Arts Live Slogging from Thom Pain
posted by on October 14 at 11:48 AM
Last night I was supposed to live-Slog from the light booth at the Rep while watching Thom Pain (based on nothing) by Will Eno. It’s a solo show about a heart-broken smart aleck who hates his audience (according to Charles Isherwood of the NYT, “a Samuel Beckett for the Jon Stewart generation”—which isn’t even remotely true), played by Todd Jefferson Moore.
But there were problems. Everyone at the Rep was very nice, but my laptop kept losing the signal. Then there were some issues with getting onto Slog. So I kept tying notes but scrapped the posting.
This wasn’t the best play for this experiment: A one-act, one-man monologue with angst and wordplay and literary references requires more attention than I can give while tying and overhearing conversations in the tech booth and screwing around with the wireless connection. The Ring Cycle would be a better candidate—something long, sweeping, an endurance contest that you can check in and out of, with quirky audience behavior and a sense of exclusivity that people without the time, money, or interest to attend might want to window on.
Anyway. The notes (all 1,000 words of ‘em!) follow the jump. Representative passages:
This was the Rep’s idea, I should mention. It seems a bit odd—theater artists (hell, all artists are forever complaining that their critics are thoughtless, reactionary, that they see a show and run home and slam-bang out a review so they can get back to drinking and screwing and playing video games and other base pleasures. But here I am, up in the light booth, fingers stretched, knuckles cracked, all set to react.
A brief flash of light, then lights up—Thom man in his black suit, black tie, no socks. He [Moore] is in his 50s, which seems weird, having read the script, which is a monologue about someone who seemed to be an angry young man. Then again, from back here, the house is full of grey and white heads. By comparison, Moore is an angry young man.
Will Eno didn’t write this play. He recited it in front of his bathroom mirror, tape recorder in hand, stripping himself with whiskey like paint thinner, letting his deeply entrenched banality shine like a beacon—and that’s not actually a criticism.


















