My Mom’s Tooth

When I was in high school, my mom went to the dentist and had a cavity filled with no anesthetic.

Because she was nuts.

Here’s what happened, as best as I can remember.

She showed up to the dentist and he had fallen behind. The patient before my mom had to have her jaw replaced or something. I’m exaggerating. That’s not it. Anyway, by the time Dr. Painless Feelgood got to my mom, it was only ten minutes until quitting time, and he had to bolt out of the office and get ready for some tooth conference. Or dental dinner. Whatever.

He apologized and said he could reschedule her, but my mom said “Well, how long does it take to fill a cavity? Can’t you just…do it?”

He said that it takes several minutes for the anesthesia to take effect. “Don’t give me the anesthesia,” my mom said.

He told her it would be really painful, but my mom had given birth to two boys, one of whom (me) was a breach so she was not impressed by the dentist’s definition of “pain.”

So, the dentist filled my mom’s cavity with no anesthesia.

She came home shaken and exhausted.

Later, she tried to describe the experience of “transcending pain” as she lay there amidst all the drilling and spittle and nerve endings and that awful burn smell that wafts in the air when the dentist is going to town on your molars. “You’re crazy,” I said. And I told all my friends about how nutty my mom was, although secretly I thought she was bad ass.

When I was 21, I had to have two wisdom teeth removed. Warning: Graphic Description of Dental Procedure to follow (although if you’ve made it this far…) I came home from college for the procedure. Both teeth were impacted and would…not… come…out. I remember the the dentist grabbing at my tooth with that metal thing, placing his foot on the chair to brace himself and pulling like he was hauling out someone who had fallen into a well. There was no pain (because my dentist never even entertained the obscene notion of operating on me with no anesthetic) but it felt like my skull was being yanked out of my frame. Didn’t work, though. That tooth was still in there. Eventually, he used a drill to break the tooth into tiny pieces and pick the shards out of my mouth bit by bit.

Still with me?

That night, I took a pain med and threw it up. So, I took another med and threw that one up as well. I took a Tylenol but given how much yanking and drilling I’d been through, it was a little like putting a band aid on a burn victim. By midnight, the pain was unbearable. I did something I hadn’t done since I was five years old. I went upstairs to my parents’ room, weeping, and crawled into their bed. My mom woke up and stroked my head.

Reminder: I was 21 years old.

“Don’t fight it,” my mom said. “You’re fighting against the pain. Don’t fight it, just give into it. Fall into it. It’s a big ball of flame in front of you and it seems scary but it’s not. Just walk right into it. Let it surround you.”

I fell right to sleep. The next morning the pain was…well, not gone completely, but at least tolerable.

A couple of weeks ago, my 85-year old mom took a spill in her bedroom and wound up breaking three ribs. Her caregivers drove her to the ER and she was transferred to another hospital an hour away from home.

Since 2017, my mom had been battling a series of mostly-undiagnosed ailments, both mental and physical. She started having delusions and was put on an anti-psychotic med. She had no prior history of mental illness, which made it all very mysterious. But when she didn’t take her meds (which she often forgot to do) she stopped talking, stopped swallowing, refused to go anywhere and slowly slipped into catatonia. Several visits to hospitals and a month-long stay in a psychiatric facility (In Denver, four hours away from her home) ensued.

It’s a really long story that was grueling to experience but would be boring to read. Suffice to say, mom was never quite the same after that. But…BUT…as my brother and I will both tell you, mom was still in there. She didn’t talk much, couldn’t hear well, and often spent time staring into space. But there were moments when she was all there. 100% present. We saw her laugh. We saw that snarky gleam in her eye – the one that meant “You and I both see the ridiculous thing that’s happening now, right?”

But then there were the other times when my dad would call me to say mom was having a “difficult moment” and needed to talk to me. I’d spend an hour on the phone with her, listening to her rapid breathing as she was being consumed by a panic attack – trying to get her to focus on where she was and who she was until she was able to calm down.

Anyway, leapfrog to two weeks ago.

Since arriving in the hospital after her fall, mom had slipped back into catatonia, and they couldn’t bring her out of it. Maybe it was because they screwed up her meds (which they did) or maybe it was just all too much for her to take. Maybe she was just done. After several days of trying various combinations of meds, she couldn’t wake up. One night, the doctor called me to say that she was aspirating and was in a lot of pain and recommended transitioning to comfort care. My wife, Allison, and I flew out to Colorado the next morning. My brother, Brad, and his wife, Laura, followed shortly after.

If you ever need to put someone in hospice, I recommend Miranda. I don’t know her last name. Nor can I recall who she worked for. But Miranda was great. She knew how to talk to grieving family members without all the faux, comforting soft-talk. Mom would have hated that. Death was normal to Miranda. She told me that even though mom was asleep, she was probably still aware of what was happening. She said that the hearing is the last thing to go. She said that people in mom’s situation usually don’t choose to go until they feel at peace doing so. She asked us if we had said our goodbyes yet.

I was in the hospital for about 48 hours, with the exception of three hours during which I checked into a hotel for a shower and nap. Brad brought my father to the hospital, and they all sat with mom for a while. I spent the whole night there on February 10th. It was weird. I had the whole hospital to myself and no one asked what I was doing there.

February 11th was mom’s 85th birthday. We sang to her. That night, everyone went home and Allison and I stayed. My dad needed someone to look after him and Brad and Laura were up to the challenge. I spent hours in mom’s room, listening to her breathe. I read her poetry – poetry she had written (mom wrote poetry her entire life.) I reminisced. I told her my favorite memories of our time together. I played her the mix CD of cowboy songs that she made me 25 years ago.

She continued to breathe.

Miranda was surprised that she had held out this long. “Some people go quickly once they’ve transferred to hospice. Some people take days.”

Eventually, the CDs had been played, the poetry had been read and the stories had been shared. But mom was still hanging on. Maybe she didn’t want to go. Maybe she was scared. Maybe she was in pain.

“Hey mom,” I said. “Remember that time I got my wisdom teeth out? Remember what you told me?”

News & Stuff in 2025!

Yeah, yeah. I know we’re more than halfway through the year, but I’ve got a little catching up to do…

Working with the inimitable Kate Brennan on three shows this year! Back in January, our comedy THE BLEEDING HEART ACADEMY FOR GIRLS PRESENTS OUR FIRST AND LAST ANNUAL CHRISTMAS SHOW (TBA) was produced by Steel River Playhouse, under the direction of Lisi Levi. The play is now available for licensing through Brennan & White. You can find out more about the show here – https://brennanandwhite.com/non-musical-plays/

From there, we launched into the creation of our new musical ANATOMY OF A FLOOD with the students at Arcadia University. We presented a reading of the show to the public back in June and we’re eagerly awaiting the next development opp. Finally, we’re currently prepping the first draft of another new musical entitled BOOK OF WONDER for the “In the Works, In the Woods Festival” at the Forestburgh Playhouse in September. This is the first time that Kate and I are actively creating a novel and its musical adaptation at the same time. https://www.instagram.com/p/DJZWaVPuVEl/, https://www.fbplayhouse.org/itw

BLOOD: A COMEDY (First produced in 2009!) not only got a reading at Interact Theatre in Los Angeles back in December, but a film adaptation was shot back in July and is currently in post-production. Looking forward to seeing it soon! https://m.imdb.com/title/tt32272849/fullcredits

TIME FREAKS was published by YouthPLAYS in March and is being produced by Golden Slipper in August. September will see the publication of my FIXED (First produced in 2017) by Next Stage Press. https://www.youthplays.com/play/time-freaks-by-david-lee-white-704, https://www.nextstagepress.com/fixed/

My play ETIQUETTE is getting a developmental production from the amazing Pier Players in Philadelphia in September. The play’s official premiere will take place in April of 2026 courtesy of my friends at Vivid Stage. https://phillyfringe.org/events/etiquette/

https://www.vividstage.org/etiquette

More to come, including possible performances of PANTHER HOLLOW and further development on THE FESTIAL QUARTET.

And if you’re in California in late August, check out BACKFIRE at the Montalvo Arts Center – https://my.montalvoarts.org/overview/2801

2025 Update

It’s been a while. How are things in your world? Yeah… I hear ya. Me too. It’s everywhere and in everything. Hang on tight. Your artistry matters.

The past few years saw publications of my plays “Slippery as Sin” and “Ways to Be Happy” through the fabulous Next Stage Press. I hope to see both plays produced in 2025. “Time Freaks” got a great production in Rhode Island and is due to be published by YouthPLAYS any day now. I’m currently working with a theatre on a new version of “The Festial Quartet” which I hope will go up sometime in 2026. My one-act plays continue to make the rounds, with “Backfire” and “The Ask” being produced most often. “Backfire” will be at the Montalvo Arts Center, along with Stephen Sachs’ “Bakersfield Mist,” later this year. A new one-act, “Call Center” will premiere at Vivid Stage in March.

My partner in crime Kate Brennan and I recently attended a stellar production of our play “The Bleeding Heart Academy for Girls Presents Its First and Last Christmas Show (TBA)” at Steel River Playhouse. Lisi Levi (a Brennan & White vet from way back) did an exceptional job directing. Kate and I are also actively involved with students from Arcadia University to create a new musical called “Anatomy of a Flood” which we hope will hit the stage at Theatre Horizon in 2026. In the meantime, we also wrote a novel called “Book of Wonder” which we will make public at some point. We’re still negotiating to get “Clean Slate” out into the world. In the meantime, you can contact me or Kate for performance rights. For more info, you can head on over to brennanandwhite.com

Keep moving. Don’t compromise, don’t capitulate, don’t comply.

2023 – Another big year for Brennan & White.

After a number of productions of ALiEN8, and two workshops for CLEAN SLATE, in 2022, our work continues in 2023. Cushing Academy recently closed their outstanding production of ALiEN8 and CLEAN SLATE premiered as a co-production between Passage Theatre and Rider University. In May, CLEAN SLATE will receive its second production at Boston University Academy. This summer, the Bucks County Playhouse will revive their production of ALiEN8.

ALiEN8 is available for licensing through YouthPLAYS. Inquiries about CLEAN SLATE can be made by emailing brennanandwhite@gmail.com.

Meanwhile, here’s a review from the recent production of CLEAN SLATE from US 1 – Review.

CLEAN SLATE at Rider University and Passage Theatre

This has been a huge year for my collaborator, Kate Brennan, and I. There have been multiple productions of our first musical, ALiEN8, as well as the premiere of CLEAN SLATE as a co-production between Passage Theatre and Rider University. For more information on my work with Kate, take a look at http://www.brennanandwhite.com. Meanwhile, here’s a feature about the CLEAN SLATE premiere from the good folks at ArtPride.

Interview in US 1

Dan Aubrey interviews me about Panther Hollow, Ways to Be Happy and Iluminate!

See full article here – https://princetoninfo.com/160500-2/

Like many arts organizations finding their way through the pandemic, central New Jersey playwright, director, and actor David White is approaching a reduced yet busy schedule of four new projects.

One is for White’s regional artistic home, Passage Theater, Trenton’s only nonprofit professional theater.

The company’s former associate artistic director, White is participating in a digital fundraiser to help Passage address COVID-19-related revenue losses.

The event running from Saturday through Tuesday, October 17, through 20, is a recording White’s solo performance of “Panther Hollow.”

Here’s how the show’s press pack describes it: “Storyteller and monologist David Lee White details his struggle with love, sex, and clinical depression at age 25 while living in a one-hundred-year-old house in Pittsburgh’s hidden neighborhood, Panther Hollow.”

And while the theme seems a bit heavy, White, now 50, lightens the load in his opening, “Everything I’m about to tell you is true. And, fair warning, some of it is upsetting so I’m going to apologize in advance. There are eleven corpses in this show — eight victims of suicide, one tragic accident, one fake dead body, and one cat. I apologize for that. I especially apologize for the cat, although it’s not me that kills it . . .

“There are also two skinheads, one reference to public fornication, a few ghosts, Satan, and Shakespeare. I’m sorry that I take a few potshots at religion, although I feel it’s warranted. Also, because of lifelong feelings of self-loathing, I feel the need to say ‘I’m sorry’ for everything you might find offensive and for that, I apologize. So let me just start with the first dead body and you can tick everything off as I go along.”

White says the fundraiser’s roots come from a past presentation of the show during Passage’s annual series of one-person presentations, “Solo Flights.”

White says he wanted to get a good record of the show on film and thought of College of New Jersey filmmaker Susan Ryan, who had created a 30-minute documentary on one of Passage’s theater education projects.

“I called and asked if she and her students would like to film ‘Panther Hollow,’” says White. “She went all out. It is a really nice recording of the show.”

Then he adds, “When the pandemic started and arts organizations started closing, I was wondering, ‘What could I do?’ And since I had been working at Passage, I offered it as a fundraiser, and they took me up on it.”

He says the play resonates today because it deals with coping with depression and finding optimism.

He also says it has been his most popular stage work to date and resonates with theater companies looking to address social themes and in an economical way. “It’s just me, a desk, and a whiteboard. It’s a cheap date,” he says.

However, says White, he may let the tape be the legacy of the play and may not perform it in the future. “I was doing it at least a couple times of year. It is a show that is tricky to do. Part of it is, ‘Is there a need for people to see it?’ The other is whether or not I can tell it. It is so personal. It was a very healing experience for me. But I may not need to tell it anymore. It exists (on tape) and I don’t have to tell all that stuff.”

Another project is the play “Ways to be Happy.” Presented by the Summit, New Jersey, Dreamcatcher Theater, the recording can be purchased for download on Dreamcatcher’s website later in October.

“It is a comedy. I’m pleased with all the seriousness that I had a comedy out there,” he says about the work that has “been in development for years. It has readings and workshops, and Dreamcatcher was going to produce it in the spring. But that got canceled. So they moved it to the fall. And (the director) asked if I could develop it as an audio play. I hope people will listen to it and get a giggle for 90 minutes.”

Then on the schedule is Passage’s “OK Project.” It’s based on the 2017 removal by the City of Trenton of a six-foot-tall public art sculpture created by 16 young people involved with a city community project. According to city officials, the hand’s OK symbol resembled a gang-symbol.

Passage took the ensuing community discussions about art, policing, and censorship as the source of a community-focused work that received a MAP Grant — a fund primarily supported by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation to invest in artistic production and create “a more equitable and vibrant society.”

Calling himself a member of the team, White says the project is “an interview-type play. You can’t invent anything. Obviously interviewing people during a pandemic was a problem. Another difficulty is that the world is changing every day and the perspective changes — asking why this little story is important changes every day. It is hard to figure that out. We decided to wait to create the end of the script until after the election.”

“We’re going to have reading — a workshop over Zoom (date TBA). There will be a public reading in February. Then hopefully it will be on the Passage stage in about a year from now.”

Meanwhile, in addition to teaching at Drexel University, White says he is still writing musicals with his composer partner Kate Brennan — the two collaborated on the creation of the musical “ALiEN8” during McCarter Theater’s 2017 Education Program and took the work to Oklahoma City and Philadelphia.

Their latest is “Illuminate,” a project White says “could be done on Zoom” and features 12 songs and 12 scenes that tell a story.

“You can put them together in any order you wish. Any character can sing any song,” he says.

He says the title came from the composer’s interest in thematically exploring the social significance of light and darkness.

The original plan called for a mainly dark theater stage where specific objects would be illuminated at different times, but White says, “The pandemic came and we changed it.”

The play was reimagined for Zoom and gave the two the opportunity to discover a new tool for making theater. “We were able to collaborate with people in different states,” says White. “I interviewed them and wrote scenes inspired by what they said.”

Eventually they came up with a story that is both a play about memory and an allegory for what it is like to live during the pandemic.

“A woman who loses her memory wakes up in the hospital. Everything is dark and she goes on a search — but since she’s lost her memory the scenes do not have to follow an order. She is also a songwriter, so songs are part of her memory.

“We have all the scenes, and all the songs and further development with. No two productions of the show will be the same. We’re looking for a group of students to help pilot it.”

While a quick glance at White’s biography shows theater study in college, the son of a family counselor father and high school teacher mother says he actually got interested in theater as an elementary school student in his hometown of Wentzville, Missouri. “There was a college giving acting classes to kids, and I was taking them on weekends. I was pretty locked into theater by the time I was 12 or 13.

“In fifth grade there was a talent show. I was sick on the day of the audition, so I couldn’t audition. But my fifth grade teacher asked if I wanted to write something and also be in it. And I wrote ‘The $6 Million Dollar Frog’ — a combination of the television shows ‘The 6 Million Dollar Man’ and ‘The Muppets’ Kermit the Frog.”

Formal training followed years later at the University of Missouri and the University of Pittsburgh, where he received an MFA and met his future wife, art organization consultant Allison Trimarco from Plainsboro.

After experimenting with establishing careers in Chicago, the couple moved to New Jersey and settled in Bordentown Township, close to Trimarco’s parents and providing opportunities in New Jersey, Philadelphia, and New York City.

Later when they adopted their son, Nick, the couple realized that the community and schools were additional benefits.

White says he connected with Passage after a telecommuting job he started with a Chicago software company folded in 2001. “I was unemployed and thought I’d try to get a theater job and blind emailed everyone I could find.”

One person who responded was Passage Theater’s associate artistic director Nick Anselmo. He was less than 10 miles away.

“He had been from Chicago and called me,” says White. “I started volunteering with Passage. When Nick took another job, I took his position at Passage.”

Since then White has written several plays for Passage, including “Blood: A Comedy,” “Slippery As Sin,” “White Baby,” and “Fixed,” worked on the interview-based Trenton-specific projects “Trenton Lights” and “Profiles,” and worked on projects at McCarter Theatre, Dreamcatcher Rep, PlayPenn in Philadelphia, Rider University, and Drexel University in Philadelphia, where he also teaches.

While currently active and looking at a season with play development and experimentation, White also looks at the current disrupted theater landscape and shares two trends.

One, he says, is that theater artists are “coping with the grief of theaters being closed — live theater with a live audience. It is not only a spiritual grief and a practical one for people who count on it for a living.”

The other is they are also thinking about how theater was being created. “There are things about the theater culture that are not fair, not equal, and toxic. So people are looking at an opportunity to create more diversity.”

He says he found a symptom of rigidity of thought when theater artists starting using Zoom. “Right away, people were saying it was not theater. Meanwhile some people saw it as an opportunity to make it new.

“Play readings are a thing that Zoom has changed for the better. I have found it enlightening. For (play) development, it has made (the process) clearer. And you can get actors and audiences from all over the nation.

“There are a lot of gatekeepers out there who will define what theater can be. You see it in a lot of theater training, that you could only be a theater person if you have a certain personality. So there are people questioning how we do this.

“And like a lot of people, I love it and can’t wait for it to come back. But I hope it is a little different.”

Panther Hollow, Passage Theater. Saturday through Tuesday, October 17 through 20. $25. www.passagetheatre.org.

Random Horrible Thoughts Episode 2 – Dream Tim

Here’s this week’s episode of “Random Horrible Thoughts” entitled “Dream Tim.” It’s a play about teaching from home (sort of) – something A LOT of us are doing right now. The production features Ian August, Andy Phelan and Kate Benincasa. The recording was produced by Kate Benincasa and directed by Adam Immerwahr. This week’s episode also features music by Jeffrey Barg and Sarah Donner.

Enjoy!