An Open Letter to the D-Bags Sitting in Front of Us At the Opera

Dear D-Bags,

Hi.

I'm the guy who was sitting in back of you last night at the Academy of Music for the Savoy Opera Company's production of The Pirates of Penzance. You probably don't remember me, but I remember you.

What I remember vividly was you screwing around on your fucking Blackberries. During the overture. It's funny-- Sullivan didn't compose many of the overtures himself, usually leaving that task to colleagues like Alfred Cellier, who arranged the Pirates overture. Do you know why Sullivan didn't compose many of the overtures himself? Because of inconsiderate, shitnecked little fucktitties like you.

Sullivan was extremely dismayed after opening night of Yeomen of the Guard. He took great pains to compose a beautiful, soaring overture-- and the audience talked all the way through it. He swore that he would never compose another overture himself again. Of course, he also was always swearing that he would never work with Gilbert again. And again. And again. And he always did. And he wrote two more overtures himself, for the Gondoliers and The Grand Duke. And I'm sure people talked all through those, too.

People like you.

You see, people have been rude dicklicks in every century. They've always found ways to be self-important little tadgers, but now cellphones make it so much easier to be an asshole in a dark theatre. The iridescent glow from your screens are so distracting and so obnoxious.

I realize that you must be extremely important, you waifish, slightly intoxicated blonde tramp with your metrosexual husband thing. An on-call neurovascular surgeon, perhaps? The mayor of Seattle in for a visit? A CIA operative? Or maybe you're General David Patraeus after undergoing a covert gender reassignment procedure.

Maybe.

But you're probably just an asshole.

Did you like how, after the overture concluded, I made it a point to clap extremely loudly and extremely close to your left ear? That's my passive/aggressive way of saying,

"Hi. I'd like to bury your Blackberry inside your cerebellum."

You're lucky it was me and not my hotblooded, Israeli father sitting behind you, or he would have killed you with a Mossad tactical maneuver that involves the rapid insertion of a big, hairy thumb into the back of your skull.

It's funny-- I was outraged at paying $50.00 for a theatre ticket, but I did it anyway because a friend of mine was in this show, and I love Gilbert & Sullivan like I love little else. I thought that, by paying $50.00 for a seat that I had paid for my right to witness this show in relative freedom for annoyances or disruptions. You paid $50.00 for a theatre ticket, and you believe that paying this amount gave you the right to behave like a total asshole-- snickering at your texts and private, very loudly whispered jokes all through the first act. You obviously wanted to be somewhere else, and that was clearly indicated by the fact that you and your annoying companions left at intermission.

I realize that you're too uncultured to appreciate Sullivan's music and that you're too stupid to understand any of Gilbert's humor anyway, so it's just as well that you buggered off to go get even more drunk at some ridiculous hipster bar where you pay way too much for drinks you don't even like and drunktext your soulless, vapid friends who don't care about you.

You had no business being at that show. You weren't socially awkward or wearing a bowtie, you didn't have buck-teeth or a back-parting or seersucker trousers or saddle-shoes. Gilbert & Sullivan is clearly not your speed. And I'm glad you realized that early, so that my wife and I could enjoy Act II-- the entrance of the delightfully timid constables, the clever device of invoking Queen Victoria's name, the delightful plot contrivance and the most ingenius paradox.