child's name will be Bennett.
or Nelson or Denton or some other post-colonial but nonetheless
sounding moniker, who will live in just the correct block of
parents, who are not yet married, in a loft that they’ll be in
the process of
renovating from a design rendered with care by Bennett's architect
father. His little sister, precocious but with studied
be Chelsea or Hermione and will be excelling in Mandarin at the
oh-so-progressive and diversely inclusive (while still being exclusive)
preschool whose cost for one semester is what a vast number of people
city would kill to earn in a year. Chelsea will call her parents
first names, Reggie and Reggie, who will recount the day that they met
story that will never grow old.
(the mother) will run a collective that distributes jewelry hand-made
of an obscure tribe in Western Africa. She will sell the
her boutique/art gallery/organic tea shoppe that also serves as her
studio where she’ll teach other equally bright and bored mommies
how to throw and glaze and produce works of not-quite-art that will,
nonetheless, be displayed on white lacquer mid-century coffee tables
overinflated degree of pride.
(the father) will have not yet succumbed to the full lumberjack beard
as is seemingly
required by law in that area of Brooklyn, but will, nonetheless, sport
sideburns and a pompadour that would make Elvis blush. He will
cowboy boots, though he will have been raised in an affluent suburb
Philly before attending Penn where he pledged to a fraternity (although
his current friends will know this). He will own a bowler hat
will wear on days in which he feels especially ironic and will watch
just to buck the trend.
this is not about Reggie or Reggie or little Chel-mione.
stranger will first encounter the boy as he walks right past, the
having stopped for a moment to retie a lace that refuses to remain
the boy's name emblazoned in tight gold stitching across the top of his
organic denim backpack.
B- E -N-N -E -T - T.
and Reggie will not be into designer labels, but will appreciate labels
their own making.
stranger will follow closely, wondering where this Bennett is headed
ramrod purpose and cowlicked intent and what parent would allow their
7, 8, or
9 year old to wander an outer borough without supervision. The
will understand that it is important for little Bennett to develop a
self-assurance and pioneer his surroundings. And the stranger
that Reggie (the mother) had a poster above her white French Provincial
bed where she lost her virginity that declared simplistic wisdom about
"loving something and setting it free" and truly taking that to
heart. But someone should be minding him.
(the father) will not be able to watch the boy as he will be in
his first triathlon, which the other Reggie will outwardly encourage
inwardly despise as just too typical; perhaps even a bit "meta"
(without truly understanding what that means). She will be
of becoming cliché without the knowledge that this fear has
already made her
stranger will watch as Bennett stops at the light, waiting for the
green. The stranger will take in the
the stitching, the cowlick and the posture of the un-minded boy.
Reggie (the father), will be studying his triathletes training bible to
determine his body mass index.
Reggie (the mother) will be brewing some Oolong with Belinda and Tess.
little Chelsea will be playing PeePod on her iPad while listening to
not Bennett. Not the boy.
"Bennett?", the stranger
will call out. And the boy will turn at the sound of his name.
Brian Feehan is a professional director,
choreographer and published writer originally from the Chicago area and
now based in Connecticut. Brian began his career as an actor, attending
the Goodman School of Drama as well as the Tisch School of the Arts at
NYU. He was also chosen as one of thirty to study at the Royal National
Theatre of Great Britain under the tutelage of Sirs Anthony Hopkins,
Ian McKellan and Alan Rickman. As a writer, his plays "PARLOR GAMES",
"HEAD GAMES", "SKIP/TRIP/SASSY" and "OUT OF GOLD" are published and
licensed by Heuer Publishing. "HEAD GAMES" was a finalist for the
Heideman Award at the Actor's Theatre of Louisville and the screenplay
was a finalist in the Beverly Hills Film Festival. His play "MARTINIS
AND MIDNIGHT" was a part of the Lost Theatre Play Festival in London as
well as the American Globe Theatre in New York. His adaptation of JM
Barrie's "PETER PAN" premiered at the Dorset Theatre Festival in
Vermont, and "IT'S THE MISER" (an adaptation of the Moliere, set in the
world of 1950's black and white sitcom) has been seen at several
Regional theaters throughout the country. For more info: