
Last night I went out and saw a play with a French title that reminds me of the title I gave to this post. It was called Chapeau Tombe Nan La Mer, and it's supposed to mean "My Hat Fell into the Sea", but I can't swear to that.
Chapeau is the fifth of a projected six-play cycle of works written by my friend Louie Crowder in response to Hurricane Katrina. He calls this aggregate, Disaster Number 1604.
Louie, of course, is not the only person here in New Orleans writing about the devastation wrought by the failures of our levee system in response to the storm. He's not even the only playwright dealing with the subject. John Biguenet, for one, is making a household name for himself across the country with his Rising Water trilogy, backed as he is by all the production resources and finances of the prestigious Southern Rep Theatre.
Louie's got no sustenance like that behind him, only a dogged determination, a gift for words, and a personal vision that is unique. Louie is a Vodou mystic.
I was lucky to have participated in the first three plays of the Disaster series, first as an actor in Cobalt Blue, then as the director of Calme au Blanc. I missed seeing the fourth play, but had been able to read it. I wasn't going to miss Chapeau Tombe Nan La Mer.
The play tells the story of a young man who wades out of the Gulf of Mexico with a trumpet in hand on the day Hurricane Gustav is expected to reach landfall. A National Guardsman discovers him and finds that he is someone who had vanished during the confusion of Katrina and has been presumed dead. That is what the available records state.
The young man's own story is different, though. He explains to the Guardsman that he had long desired to join with the sea and had finally done so on that long-ago Monday of August 29, 2005. As he says, he bowed to the sea, his hat fell in, and he followed it.
Now, back on land in New Orleans and reunited with the mother who had already mourned his loss, it appears that he may not have simply returned, but, in fact, been dispatched to carry out a transformative miracle.
Is he here to bring about the end of days?
And what does that charged phrase mean, the "end of days"? Oblivion? Or a transfiguration?
The mystic's answer will always be found in exaltation.
Chapeau is the fifth of a projected six-play cycle of works written by my friend Louie Crowder in response to Hurricane Katrina. He calls this aggregate, Disaster Number 1604.
Louie, of course, is not the only person here in New Orleans writing about the devastation wrought by the failures of our levee system in response to the storm. He's not even the only playwright dealing with the subject. John Biguenet, for one, is making a household name for himself across the country with his Rising Water trilogy, backed as he is by all the production resources and finances of the prestigious Southern Rep Theatre.
Louie's got no sustenance like that behind him, only a dogged determination, a gift for words, and a personal vision that is unique. Louie is a Vodou mystic.
I was lucky to have participated in the first three plays of the Disaster series, first as an actor in Cobalt Blue, then as the director of Calme au Blanc. I missed seeing the fourth play, but had been able to read it. I wasn't going to miss Chapeau Tombe Nan La Mer.
The play tells the story of a young man who wades out of the Gulf of Mexico with a trumpet in hand on the day Hurricane Gustav is expected to reach landfall. A National Guardsman discovers him and finds that he is someone who had vanished during the confusion of Katrina and has been presumed dead. That is what the available records state.
The young man's own story is different, though. He explains to the Guardsman that he had long desired to join with the sea and had finally done so on that long-ago Monday of August 29, 2005. As he says, he bowed to the sea, his hat fell in, and he followed it.
Now, back on land in New Orleans and reunited with the mother who had already mourned his loss, it appears that he may not have simply returned, but, in fact, been dispatched to carry out a transformative miracle.
Is he here to bring about the end of days?
And what does that charged phrase mean, the "end of days"? Oblivion? Or a transfiguration?
The mystic's answer will always be found in exaltation.








