Edward D Padilla

Because they're insisting - This is one of the PR releases done on me...

          It began a whispered pledge and became a worldwide phenomenon.               It took Fallen Guardian Angels, written by Edward D Padilla, a quarter of a century to make its mark, but it leaves a huge impression.              It is a simple premise. Seven actors prepare on-stage for an unseen performance offstage. We meet the stage manager, who leads us down the road to 1985 to the dawn of AIDS, and we meet the six other actors. These actors banter until one mentions their choreographer has AIDS. Six direct monologues aimed at the audience follow, (there is no fourth-wall shielding us) and each monologue builds in emotional fervor until a cataclysmic punch. Thankfully, an intermission gives the viewer reprieve.             However, these words haunt you. They have individual stories, and, like the melodies of A Chorus Line, or the ghostly accounts of Spoon River Anthology, each narrative poetically ingrains itself into your memory. These powerful words take you to a time at the beginning of the AIDS epidemic. The characters and their stories earned recognition as “iconic in AIDS history” by Samuel French, a publisher of theatre scripts. Fallen Guardian Angels is also subject to vote in June 2012 for inclusion in the World AIDS Archives             Yet, until 2010, few theatres touched the material. AIDS makes for box-office poison.  With the publication of his multi-award nominated novel, Minor Deities, Padilla’s scripts began circulating, resulting in more productions.             Padilla recently directed a production of Fallen Guardian Angels in Las Vegas, Nevada. It was one of 73 productions worldwide in December 2010. Padilla requested each production be a benefit for a local HIV/AIDS organization, and, collectively, on opening weekend, Fallen Guardian Angelsproductions raised over $75,000.  To date, productions of Fallen Guardian Angels have raised over $3,000,000 for AIDS research, and the number keeps rising.             A production in Perth, Australia, ran for nearly five months to full houses and raised almost $1,500,000 (AU) for several organizations.             “The truth is, people want to see it.” Said Cynthia Gribbon of The Hills. “They came opening night, and kept returning. Audience members talked about their memories about AIDS.  The play becomes cathartic for old wounds. We could not close.” The decision to lower the final curtain came after much deliberation. “We tried to keep it running.” Cynthia said, “We started running it at midnight on weekends, and the audience began tapering off.” On the final performance night? “We were sold out. Audience members sat in the aisles. We couldn’t turn anyone away. When the show closed, we immediately signed to reopen in December.”             The Hills isn’t the only theatre slated to open Fallen Guardian Angels on December 1, 2011. Padilla and his two good friends have worked since January to involve as many high schools and community theatres for that Thursday. Most productions are continuing their runs through the month of December. Every production will benefit a local HIV/AIDS organization specializing in education, outreach or quality of life programs.             December first is World AIDS Day, a day to remember those who have passed on from this disease and to educate ourselves. The month of December is AIDS Awareness Month.              As for high schools, Padilla explains, “Anthony DelValle’s review of our show in Las Vegas ended with a note that, while the production was great, it would fare well in high school auditoriums to educate our kids about the beginning of the disease. That sparked the whole idea.”             Yet, the production requests have not all been favorable. “It’s really stupid.” Says Steve Summers; a volunteer involved with the project and Edward’s friend. “Some schools write back that the title can’t be used because it has the word angels. One school wouldn’t do it because the play references God. It’s like we can talk about lesbians, gays, unsafe sex, even oral sex, but we better not talk about God.”  How did they avoid some of these objections? “Edward let some of the schools use the title F.G.A.” Steve said, “He allowed some word changing, and let others take out the boy-boy kiss, but he would not let any school or theatre take out the God Monologue.”             “Religious intolerance was high in 1985.” Padilla said, “Everyone believed AIDS was punishment from God. It is an essential part of history. Talking about God goes against some schools’ policies.”             However, others are more accepting. One school in Alabama will not only mount Padilla’sFallen Guardian Angels, but was also granted rights to produce one of Padilla’s other gay-themed scripts, The Hunger.             “I met a Junior from that school on the internet”, Padilla said, “He is using Jared’s monologue about discovering he has AIDS for drama competitions.” In addition, there are more students turning to the script, which is rife with ten-minute stories. “One girl sent me an email with the Marion’s (The lesbian) monologue. She merged the first act beginning and second act resolution into one cohesive piece.”             As of April 30, Edward and his two friends have signed over 900 productions for 2011. “And it ain’t stopping.” Padilla said.             The script, available on Amazon for Kindle and iPhone apps, has a record-breaking number of downloads, and Padilla’s publishers (S&B Publishing House, NY) will eventually release the script in hard copy, although Padilla insists  on keeping his self-published version alive.             “When publishers get involved,” Padilla said, “they take over. I like control of this script. Every single production has been a benefit, and, with a publisher, I’m looking at having to collect royalties. I didn’t write this to make money, I wrote it for a friend.” Padilla includes a free copy of the script to each school he contacts, and allows the participating schools to photocopy scripts for students.             Padilla’s philanthropy intrigued me. I wanted to learn all I could about this script and its playwright.             I took a trip to Las Vegas. Edward and I met over coffee at a local diner where I learned about the beginnings of Fallen Guardian Angels.             “I wrote it for a friend.” Edward refuses to break his friend’s anonymity, referring only to him as “James.” His whispered promise to James was to do everything possible to eradicate AIDS, and it became a lifelong ambition. Asked where this drive started, Padilla says, “James was in the hospital for the millionth and final time. He asked me to write his eulogy. At first, I refused, but he was dying.” In 1985, AIDS was a death-sentence, unlike today, where AIDS is a lifelong and treatable condition. “I went home and cried.” Padilla continued. “How could he ask me to write his eulogy? I pulled out my recorder, began with ‘I am standing in front of you with mixed emotions...’, and kept talking. When I finished, I typed it out, fixed it, and the next morning went to the hospital with an edited version of what became Robert’s monologue.”             Having read the full play, the realization of what I read began taking hold of me. My hands reached for my weathered copy of Fallen Guardian Angels, and I pulled it out, ready to reread Robert’s speech.             Edward seemed surprised to see the script. “I didn’t think anyone had it.” He said. “The only people I thought bought it were high school students.”             I asked about how the whole script came into being.             “After James read Robert’s monologue,” Padilla said, “he told me it was brilliant. I’m not lying.” A soft laugh. “James really loved it, and I promised to read it at his funeral. I had to change the last part because I refused to say he was gone. In the original version, Robert thanks God for his friend still being with him. At James’s funeral, I had to stop when I said, “I’ll miss him.” It was difficult.”             Edward’s eyes filled with memories and he excused himself. During the interim, sitting with Steve, I reread the monologue. The powerful words striking my emotions like a splintered stake through a wounded heart. Padilla’s writing is a no-holds barred account of his friendship. From the sordid gutter to the rescuing of a life, all stated without compromise, and each monologue holds the same shameless attitude.             “James told me to do something with it. These words shouldn’t be only said once. There were more stories out there to hear.” Edward said. “I went home and thought about what I knew about AIDS at the time. I began writing. Twelve hours later, I had the rough draft of Rainbow Clouds, the original title of the play. It became Fallen Guardian Angels in 1999 when I wanted to separate the gay connotation.”             James had limited time, and Edward gathered six friends to the hospital where they read the script. Edward promised to mount the script in James’s honor.             When I asked where the idea to use the script as a fundraiser started, Padilla said, “We didn’t charge for the first production. We did it in a high school auditorium and only had a week to let people know. Since we didn’t have a box-office person, I put a vase near the entrance with a sign asking for donations. After the show, we had about two hundred dollars, and I gave it to James’s aunt to help her with the bills she incurred for James’s funeral. James never saw the production. I wrote it because of him, but he never saw it.” A laugh. “He would do anything to get out of going to the theatre.”             “So it was a fundraiser for James?” I ask.             “No.” Padilla said, “Not really. When we did the play again about two years later, we couldn’t build interest. No one wanted to see an AIDS play. There were too many on the market. I contacted the local Gay and Lesbian Center, and asked if we could do it as a benefit for them. They accepted. Opening night, we raised almost $500, and word of mouth spread. We had good houses after that. The idea sprang from that.”             What an idea. Padilla and I mapped out the December 2011 production schedule. Starting in the Far East, and ending in Hawaii, Fallen Guardian Angels is destined for a 96-hour continuous run. As one production closes or reaches its intermission, another will begin, starting at 7:30pm on Thursday, December 1 and not ending until approximately 8pm on Sunday, December 4, 2011.             “For three weekends,” Padilla said, “constant productions of my words in different languages. I’m amazed.”             As am I.             It is wonderful to meet an unassuming man, recently listed as one of the 25 Most Influential Gay Men in America, holds keys to several cities in different countries, and speaks at HIV/AIDS functions although he does not have the disease. He is a man who laughs with a broken tooth, cuts his own hair and remains humble. Padilla’s income potential intrigues the imagination, but Padilla refuses to accept anything more than five dollars per performance.             “It’s because he doesn’t feel he owns it.” Steve explained. “Edward gives, never takes. He wrote this masterpiece where he could make millions, and he won’t take anything.”             During a moment alone with Steve, I asked him about the tooth. Edward is self-conscious when he talks, barely moving his upper lip, but it becomes apparent his front tooth is missing.             “The usual story,” Steve starts with a laugh, “Edward’s on the bus, and he gives up his seat to someone. The bus was in an accident, and Edward slammed into a pole and broke his tooth. Insurances refuse to pay any claims, and Edward gets the shaft. Long story short, he finally saves enough to pay for a new tooth, and a friend died. Edward sent the money to his friend’s family to help pay for the funeral. That’s him. That’s how he is.”             As does Fallen Guardian Angels leave an optimistic impression; meeting Edward gives hope there are other true angels among us.             For information on how your organization can get involved, email Edward at edward_california@yahoo.com. You do not need to be a school or community theatre.  

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