and tore my bread and crammed
some in the old man’s hand, then
in the mother’s too, and staggered
giving amid the multitude
while others, as drunk with love as I,
reeled all around me, giving
and receiving much, much more
than all their fill. And then—
and then when it was all done …

MARY.
Twelve baskets were left brimming
with bread and fishes …

MARTHA.
… the leavings after
the five thousand were sated.

JUDAH.
But I … Oh, Lord …

JESUS.
Tell me.

JUDAH.
Such horror of great brightness!
I was sick to my soul, lost to myself—
lost, all lost, the son of Hur,
his lonely desire, the solitary
warrior thirsty for vengeance,
all gone, my precious life was gone.
I ran down to the Galilean shore
and retched up all I’d eaten until
I was alone in my own skin
and not filled with a multitude
made drunk with lovingkindness.

(JUDAH is weeping.)

JESUS.
Leave me now, Judah—go.
You have chosen another way.

JUDAH.
How can you be so indifferent?

JESUS.
What do you think I am?

JUDAH.
You are my King, Israel’s King,
much mightier than Caesar,
more splendid even than Solomon—
a king to rule the world forever.

JESUS.
I am a door. A door is indifferent;
it makes way to everyone.

(MARY and MARTHA begin to reel about, as if drunken.)

MARY.
What’s this?

MARTHA.
What’s happening?

MARY.
The ground—it rolls and shakes.

MARTHA.
I can’t stay on my feet.

MARY.
I can’t either.

(JESUS and JUDAH seem undisturbed by the forces felt by MARY and MARTHA.)

JESUS.
Dance, then.

MARTHA.
Yes!

MARY.
If we can’t stand, we’ll dance!

(MARTHA and MARY dance wildly to silent music.)

Wallace_Ben-Hur_cover

Original edition of Ben-Hur by Lew Wallace

JESUS (to JUDAH).
All love is cold and open.
I am the open door of love;
to pass through, open yourself,
go naked through the cold,
or else consign yourself forever
to the Kingdom of Caesar.

JUDAH.
Forever?

JESUS.
Each moment is forever;
the Temple is always standing;
the Temple is always falling.

MARY (pointing).
Look!

MARTHA (pointing).
Look there!

MARY.
The Temple!

MARTHA.
It’s dancing too!

MARY.
No, it’s falling!

MARTHA.
Its white stone frowning faces,
its porticoes, pinnacles, ramparts …

MARY.
… all breaking, breaking
like twigs in children’s hands!

MARTHA.
The sacred veil tears clean in two …

MARY.
… the Holy of Holies now
stands revealed …

MARTHA.
… now disappears
into the vaults below …

MARY.
… and dust clouds billow skyward!

MARTHA.
The air rings with falling stone …

MARY.
… the thunder and music of love!

MARY.
Let’s go there—before the dust settles!

MARTHA.
Yes, we’ll dance among the clouds!

(MARY and MARTHA hurry away.)

JESUS (to JUDAH).
Hatred is soft and sweet;
love is hard and bitter.
My time in this place is done.
The friend I love most of all
will soon betray me out of love—
cold and indifferent love,
strong and unyielding love,
the biting kiss of love.

(JESUS leaves; JUDAH stands alone, facing forward.)

JUDAH.
But the Temple—it still stands!

END OF PLAY.

—Wim

Two new poems …

NASA astronaut Nichole Ayers captured this image of lightning while orbiting aboard the International Space Station on July 1, 2025. 

Wim is grateful to the editors of Scud for publishing these two poems:

Beacon

They say you can see
futility from space—
the flickering
bioluminescent SOS
of a solitary storm cloud
bursting over
unsounded seas.

A Passion

In the old woman’s
airtight home (which
she never left except
to go to church) our
druggist savior forever
stretched his arms
in benign and ruined
ransom across the
living room wall above
worshipping masses of
medicine bottles.

—Wim

“The Harrowing” — Wim’s variation on the Frankenstein story…

Drawing by Pat.

As a storyteller, I’m always looking for new approaches to old stories. I don’t know how many times I’ve read Mary Shelley’s Frankenstein, but one episode in particular never fails to shock and horrify me.

Poor Justine Moritz! Rescued by the Frankenstein family from poverty as a child, she grows up to become their loyal servant. But after Victor Frankenstein’s creature vengefully murders the family’s youngest child, Justine finds herself accused of the crime. Victor knows that she’s innocent, but can’t bring himself to come forward with the truth. Justine is tried, found guilty, and hanged for murder.

I decided to write a play about Justine called The Harrowing, subtitling it “A Rhapsody on a Theme by Mary Shelley.” In my retelling, Justine is a bitterly alienated young woman, exploited horribly by the Frankenstein family and all too aware of her lowly status. One night she encounters the monster (called the Demon in my version) who shows her the murdered boy’s body. She reacts with horror at first, but soon recognizes the Demon as a kindred spirit, a fellow casualty of a cruel and unjust world. Before the night is over, they have become lovers.

The first half of The Harrowing was presented via Zoom in 2022, with the late Everett Quinton as the Demon. A staged reading of the entire play was performed in New York on October 2, 2023, at the Theater for the New City in New York. You can download the complete script for The Harrowing here.

In the following scene, the Justine and the Demon hold a macabre picnic near the murdered boy’s body.

The late Everett Quinton as the Demon in a Zoom performance of The Harrowing; photo by Denise Gregorka.

(JUSTINE and DEMON sit on the spread-out blanket, eating berries and nuts in the moonlight. DEMON is drinking straight from a bottle of wine. JUSTINE looks over at William’s dead body and smiles.)

JUSTINE. Willy, dear, won’t you wake up? You must be hungry. Would you like to join us for something to eat?

DEMON. He isn’t asleep.

JUSTINE. I know. But let me have my little lie. I have so few of them left. The world is getting crowded with truth. Sleep on, sweet Willy, don’t let us grownups disturb you.

(JUSTINE and DEMON eat a few bites.)

JUSTINE. Where did you get these nuts?

DEMON. I took them.

JUSTINE. From where?

DEMON. A tree.

(JUSTINE and DEMON eat some more.)

JUSTINE. What about these berries?

DEMON. I took them.

JUSTINE. From where?

DEMON. Some bushes.

(DEMON passes the bottle to JUSTINE, and she drinks from it.)

Frontispiece to the 1831 edition of Frankenstein.

JUSTINE. Where did you get this wine?

DEMON. From a house.

JUSTINE. Inside a house?

DEMON. Yes.

JUSTINE. How did you get inside?

DEMON. I just went in.

JUSTINE. Did you take the wine, or did you … ask somebody for it?

DEMON. I don’t understand.

JUSTINE. Was anybody in the house?

DEMON. No.

JUSTINE. Where did you find the wine in the house?

DEMON. On a table.

JUSTINE. You shouldn’t take things from houses like that.

DEMON. But I took nuts from the tree.

JUSTINE. I know, but—

DEMON. I took berries from the bushes.

JUSTINE. I mean from people. You shouldn’t take things from people like that.

DEMON. Oh. (drinks from the bottle) I don’t think I understand. I was hungry, and I needed something to eat. There were nuts on the tree and berries in the bushes. What could I do but take them? I was thirsty and I needed something to drink. There was wine in the house, so I took it. What was I supposed to do?

JUSTINE. You should have asked the people who lived there if you could have it.

DEMON. Would they have given it to me?

JUSTINE. I … don’t know.

DEMON. Do people … often … give things to others?

(Silence; JUSTINE takes the bottle from him and drinks from it.)

JUSTINE. You were right and I was wrong. It’s best to take. Everybody takes, and nobody’s likely to give you anything, even if you ask. People have been taking things from me my whole life without asking. They don’t give anything back, even when I ask.
I suppose that’s why I have so little. 
I don’t do enough taking.
I should have known, the truth was all around me.
Taking is the way the world works.
What a fool I was.

(JUSTINE takes long swallow of wine, then passes the bottle to the DEMON.)

JUSTINE. I’m going to be drunk. You should get drunk too.

DEMON. Drunk?

JUSTINE. You’ll know it when you feel it.

—Wim

Illustration from an abridged version of Frankenstein in the The Cincinnati Enquirer, January 16, 1910.