09/11/2023                                                                            
                                    
                                                                            
                                            THE ORIGIN STORY OF THEATER OF SELF: Part One
Scene: Sibiu, Romania. August, 1998. An orphanage for abandoned children. 
The sun was setting in the picturesque Transylvanian town. Colors danced over the cobblestones, casting shadows that seemed to whisper tales from centuries past. Bradley Denis McDevitt stood in the middle of the large courtyard of a local orphanage, surrounded by deaf and mute children. He soaked in every hue, every murmur, every vibrant pulse of life that swirled around him. He had traveled far from home with his theater ensemble to perform at the fledgling theater festival and was leading a workshop here as part of their residency.
Sibiu, with its intriguing blend of history, art, and modernity, seemed to echo his own journey. As a child, Bradley had always been a sponge, absorbing tales, music, and culture effortlessly. It was as if the stories of the world were calling out to him, begging to be told anew, through his unique lens. This inborn talent had led him to play the drums, which provided the soundtrack and cadence for much of his life. When an African Shaman named Malidoma Somé had once whispered to him that his destiny lay in the rhythm of the drums Bradley gave voice to, it had felt like the universe itself was affirming his path.
With the same passion that had driven him to music, Bradley delved into the world of physical theater. The art form, rooted in the rich traditions of L'ecole Jacque Lecoq, offered him a new canvas—a way to weave together movement, emotion, and narrative into performances that were nothing short of magic.
Today, standing in the heart of Romania, Bradley was about to showcase this very magic. His theater company, the UMO Ensemble, was the talk of the town. Anticipation hung in the air, thick and palpable. Locals and tourists alike chatted animatedly, their voices creating a harmonious backdrop to the town's serene beauty. There were whispers of the ensemble's unique performance style, tales of how they transported audiences to other worlds, and debates on which story they would bring to life tonight.
Amidst the hum of excitement, Bradley felt a calm determination. Tonight was not just about a performance; it was a culmination of his life's work, a testament to the power of art to transcend boundaries and touch souls. It was about proving that even in a digital age, the raw, unfiltered emotion of physical theater had an unmatched power to connect and inspire.
But more than anything, tonight was personal. For Bradley, every performance was a piece of his heart, a slice of his journey, an invitation to the world to see life through his eyes. And as he took a deep breath, letting the heady mix of anticipation and nostalgia wash over him, Bradley knew one thing for certain: Tonight, Sibiu would not just witness a performance; it would experience a story that spanned continents, generations, and the very essence of human emotion.
The lights dimmed, the curtains rustled, and as Bradley stepped onto the stage, the story of Carolina Commons and Theater of Self began to unfold.