Jack (J.) Marlando

 

THEATER, THE COSMOS CLUB 

 

I have quite a history in live theater which is my first love--I've had plays produced and I have produced and/or directed shows such as Camelot, Fiddler on the Roof, Lil Abner, Sound of Music, Finians Rainbow, The Fantasticks and many others.

 

Most recently I have completed the work of my life--The Cosmos Club! It is a play with music; packed with memorable characters and great songs; an unexpected story of high hopes and inspiration.

 

This is the work that I want to leave as my legacy--a special play and a special kind of theater experience.  You can be part of making this particular dream come true.


IF YOU ARE INTERESTED IN CO-PRODUCING "THE COSMOS CLUB" CLICK ON JACK MARLANDO'S LINK BELOW FOR MORE INFORMATION.


For more information on "The Cosmos Club" scroll down.

 

Working with Charles Pierce on The Art of Survival

 

Over the years I have written a lot of material and worked with a whole lot of people--I was once hired to work with a murderer and write his story...I have ghosted for a Senator, doctors, lawyers, merchants and you name it and I've written my own material over the years. One of my most profound experiences, however, was working with Charles who recently passed away.

 

My job was to assist Charles in telling his story of being a prisoner in the Nazi death camps for six long and terrifying years; years of being tortured and constantly under the threat of death. During that time his parents, three of his brothers and a great many friends and relatives were executed by the Nazis; certainly enough to make any of us hate with a passion of murderous desire; to kill those who had caused so much pain.

 

Charles, however, was unique among men as he was a man who walked the path of forgiveness and love. He understood that to hate was to become the same as those who hated; to become callous and cold to the human spirit was to fail in one's own humanism. Instead he forgave and he loved his worst enemies just as he loved all of mankind itself.


In this way Charles was uniquely a human being who refused to live in an "us" and "them" world; a world that is prejudice and bias. Instead he lived in a world of sameness and connectedness. Something I believe we can all learn from and if we did our world would simply become a kinder, happier place.

 

I was fortunate to meet Charles and his wife of over fifty years, Libby, who remains my friend and who is a bundle of love herself.  What a lesson both of them are for all of us, a lesson that tells us to live, to forgive and to love.

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ART,
PHILOSOPHY & SPIRITUALITY
By:

J. Marlando

ARTICLE 1:

 

The want to create is a natural phenomenon of our humanness; we are a creative species and art is a part of that creative urge. We know that “art” by any other name goes back into prehistory, as indeed, the first religious (or spiritual) icon most commonly called the “Venus” figurine (a woman with one hand on her stomach and the other holding a bison horn) was probably carved in stone by some very early shamans to promote fertility, since at the time no one knew how pregnancy came about. Indeed, what this tells us is that the world’s first deity was probably female.

 

Later there were also the cave paintings—early art—that clearly speaks of our spiritual connections to the “invisible” world. No one will probably be able to say for certain what stirred the ancient “artist” to create his art—yet creativity was plentifully unfolding from the very depths of his soul; from his potential!

 

Almost certainly art began as ritual; a way of connecting with the spirits that acted upon Nature. From that juncture art would become a part of religious symbolism and become iconic or totemic in purpose. Finally it would arrive as pure expression—interesting or uninteresting—pouring from individual artists.

 

Actually art as an individual prowess began going back to the Cro-Magnons, our ancient ancestors. But even before the first cave painting evolved, our cousins of the past were making jewelry such as polished beads. This goes back some 35,000 years ago and, some experts believe that they might have been worn on strings and/or sewn into clothing.

 

Clothing we ask?

 

Weren’t the cave folks supposed to be hairy-types running about with clubs and naked as jaybirds? Well, all indications point to the opinion that this just ain’t so and thus pushes the naked ape projection back a lot further than ordinarily thought. The point here, however, is that “creativity” in our species is innate—not a “talent” born out of necessity like making tools and advanced weapons but as an natural and necessary expression of our very humanism.

 

Actually the old adage that tells us there’s nothing new under the sun is virtually true. We know now that some ancient societies had conveniences such as running water and even flushing toilets. Not as our water runs through pipes and not as our toilets flush but conceptually—creatively—they worked! And those ancient folks, by the way, had inside toilets in separate small (bath) rooms going back to at least the 3rd millennium. Impressive!

 

Just think about it—2000 years ago our kind had a working compass; 3000 years ago the Egyptians had made a clock. Well, a clepsydra—an apparatus that told time by drops of water changing levels in a vessel, but a clock, nevertheless, that actually kept time. Here’s another good one: In the ancient city of Alexandria there were slot machines. That is, you put in a coin and you received some Holy Water for your ritual wash. But perhaps even more impressive than all this is that there were needles made of bone used for sewing at least by 20,000 B.C. and by 1,300 B.C wine was being bottled. We people have been beekeeping since 6,500 B.C. and were already mining copper over four thousand years ago. What about glass? Well, glass making began around 2,000 B.C. and by the time 79 or 80 A.D. our kind were already making amazing glass windows much akin to what we use today.  Actually, the oldest glass pane that we know of comes from Pompeii in 60 A.D. Impressive eh, but guess what—there was stone-age trepanning…and “trepanning” is a kind of brain surgery dear reader, imagine that!

 

We don’t have to keep listing these creative achievements that occured very long ago *but there is an obvious point being made: Creativity including invention combines information with energy and energy, if you will, creates.

 

To summarize we are information and energy with our bodies merely giving these attributes form.

 

Remember, there is a far distance between the “I” of you who knows you know and **your brain that merely believes it is doing the knowing. We will be explaining this in far more detail but for now we simply want to give you some food for thought when it comes to “what” you are. I like Jacquelyn Small’s concept: We are not humans trying to be spiritual; we are spiritual beings trying to be human. ***You are, in deed, a Consciousness swimming in an ocean of consciousness with countless other swimmers or, in other words, you are Mind swimming in a sea of other minds and Mind permeates all matter. This is all you need to contemplate for right now.

 

 

*We conclude that Universal Mind contains all fundamental data and permeates our potential giving us freedom of choice to pick and choose from the omniscience it harbors.

 

**We are not our brains. Our brains serve as message and interpretation centers for our bodies and for how we perceive our world.

 

***As the famous physicist Paul Davies tell us: “Our minds could be viewed as localized “islands” of consciousness in a sea of minds.”


Jack Marlando AKA J. Marlando is our resident writer, co-author of The Art of Survival and writer of DIN. He has an interesting history in all media writing including radio, television, feature films and live theater. He has won the NEA Award for play writing and TELLY Awards for aired TV shows and documentaries. He has written documentaries in Australia, Asia and the USA. 


You can see J. Marlando's published books by CLICKING HERE.

You may contact J. Marlando personally by CLICKING HERE.

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ARTICLE 2:

Let’s talk for a moment about creativity itself: The painter starts out with a blank canvas with the desire to fill it but unless he is going to paint the landscape before him or is looking at a photograph he is challenged to “invent” an idea. In this situation he typically believes that if he thinks about it long enough or hard enough something will “pop” into his head. What he (or she) invariably discovers, however, is that his idea does not occur until he STOPS thinking about it; until he becomes thoughtless. All ah-ha or eureka moments occur like this! In regard to this, the reader is going to see how thoughtlessness is a major key to unlocking the doorways to creative genius. Joseph Chilton Pearce gives us insight into this by his most elegant statement:

“Mind mirrors the universe that mirrors man’s mind. Creator and Created give rise to each other.”

Once you have comprehended only this much…you are on your way to enriching your creative life dynamically.


Thoughtfulness simply means non-thinking. This creative state however cannot be achieved until you are an expert in your field of endeavor. That is, if you are a dancer you must know your routine, as said, backwards and forward so you need not concentrate at all on your moves while performing.

This is why Picasso was such a prolific painter. He knew the technique of painting "backward and forward" he no longer had to think about it so he was free to let flow.

The difference between the person who creates mediocre art and the person who creates extraordinary art is that the mediocre artist is still struggling with technique and/or style. He or she isn't able to absolutely "let flow."

The goal then is for the painter to become one with the painting and so the dancer becoming the dance, the writer the story, the musician the music and the poet the poem. This applies to all endeavors of art and crafts: The actor for example who is busy worrying about his lines and/or listening to his own voice when he speaks can never be in total character much less able to "let the character simply and naturally unfold."

I taught acting for a few years and I used to tell my workshop members that their lines had to work like the lyrics of a favorite song. That is, you summon up the words without ever having to think about them; they just pour out while you're singing. That's exactly how well an actor must know his or her lines. Only then can real character development happen.

So there are steps to becoming the extraordinary talent like a Michael Jackson or Judy Garland; a Galina Ulanova or Gene Kelly, a Monet or O'Keefe. The first is to know the basics so well that they unfold naturally from you...so naturally that you no longer need to think about what you are doing but instead you are able to become the process itself.

In other words your goal is to be able to get into your art as the child "gets into the game."

In regard to this, think of the bricklayer who is an artist in his field. Observe him as he swipes the concrete and sets his bricks. He is not concerned if he's doing it right because he has become an expert at his craft and is part of the process.


What I've actually been talking about here is for the artist to stop thinking in terms of his or her art coming from them and instead, to reach the juncture where the art is permitted to flow through them. This is worthy of contemplation.

LOOK FORWARD TO MORE COMING SOON

You can see J. Marlando's published books by CLICKING HERE.

You may contact J. Marlando personally by CLICKING HERE.

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FAQ for "The Cosmos Club"


Q:  How would you describe your overall concept?

 

A:   If I had to describe it in the fewest words possible I would call it, high endintimate theater and the establishing of audience loyalty through excellence performances, superb service and welcoming, artistic environment but also "High End" because of the (unexpected) comfortable seating, the ambiance of dinner theater plus the obvious rapport between management, artist and patron.  

 

 

Q:   What makes you think that's enough to keep your seats filled?

 

A:    First of all, when we say intimate we mean intimate. Our seating will permit between 60 and 75 attendees per show. We have built our financial projections on 40% of the lowest number only using a 4 performance day week to give us plenty of room for special performances, club or reduced pricing or any unexpected problems that possibly could occur.  

 

        Secondly, Jack Marlando has over ten years experience behind him in this kind of creative atmosphere as producer and director of successful shows such as Fiddler on the Roof...Finian's Rainbow...Oklahoma...Sound of Music...Fantasticks...Camelot plus many others including originals such as The Thirst and the Thorn which was intrinsic in Marlando winning America's NEA Awards for play writing.

 

Q:      Will Marlando be running the entire business?

 

A:       Marlando will serve as Artistic Director and Marketer with Mark Pierce serving the duties of producer and business manager. Mark is a retired, respected businessman in the community and enjoyed twenty years of running his own successful company. As a result this team has the best of both worlds--Objective business and subjective art.

 

Q:         We know Jack Marlando's theater history but what about marketing and advertising?

 

A:        First of all Marlando did all the marketing for his first theater but also has done marketing for businesses like Vegas Village Shopping Centers, Old Nevada (Tourist town) where he wrote all print and media ads including clever commercials for television. He has written numerous marketing launches for a number of small business entrepreneurs and is author of the book, Succeeding in Business for the Love of It. (Book is out of print now but still available on Amazon).

 

Q:         Jack Marlando is also a writer?

 

A:        Yes, you can see all his published works by going to Amazon and simply typing in his name.

 

Q:        What is Marlando's actual background in theater?

           

A:        Jack Marlando is a graduate of the famed Pasadena Playhouse and has an A.A. in Theater Arts; he has won Telly Awards for an aired TV Show and participating in a recent documentary with title, B-1719, that Mark Pierce produced. As said earlier, he ran his own, small theater for ten years and has been involved in numerous other productions and theatrical events.

 

Q:        So what makes The Cosmos Club so hot?

 

A:        We will open the theater with Marlando's, The Cosmos Club, which he calls the "best theatrical work of his life." The play uniquely combines a set of styles: serious, comedic and presentational, forth wall, music, dance and prose. Indeed in many ways this play established a new genre for stage entertainment and might even spark a movement in theater.

 

            Marlando has two more plays completed (except for music) to follow the Cosmos Club. However, this is not a plan that promotes Marlando plays only--we will be doing originals by other writers and traditional shows such as The Fantasticks and Fiddler along our way.

 

Q:        What happens when the theater is dark for rehearsals?

 

A:        While it is true the theater will be dark while rehearsing new shows. experience tells us that we must maintain consistent business activity to keep a constant flow of our patrons and customers entertained and involved.

 

            For one thing our lobby will be much more than just a place to stand during intermission. There will be seats and tables for artistic discussions and a small platform for poetry reading, sales of fine art and solo performances by musicians and comedians. The theater itself will host business meetings, special lectures and entertainment during select, daytime events including wine tasting and other events such as book reviews and philosophical discussion. As a result the theater will virtually never be dark as there will be activity at least six days per week. (We may be dark on Mondays).

 

Q:        What happens to The Cosmos Club when it closes?

 

A:        During the play's run we will consistently try and entice producers and theater owners to pick up the play for road show performances and/or, in some instances, a run toward a Broadway opening. Since this is speculation we have not included such success in our business projections but the hope and desire is there.

 

Q:        Where will your "art center" be located?

 

A:        The theater location is not as important as it is for other businesses. That is not to say that a good location is not best but theater audiences are generally dedicated and will drive even out of their way to attend. For example Marlando's theater was in Pasadena, California but at least 30% of his audience arrived from Hollywood, Beverly Hills, the Valley and beyond.

 

Q:        Once funded, how long will it take you to open?

 

A:        It will take three months to purchase equipment, to do the necessary construction and cosmetics. Once completed we will open our lobby area and begin our advertising and marketing but our grand opening will wait until The Cosmos Club is mounted approximately eight weeks later. A safe answer to the question is that even though we will be doing business after three months the theater will not be officially open for around six months after funding.

 

Q:        What makes this project important to you?

 

A:        Jack Marlando has devoted his life to creative work and wishes to make this project his legacy. Mark Pierce is supportive of this ideal.





LOOK FORWARD TO MORE COMING SOON