That's precisely what we did on Saturday at 10:30 am. We took a look at all the work we've done in the past two weeks. I think the play looks precisely as I suspected it would, given how we've had to rehearse the past two weeks - sooo many conflicts it makes my head sping. The play looks well defined in some areas, messy in others. There is some good scene work, and some that is less defined. It seemed to me that the Captain/Lieutenant scenes were all in the best shape of everything. And all in all, everyone, particularly the family fuentes, have a good sense of who they are.
A stumble through is a great thing for me to do - to see where the play is halfway before we hit the theater. It's clear that I need to figure out: a) what to do with bodies b) to fully clarify entrances and exits (duh) c) and to make sense out of the women of the valley. The hardest part about group scenes seems to me to make sure that focus isn't being stolen, while at the same part making sure that the life is real and not merely surface.
I know stumbling through can be a scary proposition - but everyone seemed to take it in stride.
Today I'll be going through my notes, deciding what scenes to work on in the coming days. Looking forward to having
Wednesday, December 26
Saturday, December 22
Slow and Steady
Tried to work through act two last night. Didn't quite make it. I was moving too slowly during the pounding of the grain scene. AH well. Did get through to the scene with the Priest and the Captain.
Today we will attempt a stumblethru for my benefit. It's not the best way to leave the cast before their break. But it should kick everyone in the pants to them same degree. Whose idea was it to have rehearsal at 1030, I wonder?
I have never listed the cast so here it is
Josh Alexander
Mark Alhadeff
Veronica Cruz
Sam Dingman
Sarah Nina Hayon
Mercedes Herrero
Guiesseppe Jones
Ana Cruz Kayne
Ephraim Lopez
Melissa Miller
Sean J. Moran
Gita Reddy
James Saba
Anca Suiu
Joaquin Torres
Ching Valdes-Aran
Audrey Lynn Weston
Yan Xi
And the designers:
Wilson Chin (sets)
Kimberly Glennon (costumes)
Colin D. Young (lights)
Sound (Matt O'hare)
and Jojo Gruenhut (AD)
Samone Weissman (PSM)
Today we will attempt a stumblethru for my benefit. It's not the best way to leave the cast before their break. But it should kick everyone in the pants to them same degree. Whose idea was it to have rehearsal at 1030, I wonder?
I have never listed the cast so here it is
Josh Alexander
Mark Alhadeff
Veronica Cruz
Sam Dingman
Sarah Nina Hayon
Mercedes Herrero
Guiesseppe Jones
Ana Cruz Kayne
Ephraim Lopez
Melissa Miller
Sean J. Moran
Gita Reddy
James Saba
Anca Suiu
Joaquin Torres
Ching Valdes-Aran
Audrey Lynn Weston
Yan Xi
And the designers:
Wilson Chin (sets)
Kimberly Glennon (costumes)
Colin D. Young (lights)
Sound (Matt O'hare)
and Jojo Gruenhut (AD)
Samone Weissman (PSM)
Friday, December 21
ART - Closing Weekend of NO CHILD...
Last night, Nilaja performed for 520 people. Wish I could have experienced that! This is closing weekend, so if you are in the boston area, go check out NO CHILD!!!
Friday, 12-21 at 8pm
Sat, 12-22 at 2pm and 8pm
Sun, 12-23 at 2pm
Thus ends our second stop on our national tour!
Friday, 12-21 at 8pm
Sat, 12-22 at 2pm and 8pm
Sun, 12-23 at 2pm
Thus ends our second stop on our national tour!
Review of act one and the kiss
It was a tough night, though a helluva lot got accomplished. I had to put in several actors who were not there the first time we blocked. I found that some scenes were easier to really do nitty-gritty work right away, while others required a full run of the scene, before stopping and starting.
Jojo - the best associate director in the world - thought I was peevish. I probably was. Though I am elated by the proceedings thus far, the toughest part is choosing the time to talk through a moment, and just essentially being steely and pushing through. If we talk through something, well there are anywhere from 12 to 18 people there. And not every opinion should be incorporated or its a free-for-all. On the other hand, I think I've gotten my best suggestions naturally from the actors.
Always interesting to see who has impulses that they can just try out, or who needs to talk those through, who's uncomfortable physically onstage, who gets stage picture etc.
It's clear to me that I need to get the Women of the Valley to be more like peasants - and rather than play an idea of peasants, i think they need to get it in there body what a life working in the fields, doing laundry by the river, losing your husband! might be like. It's coming along nicely.
"She's there, but not really there." One of the actors so that as a physical stage direction (as if they were ghostly beings - there but some place else). I read it as a psychological stage direction (distracted). Funny.
THE KISS - it's a grotesque moment and I won't spoil it: but there is a kiss that should hopefully make you squirm. Spoke to both actors and tried to talk through how I thought the kiss should go and what I think it is intended to mean. Both actors are doing great with it, it seems. Good stuff.
Jojo - the best associate director in the world - thought I was peevish. I probably was. Though I am elated by the proceedings thus far, the toughest part is choosing the time to talk through a moment, and just essentially being steely and pushing through. If we talk through something, well there are anywhere from 12 to 18 people there. And not every opinion should be incorporated or its a free-for-all. On the other hand, I think I've gotten my best suggestions naturally from the actors.
Always interesting to see who has impulses that they can just try out, or who needs to talk those through, who's uncomfortable physically onstage, who gets stage picture etc.
It's clear to me that I need to get the Women of the Valley to be more like peasants - and rather than play an idea of peasants, i think they need to get it in there body what a life working in the fields, doing laundry by the river, losing your husband! might be like. It's coming along nicely.
"She's there, but not really there." One of the actors so that as a physical stage direction (as if they were ghostly beings - there but some place else). I read it as a psychological stage direction (distracted). Funny.
THE KISS - it's a grotesque moment and I won't spoil it: but there is a kiss that should hopefully make you squirm. Spoke to both actors and tried to talk through how I thought the kiss should go and what I think it is intended to mean. Both actors are doing great with it, it seems. Good stuff.
O'Neill
Reading for the O'neill right now. As much as I bemoan the task when the scripts arrive, I do enjoy screening these scripts (hey, I agreed to do this). I get pretty bilious at times, and today was no exception. Right now I am reading one in which the three women, despite being onstage and in scenes with each other, don't actually interact with each other: they just give each other updates on their lives. I think I read three different times that everything with the marriage was ok because they're done with the construction work on the studio. Three times.
The three scripts I've read so far are at various stages of completion. Which is peculiar - or rather, unexpected. Although, if I think about it, I guess at sundance it's not uncommon to submit a film that hasn't been completely edited yet. So, maybe, similarly, these writers are just sending what they've got. In evaluating a script, you'd think a writer would want to show you that they can complete a draft - but here I've been reading 25 page scripts. Strange.
There is often a gem in the mix, and with two to go, here's hoping.
The three scripts I've read so far are at various stages of completion. Which is peculiar - or rather, unexpected. Although, if I think about it, I guess at sundance it's not uncommon to submit a film that hasn't been completely edited yet. So, maybe, similarly, these writers are just sending what they've got. In evaluating a script, you'd think a writer would want to show you that they can complete a draft - but here I've been reading 25 page scripts. Strange.
There is often a gem in the mix, and with two to go, here's hoping.
Thursday, December 20
Pounding of the grain.
There's a scene (act 2, scene 9) in which the women are pounding grain. Ariel's not totally clear in the stage directions about the women of the valley (we got five of 'em) being present. What we do know is that once sofia starts naming names the women are present. And upset.
But I wonder if it makes sense to have them conjured by the naming of names or already present and responsive.
Also last night we staged the burial. That's a lot of folks on stage. Already I have a concern about sightlines. And bodies. And graves. I think we'd be better off without lifting an actual human. So we may try to get a dummy wrapped. Which begs the question. Do we want a dummy for each body? I don't think so. But the thing is with a body, its gotta be moved offstage and its heavy.
I think I played a corpse once: in arsenic and old lace. I vaguely recall that the person who originated the role was named riley birch. Hard to forget a name like that.
Off now to watch some shooting of paul giamatti's new film COLD SOULS. Fantastic.
But I wonder if it makes sense to have them conjured by the naming of names or already present and responsive.
Also last night we staged the burial. That's a lot of folks on stage. Already I have a concern about sightlines. And bodies. And graves. I think we'd be better off without lifting an actual human. So we may try to get a dummy wrapped. Which begs the question. Do we want a dummy for each body? I don't think so. But the thing is with a body, its gotta be moved offstage and its heavy.
I think I played a corpse once: in arsenic and old lace. I vaguely recall that the person who originated the role was named riley birch. Hard to forget a name like that.
Off now to watch some shooting of paul giamatti's new film COLD SOULS. Fantastic.
Sunday, December 16
On our feet.
We've been up on our feet for three days now. I've been using a clock to help with direction for the round (since there's no real upstage downstage sl sr in the round). Thus, the booth is at 12, the entrance to the theater is 9, opposite the booth is 6, and opposite the entrance is 3.
That's how they did it in the bingham at humana, and its what we did at catf. And so. Once again.
Yesterday was our first vast cast day. All four valley woman, plus fidelia, the lieutenant, yanina, the soldier, the doctor. Its huge when they're all on together. I haven't had a cast this large since caucasian chalk circle
Hardest of all is scheduling. Our able stage management team (samone and lauren) have put together a scene by scene, page by page breakdown - these are the columns. The rows are the actors. So for each day we highlight an actor who has a conflict. And we choose accordingly. Its painful. But there doesn't seen to be another way.
Reverie is not only doing this as a showcase (everyone gets a stipend) but also we are rehearsing over xmas season. Oy.
Still. KIT.
That's how they did it in the bingham at humana, and its what we did at catf. And so. Once again.
Yesterday was our first vast cast day. All four valley woman, plus fidelia, the lieutenant, yanina, the soldier, the doctor. Its huge when they're all on together. I haven't had a cast this large since caucasian chalk circle
Hardest of all is scheduling. Our able stage management team (samone and lauren) have put together a scene by scene, page by page breakdown - these are the columns. The rows are the actors. So for each day we highlight an actor who has a conflict. And we choose accordingly. Its painful. But there doesn't seen to be another way.
Reverie is not only doing this as a showcase (everyone gets a stipend) but also we are rehearsing over xmas season. Oy.
Still. KIT.
KIT
Its a terrific cast. I couldn't be happier. And they are in seemingly good spirits. When it was time to speak at the first rehearsal, I imparted the following advice: keep it together. its a huge cast - and of course some things will go wrong, mistakes will be made. And well its too damn easy to let morale slip. If one person starts to bemoan, the bad apple effect is then in motion. My advice: keep it together. When things get wonky: keep it together. When something doesn't work: keep it together.
KIT. Keep it together
Sunday, December 9
Widows: Day Two - tablework
A solid slog through the play - made it practically a third of the way through. The room was rather freezing, but we soldiered on. I don't know what the director was thinking: rehearsal at 10 am? What a nut.
Ching opened the day by disagreeing with her earlier notion about the end of the play: she now feels it is an act of liberation, rebellion on the part of the woman. Yesterday, in our discussion we talked about how when the lights go out, the ending might not be a hopeful one.
So great to hear the play read by others - and by great actors too. The biggest discussion had to do with Sofia at the river, and how that upsets the balance of the town. If she does what she is told, and behaves like the rest of the women, maybe the new captain will release the missing men. But she can't wait any longer. She is defiant, because she cannot wait any longer - and she is for some reason in tune, more in touch with nature than the rest of the women. We ended things right around where the young girl, Fidelia (played by Ana Cruz Kane) goes to protect the body claimed by her grandmother which the river has yielded. Guiesseppe as the Lieutenant then picks her up, moves her, and kisses his in front of the other woman. It is an incredible moment, I think.
I definitely will be delving more into the research this day off, reviewing my notes on TROJAN WOMEN as well as rereading ANTIGONE (one of the first plays I ever acted in - as Creon, at the tender age of 16).
Ching opened the day by disagreeing with her earlier notion about the end of the play: she now feels it is an act of liberation, rebellion on the part of the woman. Yesterday, in our discussion we talked about how when the lights go out, the ending might not be a hopeful one.
So great to hear the play read by others - and by great actors too. The biggest discussion had to do with Sofia at the river, and how that upsets the balance of the town. If she does what she is told, and behaves like the rest of the women, maybe the new captain will release the missing men. But she can't wait any longer. She is defiant, because she cannot wait any longer - and she is for some reason in tune, more in touch with nature than the rest of the women. We ended things right around where the young girl, Fidelia (played by Ana Cruz Kane) goes to protect the body claimed by her grandmother which the river has yielded. Guiesseppe as the Lieutenant then picks her up, moves her, and kisses his in front of the other woman. It is an incredible moment, I think.
I definitely will be delving more into the research this day off, reviewing my notes on TROJAN WOMEN as well as rereading ANTIGONE (one of the first plays I ever acted in - as Creon, at the tender age of 16).
Widows: first rehearsal
A tremendous first day, with only one absence (out of 18!).
A meet and greet - and what a busy room with 25 people milling about. Colin did the introductions, then it was time for a designer presentation. Wilson, Matt, Colin and
A meet and greet - and what a busy room with 25 people milling about. Colin did the introductions, then it was time for a designer presentation. Wilson, Matt, Colin and
Friday, December 7
Widows has been cast
I think we are good to go. I cannot believe it. But tomorrow is day one of rehearsals for widows. There are conflicts aplenty and it will be a logistical nightmare from start to finish.
My goal is to keep it together. To intill a level of calm and confidence throughout the proceeding.
I aim to give a decent accounting of it all start to finish.
Amen.
Wednesday, December 5
August: Osage County
Wow. Wow. Wow. And...
Wow. I just loved this show.
I had the fortune of seeing the show last night, opening night. And in a word: Wow.
I had heard a great deal of positive buzz, and Scott Morfee has been a huge supporter of Tracey Letts so I was pretty excited to see this. ANd sure enough, it did not disappoint.
It is a quintessential American play, taking place at the house of a midwestern family, the Westons. And it is essentially a view of how cruel we can be to the ones we love the most. I think the reason it resonates so well and crucially is that it is about family NOW. To call this a dysfunctional family play is to do it a great disservice. It is far more than that: it is an American Experience. Not political, but someone capturing the zeitgeist of the interpersonal.
It is a play fraught with humor and pathos, full of family secrets. When one gets uncovered, you are privy to it before the rest of the family is. But Letts is always one step ahead: one great closet skeleton pales in comparison to the next.
Hooting at the end of act two like I've not heard. Makes me feel like I was witnessing the next Angels. Wow. Hats off to Tracy, Anna D. Shapiro and a great cast. Also awesome to see a cast of "unknowns" sweep on to the stage and take it and us by storm.
Wow. I just loved this show.
I had the fortune of seeing the show last night, opening night. And in a word: Wow.
I had heard a great deal of positive buzz, and Scott Morfee has been a huge supporter of Tracey Letts so I was pretty excited to see this. ANd sure enough, it did not disappoint.
It is a quintessential American play, taking place at the house of a midwestern family, the Westons. And it is essentially a view of how cruel we can be to the ones we love the most. I think the reason it resonates so well and crucially is that it is about family NOW. To call this a dysfunctional family play is to do it a great disservice. It is far more than that: it is an American Experience. Not political, but someone capturing the zeitgeist of the interpersonal.
It is a play fraught with humor and pathos, full of family secrets. When one gets uncovered, you are privy to it before the rest of the family is. But Letts is always one step ahead: one great closet skeleton pales in comparison to the next.
Hooting at the end of act two like I've not heard. Makes me feel like I was witnessing the next Angels. Wow. Hats off to Tracy, Anna D. Shapiro and a great cast. Also awesome to see a cast of "unknowns" sweep on to the stage and take it and us by storm.
Sunday, December 2
Twelfth Night, or whatever
Yep - I blew off tickets to Stoppard's ROCK AND ROLL because my cousin, Bernadette, had the lead role in her 8th grade version of 12th Night (or like whatever).
It was fairly incomprehensible: it was sort of set in the fifties: Orsino was the Captain of a football team, Olivia was the head chearleader. We didn't get to meet Sebastian until the second act. Viola, my cousin, did great work though. She seemed to be the most passionate, and clearly had a sense of stage presence. Um - many of the folks had lav mikes which really didn't help when people who didn't have mikes had to speak. Plus, there seemed to be this meta-adventure involving a bad class, led by two bratty girls who liked to text, who were forced to do a report on 12th night, and they had a fat classmate named Betty.
And it took me 2 hours to get back from Westfrield...
It was fairly incomprehensible: it was sort of set in the fifties: Orsino was the Captain of a football team, Olivia was the head chearleader. We didn't get to meet Sebastian until the second act. Viola, my cousin, did great work though. She seemed to be the most passionate, and clearly had a sense of stage presence. Um - many of the folks had lav mikes which really didn't help when people who didn't have mikes had to speak. Plus, there seemed to be this meta-adventure involving a bad class, led by two bratty girls who liked to text, who were forced to do a report on 12th night, and they had a fat classmate named Betty.
And it took me 2 hours to get back from Westfrield...
Nearly 7 years or so...
I was talking to an old friend who I met out during the end of my san francisco days. I worked for a moment directing at her school - the Pacific Heights Prep School, I think. I directed the 7th and 8th graders in a production of PLAYLAND AT THE BEACH - which we created ourselves. It was pretty hilarious: a bunch of bad kids are forced to help this old age community and learn about PLAYLAND, an old amusement park. They go there together and the old folks teach the kids a few things. That's about all I remember - that, and there were songs.
Anyway, Tasha reminded me about how miserable life became for me after I'd moved back to NYC, after I'd given the dotcom world a try, and how I actually prepared for the LSATs and had my law school applications ready to fire. Fortunately, I canceled those tests within an hour after taking them, and within a few months resumed my life in theater...
And what a trip these 7 years have been....wow.
Anyway, Tasha reminded me about how miserable life became for me after I'd moved back to NYC, after I'd given the dotcom world a try, and how I actually prepared for the LSATs and had my law school applications ready to fire. Fortunately, I canceled those tests within an hour after taking them, and within a few months resumed my life in theater...
And what a trip these 7 years have been....wow.
Thursday, November 29
Oh, The Humanity
Well deservingly, my good friend Will received an outstanding review from Mr. Isherwood of the Times. Mazel tov, my liege...
Tuesday, November 27
Sound Designers
The last remaining spot in my design team - the sound designer - must be filled today. For my sake, their sake as well as the producers.
It's between two folks: one has been extremely persistent in all the right ways, and has demonstrated an interest in the play - and the world therein. the other comes highly recommended, and the sample that they have sent me, feels very technically right. I have been a bit put off by how long it has taken this one to send me samples of their work. But I know that things can get in the way - so I don't want to let that tardiness skew my judgment. I think I will like the way the second one works, but I am leaning towards #1 because of their promptness, composition skills, and overall enthusiasm
It's an important decision. Because I need to create a river without water.
It's between two folks: one has been extremely persistent in all the right ways, and has demonstrated an interest in the play - and the world therein. the other comes highly recommended, and the sample that they have sent me, feels very technically right. I have been a bit put off by how long it has taken this one to send me samples of their work. But I know that things can get in the way - so I don't want to let that tardiness skew my judgment. I think I will like the way the second one works, but I am leaning towards #1 because of their promptness, composition skills, and overall enthusiasm
It's an important decision. Because I need to create a river without water.
Sunday, November 25
No Child in the thrust
I love it. I am really pleased with how it looks and how Nilaja is doing.
The audiences have been great, and huge. I'd guess it's been over 300 a few times, and maybe around 250 this afternoon. Tonight is our fourth show, and our second for the subscriber audiences.
Nilaja has made the adjustment to three-quarters fairly effortlessly. Or rather, she has done so expertly. I know it has been hard for her. She feels an incredible sense of obligation when she performs - and I know that when her back is to the audience - as it must be at some points - it's been rough for her. But she has found ways, as the janitor as well as as miss sun to open herself up to everyone. Even the students at times are now playing to the sides, which is great.
There are a couple of tough rows...the ones that are upstage of her, and high. I will be sitting in some of those seats today. But I have a feeling, though Nilaja is shut off to those audience members, they are probably thrilled to be that close to her.
Indeed - I was sitting house right today - about four rows up - and it was probably closer than I'd ever sit. This is the advantage of having a house of close to 530 audience members...
I've noticed a clanking at the top of the show and at the end. I think it is the set of lights at stage left. There is nothing to be done, except replacing these lights - and that is unlikely to happen.
Modifications: besides cheating her out at certain points, I had to restage the epilogue - and i love it. Rather than moving her along the right/left axis, as we've always done, I move her from upstage to downstage as she describes the fate of all of our friends. I think it's effective. Also, today I had her get "caught" at the beginning of the show, not when she makes her turn stage right, but rather, I've had her sing her song moving more slowly upstage to downstage right, coming in from the door...It'll work tonight.
What else? - ah - shondrika has now graduated from NYU - I still think she should be the deputy mayor of NYC. Rather than the mayor - but hey...it's her play, she wrote it...
Mia Barron saw the show again (her third time) last night and brought her whole family. She feels it's just as effective in the thrust. I agree.
The audiences have been great, and huge. I'd guess it's been over 300 a few times, and maybe around 250 this afternoon. Tonight is our fourth show, and our second for the subscriber audiences.
Nilaja has made the adjustment to three-quarters fairly effortlessly. Or rather, she has done so expertly. I know it has been hard for her. She feels an incredible sense of obligation when she performs - and I know that when her back is to the audience - as it must be at some points - it's been rough for her. But she has found ways, as the janitor as well as as miss sun to open herself up to everyone. Even the students at times are now playing to the sides, which is great.
There are a couple of tough rows...the ones that are upstage of her, and high. I will be sitting in some of those seats today. But I have a feeling, though Nilaja is shut off to those audience members, they are probably thrilled to be that close to her.
Indeed - I was sitting house right today - about four rows up - and it was probably closer than I'd ever sit. This is the advantage of having a house of close to 530 audience members...
I've noticed a clanking at the top of the show and at the end. I think it is the set of lights at stage left. There is nothing to be done, except replacing these lights - and that is unlikely to happen.
Modifications: besides cheating her out at certain points, I had to restage the epilogue - and i love it. Rather than moving her along the right/left axis, as we've always done, I move her from upstage to downstage as she describes the fate of all of our friends. I think it's effective. Also, today I had her get "caught" at the beginning of the show, not when she makes her turn stage right, but rather, I've had her sing her song moving more slowly upstage to downstage right, coming in from the door...It'll work tonight.
What else? - ah - shondrika has now graduated from NYU - I still think she should be the deputy mayor of NYC. Rather than the mayor - but hey...it's her play, she wrote it...
Mia Barron saw the show again (her third time) last night and brought her whole family. She feels it's just as effective in the thrust. I agree.
Monday, November 19
At ART for NO CHILD
Marc Barton has already arrived and is busy focusing the lights.
The biggest challenge: restaging for the thrust. Its a lot harder than I thought. I think. Or maybe it won't be.
Haven't seen Nilaja but I am sure she's gonna do great once she gets use to it. More after the burrito.
Tuesday, November 13
I don't want to give too much away about the show, but I will say this: tak's set is incredible and jane's lighting design is spectacular. Let me rephrase that: their collaboration is superb. Tak uses a very modular set with 3 doors on each side, two upstage doors, four sliding doors and and two turntables. It will be magical when it all comes together.
Sunday, November 11
observing les waters
I had the privilege yesterday of observing Les Waters direct - specifically, tech rehearsals of Doris to Darlene by my bud Jordan Harrison.
I know Les - we met when he was in town directing Anne Washburn's APPARITION and he'll be directing TRAGEDY: A TRAGEDY by Will Eno (probably one of my favorite plays) - and I called him to see if he'd let me observe. As a recipient of the NEA/TCG Career Development Program it seemed like a good call, and it was.
Present for the proceedings were Tak Kata (sets), Darren West (sound), and Jane Cox (lights). And Jordan was there in good spirits.
I know Les - we met when he was in town directing Anne Washburn's APPARITION and he'll be directing TRAGEDY: A TRAGEDY by Will Eno (probably one of my favorite plays) - and I called him to see if he'd let me observe. As a recipient of the NEA/TCG Career Development Program it seemed like a good call, and it was.
Present for the proceedings were Tak Kata (sets), Darren West (sound), and Jane Cox (lights). And Jordan was there in good spirits.
Friday, November 9
Black Watch
I just didn't get it. Morfee hooked me up with a ticket through his friend Mike Shannon. I gotta say - i was a bit bored. And found the story to be familiar territory. Some good ensemble work - particularly a sequence where a guy is dressed and undressed repeatedly in the uniform of the Black Watch Battalion through the ages as he explains its history.
But aside from one spectacular special event, I was left pretty unmoved. I get what Brantley was saying in his review
for the most part. But didn't connect emotionally the way he did.
I am a heartless bastid.
But aside from one spectacular special event, I was left pretty unmoved. I get what Brantley was saying in his review
for the most part. But didn't connect emotionally the way he did.
I am a heartless bastid.
Casting continues
I am wiped out. Judy Bowman has done an exceptional job bringing in incredibly talented men and women for WIDOWS. One more long day to go. I guess we've seen about 35-40 people a day - and I am sure we will call back 2-3 people for each actor we are hiring, so that's a solid 50 people...for call backs, easily...
Man.
the hardest part to cast has been Fidelia - the little girl who ends up holding the baby at the end of the play. how on earth do you have someone parse that monologue - so dense, so esoteric...well. Some people have done very well.
i have had some of the women sing. I will want the "women of the valley" to sing, or chant, but mostly its a chance for me to see how the connect to some poetic material - if I can't really get a true sense of them from the yanina, alexandra sides.
Man.
the hardest part to cast has been Fidelia - the little girl who ends up holding the baby at the end of the play. how on earth do you have someone parse that monologue - so dense, so esoteric...well. Some people have done very well.
i have had some of the women sing. I will want the "women of the valley" to sing, or chant, but mostly its a chance for me to see how the connect to some poetic material - if I can't really get a true sense of them from the yanina, alexandra sides.
Wednesday, November 7
Casting WIDOWS
It's a lot less painful than EPAs. The first four actors we looked at were better than anyone we saw all day last week. Whoa.
I do my best to honor the actor - they've schlepped over here to read the sides
I do my best to honor the actor - they've schlepped over here to read the sides
Monday, November 5
Sunday, November 4
READINGS - what are they good for?
This question comes from my mom,
Eadie Brooks.
I told her I'd been extremely busy with readings. My mom asked, what are they used for? Or what's the use for them?
Very good question, mom.
There are a variety of appropriate answers.
A theater company may produce a reading for any one of the following reasons:
1) they are interested in producing the play, and just want to be sure.
2) they are interested in the playwright, and use the reading to cultivate a relationship
3) they are doing it as a favor to the playwright (which accomplished the same result as 2 - cultivating a relationship)
4) they just want to keep busy - and it is a way of seeming more or less like they are doing something - at very little cost to the theater/producers.
5) they are producing the play, and it is an opportunity for the playwright, director and producers to hear it and implement any changes before going into rehearsals.
I remember meeting with Mel at Casarotto in London - and she maintained that she they didn't have readings - implying that if you knew how to read a play, you could determine on your own if that play was ready for/worthy of production.
For the director, it's a chance to cultivate relationships with writers, producers, literary managers and actors. You cannot do much beyond casting well give the limited amount of time, though despite the limitations, I feel I am actually pretty good with the four hours you often have. Good meaning effective. I implement nice general "peppery" notes, so that the actors can get quickly into the world of the play.
For the writer, can a reading be damaging? I think only if it is an audition. And it is very hard sometimes not to feel like it is. I have been involved with readings where you could see the devestation on the playwright's face when we knew right away that our last minute replacement was in fact, well, completely miscast and that whatever chances the play had at being produced were gonna collapse instantaneously.
Techniques? I dunno. I try to have the stage directions figured out before hand. And if it all possible, i make sure I know beforehand where to seat the actors and if we are gonna stand or use music stands, etc. the logistics.
Eadie Brooks.I told her I'd been extremely busy with readings. My mom asked, what are they used for? Or what's the use for them?
Very good question, mom.
There are a variety of appropriate answers.
A theater company may produce a reading for any one of the following reasons:
1) they are interested in producing the play, and just want to be sure.
2) they are interested in the playwright, and use the reading to cultivate a relationship
3) they are doing it as a favor to the playwright (which accomplished the same result as 2 - cultivating a relationship)
4) they just want to keep busy - and it is a way of seeming more or less like they are doing something - at very little cost to the theater/producers.
5) they are producing the play, and it is an opportunity for the playwright, director and producers to hear it and implement any changes before going into rehearsals.
I remember meeting with Mel at Casarotto in London - and she maintained that she they didn't have readings - implying that if you knew how to read a play, you could determine on your own if that play was ready for/worthy of production.
For the director, it's a chance to cultivate relationships with writers, producers, literary managers and actors. You cannot do much beyond casting well give the limited amount of time, though despite the limitations, I feel I am actually pretty good with the four hours you often have. Good meaning effective. I implement nice general "peppery" notes, so that the actors can get quickly into the world of the play.
For the writer, can a reading be damaging? I think only if it is an audition. And it is very hard sometimes not to feel like it is. I have been involved with readings where you could see the devestation on the playwright's face when we knew right away that our last minute replacement was in fact, well, completely miscast and that whatever chances the play had at being produced were gonna collapse instantaneously.
Techniques? I dunno. I try to have the stage directions figured out before hand. And if it all possible, i make sure I know beforehand where to seat the actors and if we are gonna stand or use music stands, etc. the logistics.
LADY by Craig Wright
Had my first conversation with Craig Wright, whose LADY I will be directing at Asolo in Florida in April. I have no idea why this one has not yet had its NY premier. But who can guess these things. In the meantime, he is the busiest man in showbiz, next to my cousin Matt Weiner, and JJ Abrams I guess. That is, until the writers' strike. He, I think, produces DIRTY SEXY MONEY, and wrote and produced for Six Feet Under and Lost.
We discussed in brief the three characters: Kenny, Dyson and Graham and what they represented. And briefly talked about the design. He wants to expand the character of graham somewhat, rounding him out.
We are due to talk more in depth in a few minutes.
We discussed in brief the three characters: Kenny, Dyson and Graham and what they represented. And briefly talked about the design. He wants to expand the character of graham somewhat, rounding him out.
We are due to talk more in depth in a few minutes.
Friday, November 2
EPAs
I arrived at 9:30 am to help with Reverie Productions' EPAs - essentially Open Calls for members of Actors Equity . Non-profit theaters, or maybe any theater with an equity contract, are obliged to hold these auditions.
They are torture. And very depressing.
I believe we saw close to 150-175 actors over the course of 7 hours. That's about 20 an hour, giving each actor less than 3 minutes to audition. It just wreaks so horribly of desperation.
Worst was the misogyny and out-and-out violence in these monologues. OK, mea culpa: I shouldn't have asked for dramatic monologues. I should have asked for comedic - why not? The play I'm working on may not be an uproarious comedy, but hey, at least hearing comedy might have been entertaining - for both auditor and performer (auditioner).
Here are my new rules
1) No mamet (especially Glengarry)
2) No screaming
3) No violence
4) No need to use anyone behind the table
5) Please be sure to resemble a human, if at all possible, before beginning, as well as after concluding with the piece.
There was one guy who just terrified me: i had this vision of him at home in his garret chainsmoking while watching reruns of vampirella and elvira and whipping himself and examining his pierced flesh. He had some horrific monologue and of course directed it at poor Layna who recoiled in horror.
Then there was the woman who loved Thom Pain - "saw it twice". She announced that her piece would be fierce and then proceeded to screech at us at decibel higher than the who concerts of the 70s - some caryl churchill monologue. What was I to do with it? It was "fierce" to be sure - but I just thought to myself "My god! I am being shouted at!"
The whole affair terrified me the same way temping did: My god. I never want to do this again. Ever. Please let it end. You can't help but to spin downward thinking about life and the sorry state of affairs.
There were complete sociopaths in the lot: and they have to be at least equity candidates to qualify.
At times I felt like I was in a sidney lumet film (early 70s). Especially when the older ladies came in...You can't help but sympathize with them: how they're dressed, their bags, their hopes...There was a woman who was in Scorsese's the departed (last year) and well - she attached a picture attached to her resume with her smiling in front of a casket. I dunno...I had horrific dreams as a result.
In a way, I kind of admired the woman who just went up on her lines and walked out without saying thanks or sorry - it violates rule 5 above, but hey - when you know you've tanked, sometimes its just better to get out of the room.
I will say this now, and proclaim it loudly: NEVER AGAIN!
They are torture. And very depressing.
I believe we saw close to 150-175 actors over the course of 7 hours. That's about 20 an hour, giving each actor less than 3 minutes to audition. It just wreaks so horribly of desperation.
Worst was the misogyny and out-and-out violence in these monologues. OK, mea culpa: I shouldn't have asked for dramatic monologues. I should have asked for comedic - why not? The play I'm working on may not be an uproarious comedy, but hey, at least hearing comedy might have been entertaining - for both auditor and performer (auditioner).
Here are my new rules
1) No mamet (especially Glengarry)
2) No screaming
3) No violence
4) No need to use anyone behind the table
5) Please be sure to resemble a human, if at all possible, before beginning, as well as after concluding with the piece.
There was one guy who just terrified me: i had this vision of him at home in his garret chainsmoking while watching reruns of vampirella and elvira and whipping himself and examining his pierced flesh. He had some horrific monologue and of course directed it at poor Layna who recoiled in horror.
Then there was the woman who loved Thom Pain - "saw it twice". She announced that her piece would be fierce and then proceeded to screech at us at decibel higher than the who concerts of the 70s - some caryl churchill monologue. What was I to do with it? It was "fierce" to be sure - but I just thought to myself "My god! I am being shouted at!"
The whole affair terrified me the same way temping did: My god. I never want to do this again. Ever. Please let it end. You can't help but to spin downward thinking about life and the sorry state of affairs.
There were complete sociopaths in the lot: and they have to be at least equity candidates to qualify.
At times I felt like I was in a sidney lumet film (early 70s). Especially when the older ladies came in...You can't help but sympathize with them: how they're dressed, their bags, their hopes...There was a woman who was in Scorsese's the departed (last year) and well - she attached a picture attached to her resume with her smiling in front of a casket. I dunno...I had horrific dreams as a result.
In a way, I kind of admired the woman who just went up on her lines and walked out without saying thanks or sorry - it violates rule 5 above, but hey - when you know you've tanked, sometimes its just better to get out of the room.
I will say this now, and proclaim it loudly: NEVER AGAIN!
Wednesday, October 31
westbank cafe
West Bank Cafe is pretty much always a bit of groundzero for the off broadway set. It's the sardi's for Theater Row and Playwrights Horizons?
last week bumped into Danny Goldstein (who just got a Broadway gig directing Godspell) and Matt Stadelman and Megan Mostyn Brown (whose work I've wanted to read from a recommendation from Megan Monaghan at SCR.)
And I don't know who else was there: last night it was kathleen chalfant post-hard heart and Derek Lucci while I dined with Brad Heberlee.
Why do I feel like I am writing in the persona of a gossip columnist...No No No...
But - it's always fun to go to the WestBank Cafe, it seems...
last week bumped into Danny Goldstein (who just got a Broadway gig directing Godspell) and Matt Stadelman and Megan Mostyn Brown (whose work I've wanted to read from a recommendation from Megan Monaghan at SCR.)
And I don't know who else was there: last night it was kathleen chalfant post-hard heart and Derek Lucci while I dined with Brad Heberlee.
Why do I feel like I am writing in the persona of a gossip columnist...No No No...
But - it's always fun to go to the WestBank Cafe, it seems...
Casting Bren
I have a reading tomorrow at the Public, a play called STORYTELLERS by Tom McCormick, the author of ENDPAPERS from a few years back.
I visited Tom at his apartment on CPW and met his wife. We had a nice lunch, and talked about baseball, the west wing, Shakespeare, and of course, his play. I believe we are on the same page. My task today: To go through the script and determine which stage directions are to be read.
Our biggest concern has been the casting of Bren: a Sam Shepherd type in his mid to late 20s if he went to Princeton. We rejected some great names because Tom wasn't convinced these actors would have the weight. With Oskar's blessing and input, we've cast Ben Walker - looking forward to meeting him.
Which is of course the funny thing about casting, if you don't get to cast the folks you know: you must implicitly trust the castind director's choice. Fortunately, I feel very confident that Heidi and Jordan at the public have come up with a wonderful cast for us. They put in atypical workload for this kind of reading.
I am hopeful Tom will get a lot out of the reading. The objective: is Bren a viable character as writtern. We'll see...
I visited Tom at his apartment on CPW and met his wife. We had a nice lunch, and talked about baseball, the west wing, Shakespeare, and of course, his play. I believe we are on the same page. My task today: To go through the script and determine which stage directions are to be read.
Our biggest concern has been the casting of Bren: a Sam Shepherd type in his mid to late 20s if he went to Princeton. We rejected some great names because Tom wasn't convinced these actors would have the weight. With Oskar's blessing and input, we've cast Ben Walker - looking forward to meeting him.
Which is of course the funny thing about casting, if you don't get to cast the folks you know: you must implicitly trust the castind director's choice. Fortunately, I feel very confident that Heidi and Jordan at the public have come up with a wonderful cast for us. They put in atypical workload for this kind of reading.
I am hopeful Tom will get a lot out of the reading. The objective: is Bren a viable character as writtern. We'll see...
A HARD HEART
and also a hard play. Epic Theater Ensemble (formerly Epic THeater Center) is putting on this rather difficult Howard Barker play about a master strategist (Kathleen Chalfant) whose strategy seems to be destroying the city state she is hired to save - and descending into genius/madness all the while.
She is great, as is Melissa Friedman as the queen. And I didn't realize that I was seeing the first preview. It was wonky, to be sure, and many folks won't like it or get it, still...I was reminded just how damn funny howard barker can be.
The set by Narelle seemed a bit unwieldy and inelegant, but I suppose that was the point. There are a lot of shirts and other clothing on the stage, that I think are intended to represent the slaughtered humans of the land. I wish the stage hands would be more sadistic with them as they throw them from the set to the floor.
She is great, as is Melissa Friedman as the queen. And I didn't realize that I was seeing the first preview. It was wonky, to be sure, and many folks won't like it or get it, still...I was reminded just how damn funny howard barker can be.
The set by Narelle seemed a bit unwieldy and inelegant, but I suppose that was the point. There are a lot of shirts and other clothing on the stage, that I think are intended to represent the slaughtered humans of the land. I wish the stage hands would be more sadistic with them as they throw them from the set to the floor.
Monday, October 29
Weekend marathon
Saw four shows in two days - all with rachel.
1001
By jason grote
HAMLET
At the pearl
WHEN THE MESSENGER IS HOT
By laura eason
DEPARTURES
By kristen palmer
Thursday, October 25
Fucking Shelfari
I really am not sure what shelfari is. But I assure you, I would not invite 1148 people to join it, purposefully. It's unbelievable. I have received a ridiculous amount of emails from my friends who have wondered if I meant it for real, or if it was spam.
an article from the observer explains the debacle, precisely as i experienced it
an article from the observer explains the debacle, precisely as i experienced it
Sunday, October 21
Readings
I've been back in nyc a week now. I directed two readings thus far and have another tomorrow.
Readings can be good. You get to read a play outloud. And hopefully by great actors. And they can be wildly taxing. A lot of effort.
Most of the effort centers around casting: and its hard as hell to cast the right folks to please the writer, the director, the theater, your friends.
You usually have about three hours to rehearse - so in general, you will spend more time with the logistics of casting than you will spend time with the actors. And if its a two hour play - well, you can rest assured, you won't have much time beyond giving a few corrective notes.
Last week, I directed a reading at playwrights horizons, SAFE AND SOUND, by Mike Watson.
Friday, I directed an informal reading of Ben Rosenthal's WALT CASPER'S ARRANGEMENT for EST.
Tomorrow, I direct Melanie Marnich's TALL GRASS GOTHIC for Red Bull productions. A nice cast featuring michael cerveris, michael chernus and ana reader.
Nov 1 I direct THE STORYTELLERS by tom mccormick at the Public.
Yes, some book reporting. More to follow.
Readings can be good. You get to read a play outloud. And hopefully by great actors. And they can be wildly taxing. A lot of effort.
Most of the effort centers around casting: and its hard as hell to cast the right folks to please the writer, the director, the theater, your friends.
You usually have about three hours to rehearse - so in general, you will spend more time with the logistics of casting than you will spend time with the actors. And if its a two hour play - well, you can rest assured, you won't have much time beyond giving a few corrective notes.
Last week, I directed a reading at playwrights horizons, SAFE AND SOUND, by Mike Watson.
Friday, I directed an informal reading of Ben Rosenthal's WALT CASPER'S ARRANGEMENT for EST.
Tomorrow, I direct Melanie Marnich's TALL GRASS GOTHIC for Red Bull productions. A nice cast featuring michael cerveris, michael chernus and ana reader.
Nov 1 I direct THE STORYTELLERS by tom mccormick at the Public.
Yes, some book reporting. More to follow.
Truth hurts
I met with braly friday and his main critique of my blog is that its gotten too dry. He likes it best when I am more carefree, careless, and not doing so much book reporting.
I will go back to that faithful reader.
And that truly may mean just one of you.
Sunday, October 14
Marisa, Hot Doug's, The Sparrow,
Marisa Wegrzyn - had a great meeting with Marisa at Shubah's on the corner of southport and belmont. She has sent me her play KILLING WOMEN.
Hot Doug's - I had a duck sausage, and a bratwurst. Land of encased meats.
The Sparrow - the house theater of chicago. Great. Didn't love the first act, but want to work today with the Video artists, as well as the composer, Kevin O'Donnell.
Listening to the soundtrack as I type. Spoke with Nathan Allen, artistic director.
Neofuturists - saw THE FOOL (Returns To His Chair) and met with Greg Allen.
Hot Doug's - I had a duck sausage, and a bratwurst. Land of encased meats.
The Sparrow - the house theater of chicago. Great. Didn't love the first act, but want to work today with the Video artists, as well as the composer, Kevin O'Donnell.
Listening to the soundtrack as I type. Spoke with Nathan Allen, artistic director.
Neofuturists - saw THE FOOL (Returns To His Chair) and met with Greg Allen.
Saturday, October 13
Meetings Galore
yesterday, I met with
10 - Jason Loewith of NEXT
2 - Sandy Shinner and Aaron Carter - Victory Gardens
4 - Russ Tuttero at Chicago Dramatists
Sadly, I was not able to get to see Martha Lavey or Bob Falls this go round - though I am grateful I got to see CRUCIBLE and PASSION PLAY, and meet with their staff (Ed Sobel and Steve Scottt, respectively).
10 - Jason Loewith of NEXT
2 - Sandy Shinner and Aaron Carter - Victory Gardens
4 - Russ Tuttero at Chicago Dramatists
Sadly, I was not able to get to see Martha Lavey or Bob Falls this go round - though I am grateful I got to see CRUCIBLE and PASSION PLAY, and meet with their staff (Ed Sobel and Steve Scottt, respectively).
Thursday, October 11
Chicago
I am truly loving this town and have had a great time while here.
Tonight I plan to see PASSION PLAY by Sarah Ruhl directed by Mark Wing-Davey.
I saw it my first weekend here, and while I think it is problematic, it's exciting to see the scale of this beast. Three acts, a huge cast, and a lot of set stuff flying in and out; and a lot of large fish (puppets?) on the stage. Can you beat that?
TCG wise: I have had several meetings already
Ed Sobel - at Steppenwolf
David Catlin - at Lookingglass
Charlie Newell - Court Theatre
Steve Scott (Tanya Palmer) Goodman
Heidi Stillman - Lookingglass
Jason Wells - Playwright
What and where else? Plan to meet with Greg Allen (neofuturists); Marisa (playwright - butcher of barraboo); Frank Maugeri (redmoon); the folks at Victory Gardens; Jason Loewith (Next); Russ Tottero (Chicago Dramatists);
Also, seeing Aristocrats (Straw Dog); The Sparrow (The House); possibly seeing the neo-futurists. Hope to meet or at least speak to Eric Rosen who directed something at the Kirk Douglas.
Tonight I plan to see PASSION PLAY by Sarah Ruhl directed by Mark Wing-Davey.
I saw it my first weekend here, and while I think it is problematic, it's exciting to see the scale of this beast. Three acts, a huge cast, and a lot of set stuff flying in and out; and a lot of large fish (puppets?) on the stage. Can you beat that?
TCG wise: I have had several meetings already
Ed Sobel - at Steppenwolf
David Catlin - at Lookingglass
Charlie Newell - Court Theatre
Steve Scott (Tanya Palmer) Goodman
Heidi Stillman - Lookingglass
Jason Wells - Playwright
What and where else? Plan to meet with Greg Allen (neofuturists); Marisa (playwright - butcher of barraboo); Frank Maugeri (redmoon); the folks at Victory Gardens; Jason Loewith (Next); Russ Tottero (Chicago Dramatists);
Also, seeing Aristocrats (Straw Dog); The Sparrow (The House); possibly seeing the neo-futurists. Hope to meet or at least speak to Eric Rosen who directed something at the Kirk Douglas.
No Child - Chicago Reviews
Some nice raves here. To be honest, I couldn't be happier...
Chicago Tribune
"superbly performed and thoroughly gripping"
""No Child" is a must-see"
Chicago Sun-Times
"Nilaja Sun's bravura one-woman show"
"dazzling work of theater"
Chicago Reader: CRITIC'S CHOICE
"Sun delivers the tale with such economy, grace, power, and insight"
TimeOut Chicago
"breathtaking"
Chicago Tribune
"superbly performed and thoroughly gripping"
""No Child" is a must-see"
Chicago Sun-Times
"Nilaja Sun's bravura one-woman show"
"dazzling work of theater"
Chicago Reader: CRITIC'S CHOICE
"Sun delivers the tale with such economy, grace, power, and insight"
TimeOut Chicago
"breathtaking"
Friday, October 5
No Child Chicago - the remount
ur first preview in Chicago went great here at Lookingglass. As stated, I’d say it may have been the best I have ever seen the show received.
Some things that I think made it an easy put-in:
1) On Day One, Mark Barton focused with an excellent team. This made us ready to go on day two without delay.
2) On Day Two, Nilaja did a runthru for the stage manager. After working with the excellent Tom Taylor for over a year, it was good for Nilaja to perform this for Sarah Gmitter, who is proving to be excellent. While Nilaja ran through for spacing and cobweb-removal, Mark wrote cues with Nilaja onstage and called cues from the board, where possible.
3) On Day three, Tuesday, we had our ten out of twelve. Mark and I both maintained that if we needed all 10 out of 12, then something must have gone terribly, terribly wrong. We finished our 10 out of 12 with two hours to spare. Sarah the stage manager was excellent, and ran a crisp tech. Sound always takes longer, and there was some delays, as there always is, getting sound up to speed.
4) At the end of day three, the last our of the 10 out of 12, (or 8 out of 12) we ran through the show. The performance was close to how I would want to see the show. A few timing glitches here, some tentativeness here and there on calls, but otherwise, right on the money.
5) On day four, the day of Preview, we had a runthrough at one o’clock, and continued to work on cues without Nilaja afterwards. This lasted till about 3:30-4 pm. So while we worked, Nilaja rested.
What would make our next put in easier? I would say the one additional requirement would be to have the sound designer and board operator present for that first run through on Day 2 with Nilaja. This way, they’d get used to the story before the tech.
The stage manager also advised creating a video of the performance with tech – she felt that really would help her call cues with the right exactness, but I know there are restrictions imposed by the unions.
Some things that I think made it an easy put-in:
1) On Day One, Mark Barton focused with an excellent team. This made us ready to go on day two without delay.
2) On Day Two, Nilaja did a runthru for the stage manager. After working with the excellent Tom Taylor for over a year, it was good for Nilaja to perform this for Sarah Gmitter, who is proving to be excellent. While Nilaja ran through for spacing and cobweb-removal, Mark wrote cues with Nilaja onstage and called cues from the board, where possible.
3) On Day three, Tuesday, we had our ten out of twelve. Mark and I both maintained that if we needed all 10 out of 12, then something must have gone terribly, terribly wrong. We finished our 10 out of 12 with two hours to spare. Sarah the stage manager was excellent, and ran a crisp tech. Sound always takes longer, and there was some delays, as there always is, getting sound up to speed.
4) At the end of day three, the last our of the 10 out of 12, (or 8 out of 12) we ran through the show. The performance was close to how I would want to see the show. A few timing glitches here, some tentativeness here and there on calls, but otherwise, right on the money.
5) On day four, the day of Preview, we had a runthrough at one o’clock, and continued to work on cues without Nilaja afterwards. This lasted till about 3:30-4 pm. So while we worked, Nilaja rested.
What would make our next put in easier? I would say the one additional requirement would be to have the sound designer and board operator present for that first run through on Day 2 with Nilaja. This way, they’d get used to the story before the tech.
The stage manager also advised creating a video of the performance with tech – she felt that really would help her call cues with the right exactness, but I know there are restrictions imposed by the unions.
NEA TCG redux
Now it can be told. I am a recipient of the 2007-2009 NEA TCG Career Development Program for Directors. I've known for a while, so sorry to be demur, my faithful readers.
More about this anon...
More about this anon...
Night and Day
What a difference a day makes!
I would say that on Wednesday, Oct. 3, our first preview, I saw the best performance I'd ever seen of NO CHILD... Let me phrase that better: I had never seen the show received as well as it was on that night. Nilaja had the audience in the palm of her hands for 1 hr 7 minutes (and the extra 3 minutes of running time was all laughter and audience response). The character of SHONDRIKA might well have earned herself a spin-off. The audience went wild whenever she spoke. The curtain call, a standing o as always, was like about 175 people being touched at once by some kind of spirit. What a night.
Last night, the show went great. But the audience was ice cold. The stood up for a standing o as well, but were just one of the least responsive houses I've ever witnessed. What can you do? Nilaja's performance was practically identical. Thus, nothing to be done...She'll get em tonight. And Nilaja was fine with the house, anyway.
Today, off to meet with Ed Sobel at Steppenwolf...
I would say that on Wednesday, Oct. 3, our first preview, I saw the best performance I'd ever seen of NO CHILD... Let me phrase that better: I had never seen the show received as well as it was on that night. Nilaja had the audience in the palm of her hands for 1 hr 7 minutes (and the extra 3 minutes of running time was all laughter and audience response). The character of SHONDRIKA might well have earned herself a spin-off. The audience went wild whenever she spoke. The curtain call, a standing o as always, was like about 175 people being touched at once by some kind of spirit. What a night.
Last night, the show went great. But the audience was ice cold. The stood up for a standing o as well, but were just one of the least responsive houses I've ever witnessed. What can you do? Nilaja's performance was practically identical. Thus, nothing to be done...She'll get em tonight. And Nilaja was fine with the house, anyway.
Today, off to meet with Ed Sobel at Steppenwolf...
Monday, October 1
Sunday, September 30
Lookingglass Theatre
The Lookingglass gig has begun: Was picked up yesterday by production artistic director Phil Smith and have been really enjoying the town. I am staying at the City Club? The Club Quarters.
Sterile, corporate business living. I have a minifridge and a microwave. Last night's dinner, a frozen lean cuisine fettucini alfredo. Ouch. That's gotta end now.
Chicago is great.
I am staying across the street from Wilco's Yankee Hotel Foxtrot cd cover.
Last night, went to Steppenwolf and watched THE CRUCIBLE of all things. It's great. James Vincent Meredith was a phenomenal John Proctor. Thought Anna D's direction was great - though I have one quibble. When the kids are going all crazy in the "courtroom" scene, the lights and sounds seemed to suggest, that yes, things were going all supernatural. I think that's the wrong point. We should see that it is the kids who have powers over the rest of the town. Somehow, it made it feel that indeed the devil was working his magic. Unless, that was her point. I don't think so.
Walked with Mark Barton to the Navy Pier and that was fun. The weather is decent.
Saw the space. It's great. The major differences: Nilaja will be at eye level with the fourth row and above. It's great. And there will be no back wall, just a bit of a void.
The biggest challenge will be the opening and the ending; getting Nilaja on and off stage. I love the effect of her walking into the fading boom stage left and am hopeful we can create something analogous here. With Barton here, I have no doubt we'll figure it out.
In other news, today is all Phillies, all Mets. And all nerves.
Sterile, corporate business living. I have a minifridge and a microwave. Last night's dinner, a frozen lean cuisine fettucini alfredo. Ouch. That's gotta end now.
Chicago is great.
I am staying across the street from Wilco's Yankee Hotel Foxtrot cd cover.
Last night, went to Steppenwolf and watched THE CRUCIBLE of all things. It's great. James Vincent Meredith was a phenomenal John Proctor. Thought Anna D's direction was great - though I have one quibble. When the kids are going all crazy in the "courtroom" scene, the lights and sounds seemed to suggest, that yes, things were going all supernatural. I think that's the wrong point. We should see that it is the kids who have powers over the rest of the town. Somehow, it made it feel that indeed the devil was working his magic. Unless, that was her point. I don't think so.
Walked with Mark Barton to the Navy Pier and that was fun. The weather is decent.
Saw the space. It's great. The major differences: Nilaja will be at eye level with the fourth row and above. It's great. And there will be no back wall, just a bit of a void.
The biggest challenge will be the opening and the ending; getting Nilaja on and off stage. I love the effect of her walking into the fading boom stage left and am hopeful we can create something analogous here. With Barton here, I have no doubt we'll figure it out.
In other news, today is all Phillies, all Mets. And all nerves.
Thursday, September 20
I have seen HAVE YOU SEEN STEVE STEVEN
Have you?
Thought anne did a very good job with tricky material. Sort of fargo meets twin peaks.
Matt maher very funny, very strange as ever. Stephanie Thompson was also good - of SIX YEARS fame.
Went out afterwards with sheila and anne and matt and deb gitterman. Kings head. Yanks win. Phillies lose.
Wednesday, September 19
American Repertory Theater: NO CHILD...
It's on.
Didn't think it would happen - but it is happening!
I will be directing NO CHILD at ART at the end of November. They are swapping out Copenhagen, and putting it in the initial place where we had been scheduled in November.
I have to head up to Boston next week - which will mean it's a hectic time, as I leave for Lookingglass Sept. 29th.
Fun though
Didn't think it would happen - but it is happening!
I will be directing NO CHILD at ART at the end of November. They are swapping out Copenhagen, and putting it in the initial place where we had been scheduled in November.
I have to head up to Boston next week - which will mean it's a hectic time, as I leave for Lookingglass Sept. 29th.
Fun though
Tuesday, September 18
Not Blaming Rosh Hashanah
...but I haven't had much to write about this week.
I moved this weekend and spent my first night in the new apartment. It's great. I washed all my dishes. There's a beautiful view out the bedroom window. Saw a crescent moon (a harvest moon), red and huge, setting over the BQE.
Today: meeting with Colin Young re: WIDOWS by Ariel Dorfman. Yesterday, found out that we still need a set designer for the Craig Wright play LADY at Asolo. Getting there.
I moved this weekend and spent my first night in the new apartment. It's great. I washed all my dishes. There's a beautiful view out the bedroom window. Saw a crescent moon (a harvest moon), red and huge, setting over the BQE.
Today: meeting with Colin Young re: WIDOWS by Ariel Dorfman. Yesterday, found out that we still need a set designer for the Craig Wright play LADY at Asolo. Getting there.
Wednesday, September 12
Gibson Frazier Birthday
Years ago, I had lunch with Don Delillo at some Italian place in Greenwich Village. No idea what it was called.
Last night, Gibson Frazier had his birthday party there.
In attendance:
Alex Timbers
Matt Maher
Maria Striar
Roxanne Hope
Ethan Lipton
Michael Friedman
Feeling good to be back in NY.
Last night, Gibson Frazier had his birthday party there.
In attendance:
Alex Timbers
Matt Maher
Maria Striar
Roxanne Hope
Ethan Lipton
Michael Friedman
Feeling good to be back in NY.
Monday, September 10
Kyle jarrow's THE LIST.
I thought I should get back into the world of new york theater, so I went to see a reading at playwrights horizons.
In attendance:
Leigh silverman (who directed)
Michael friedman
Jason Eagon
Sarah treem
Adam bock
Adam greenfield
Ann cattaneo
Chris burney
Sarah bagley
George lane
Christie evangelisto
And a cast of thousands. Or like five.
A play about a guy who feels nothing and whose father has just died and mysteriously left a young woman 10k. He receives a list of six names after receiving a disturbing anonymous call.
My reading of safe and sound is in five weeks and tomorrow I meet michael watson to discuss casting.
You get about three hours to rehearse these things so you better cast someone who is gonna hit the ground running. Ay. There is the rub.
Krenek finale
Maybe a little too confident.
the moves all seemed a bit sloppy to me. Not the moves. The performances. Susan is funny but her style is a very different brand of comedy than the rest. Ilana seemed a bit more nervous tonight - her agent was in attendance. Rick was good and hammy but in all the right ways. In a weird way I felt that chris and susan were too confident - so at the end when there's the great reversal they seemed well, full of huybris.
Ilana thinks what price confidence might have a future outside of the austrian cultural forum. We'll see.
My curtain call
Last night was performance #2 over there at the austrian cultural forum.
The first half of the program consisted of five songs by krenek. Two sung by ilana and three sung by chris nomura. Chris thanked three folks without whom: mrs. Krenek. Ilana who got the whole thing together, christoph thun who used to run the austrian cultural forum. He's been replaced by a guy named peter who recommended some austrian playwrights for me to check out.
The second half was the show. And I think it once again went over great. There is a lot of humor that they are all unearthing.
Gloria:
He might shoot you or me or himself.
Richard:
I wish he would start the other way around.
Hearing the word confidence over and over has gotten to me. I guess the premise - not having confidence - feels archaic. Nowadays we'd call it selfesteem. Or some such new agey notion.
Ilana's father - cantor charles davidson was there. He wrote the music to I NEVER SAW ANOTHER BUTTERFLY which is based on the poetry and paintings of the children of terezinstadt - the nazi camp. He's an amazing man and yesterday was his birthday. I've know him and ilana my whole life. So it was especially nice to see him there. He plans to send me a cd of the new musical he has written based on an ib singer short story.
After the performance, as is custom, the director joins the cast and set designer on stage for a bow. Oy. Ugh. Awful. What a horrific hazing. I prefer the anonymity of stage direction. Oy. Awful.
The first half of the program consisted of five songs by krenek. Two sung by ilana and three sung by chris nomura. Chris thanked three folks without whom: mrs. Krenek. Ilana who got the whole thing together, christoph thun who used to run the austrian cultural forum. He's been replaced by a guy named peter who recommended some austrian playwrights for me to check out.
The second half was the show. And I think it once again went over great. There is a lot of humor that they are all unearthing.
Gloria:
He might shoot you or me or himself.
Richard:
I wish he would start the other way around.
Hearing the word confidence over and over has gotten to me. I guess the premise - not having confidence - feels archaic. Nowadays we'd call it selfesteem. Or some such new agey notion.
Ilana's father - cantor charles davidson was there. He wrote the music to I NEVER SAW ANOTHER BUTTERFLY which is based on the poetry and paintings of the children of terezinstadt - the nazi camp. He's an amazing man and yesterday was his birthday. I've know him and ilana my whole life. So it was especially nice to see him there. He plans to send me a cd of the new musical he has written based on an ib singer short story.
After the performance, as is custom, the director joins the cast and set designer on stage for a bow. Oy. Ugh. Awful. What a horrific hazing. I prefer the anonymity of stage direction. Oy. Awful.
Sunday, September 9
My curtain call
Last night was performance #2 over there at the austrian cultural forum.
The first half of the program consisted of five songs by krenek. Two sung by ilana and three sung by chris nomura. Chris thanked three folks without whom: mrs. Krenek. Ilana who got the whole thing together, christoph thun who used to run the austrian cultural forum. He's been replaced by a guy named peter who recommended some austrian playwrights for me to check out.
The second half was the show. And I think it once again went over great. There is a lot of humor that they are all unearthing.
Gloria:
He might shoot you or me or himself.
Richard:
I wish he would start the other way around.
Hearing the word confidence over and over has gotten to me. I guess the premise - not having confidence - feels archaic. Nowadays we'd call it selfesteem. Or some such new agey notion.
Ilana's father - cantor charles davidson was there. He wrote the music to I NEVER SAW ANOTHER BUTTERFLY which is based on the poetry and paintings of the children of terezinstadt - the nazi camp. He's an amazing man and yesterday was his birthday. I've know him and ilana my whole life. So it was especially nice to see him there. He plans to send me a cd of the new musical he has written based on an ib singer short story.
After the performance, as is custom, the director joins the cast and set designer on stage for a bow. Oy. Ugh. Awful. What a horrific hazing. I prefer the anonymity of stage direction. Oy. Awful.
The first half of the program consisted of five songs by krenek. Two sung by ilana and three sung by chris nomura. Chris thanked three folks without whom: mrs. Krenek. Ilana who got the whole thing together, christoph thun who used to run the austrian cultural forum. He's been replaced by a guy named peter who recommended some austrian playwrights for me to check out.
The second half was the show. And I think it once again went over great. There is a lot of humor that they are all unearthing.
Gloria:
He might shoot you or me or himself.
Richard:
I wish he would start the other way around.
Hearing the word confidence over and over has gotten to me. I guess the premise - not having confidence - feels archaic. Nowadays we'd call it selfesteem. Or some such new agey notion.
Ilana's father - cantor charles davidson was there. He wrote the music to I NEVER SAW ANOTHER BUTTERFLY which is based on the poetry and paintings of the children of terezinstadt - the nazi camp. He's an amazing man and yesterday was his birthday. I've know him and ilana my whole life. So it was especially nice to see him there. He plans to send me a cd of the new musical he has written based on an ib singer short story.
After the performance, as is custom, the director joins the cast and set designer on stage for a bow. Oy. Ugh. Awful. What a horrific hazing. I prefer the anonymity of stage direction. Oy. Awful.
Saturday, September 8
Krenek Part 2
the folks did well. What can I say? They are non-actors playing outside their comfort zone. I think they all were playing more with each other, now that the music is more familiar to them. Looking forward to seeing how tonight goes.
interesting piece by Isherwood in tomorrow's times about Opera Acting.
interesting piece by Isherwood in tomorrow's times about Opera Acting.
Thursday, September 6
Krenek Opera: WHAT PRICE CONFIDENCE?
Tonight at the Austrian Cultural Forum you can see this Chamber Opera I worked on a year and a half ago.
If you like crazy modern opera, you'll love Krenek.
No set allowed: this building is designed by daniel libeskind of freedom tower fame. The folks at the Austrian Cultural Forum are pretty tense about anything - but they are supportive enough to have this event happen.
It's been good to have something to look at (work on) as soon as I got back to NYC. Really interesting to work with non-actors. Opera singers don't seem to care too much about their acting - just their singing. Still, these four are indeed doing their best to tell the tale.
Here are the details. Click on events and calendar. Or see below:
September 6 - 10, 2007, ACF
CHAMBER OPERA | WHAT PRICE CONFIDENCE?
Thursday, September 6, 2007, 8 pm
Saturday, September 8, 2007, 7 pm
Monday, September 10, 2007, 8 pm
A One-Act Opera by Ernst Krenek
Richard CLEMENT, Tenor
Ilana DAVIDSON, Soprano
Christopheren NOMURA, Baritone
Susan NARUCKI, Soprano
Linda HALL, Piano
Curtis WALLIN, Scenic Designer
RESERVATIONS |
Free admission. However, tickets are required.
For reservations, please call ACF's reservation line at (212) 319 5300 ext. 222 or email reservations@acfny.org. Please leave your name, telephone number, the day of the performance you want to attend and number of tickets requested.
performance reports
So - now all that's left for me is the performance reports. My stage manager, Melissa, who was my stage manager for I AM MY OWN WIFE last summer, knows what I like. But there is very little on the empirical evidence side - so you have to infer a lot.
Really, you've got running time, a few comments by the SM, and that's about it. You have to trust that your stage manager is going to give not just an honest assessment, but also an assessment that matches your take on the play.
Yesterday - the jukebox didn't work. Why not? I have no idea. I just know that much only. And that clifton smacked wendell twice instead of once on the bum with the ruler. That's it. That's all I get.
That and running time: when thom pain ran I could somehow tell how the show went pretty much based on the running time - as crass as that sounds. Urbaniak worked like clockwork. He always fell 30 seconds plus or minus a running time of about 1 hr. 4 minutes. If it was less than that, he was likely off, or the audience was dead. If it was a little more than that, you could guess that it was a very volatile audience or that he might have been a bit distracted. T. Ryder Smith was never consistent running time wise: he'd have 57 minute shows followed by 1 hr. 10 minute shows. Nilaja - also performs like clockwork.
Master Harold should come in at about 1 hr. 40 minutes. And it so far has.
Really, you've got running time, a few comments by the SM, and that's about it. You have to trust that your stage manager is going to give not just an honest assessment, but also an assessment that matches your take on the play.
Yesterday - the jukebox didn't work. Why not? I have no idea. I just know that much only. And that clifton smacked wendell twice instead of once on the bum with the ruler. That's it. That's all I get.
That and running time: when thom pain ran I could somehow tell how the show went pretty much based on the running time - as crass as that sounds. Urbaniak worked like clockwork. He always fell 30 seconds plus or minus a running time of about 1 hr. 4 minutes. If it was less than that, he was likely off, or the audience was dead. If it was a little more than that, you could guess that it was a very volatile audience or that he might have been a bit distracted. T. Ryder Smith was never consistent running time wise: he'd have 57 minute shows followed by 1 hr. 10 minute shows. Nilaja - also performs like clockwork.
Master Harold should come in at about 1 hr. 40 minutes. And it so far has.
a satisfied mind
I am rarely satisfied with the finished product - the production itself. The joy I experience is in the creation. Maybe the reason the performance is not as satisfying for me, is because I obsess too much on the details. I know I am not alone in this department. There's just so little you can control once it's up and running. May I remind you of the incontinence at CATF's opening night?
So what IS my favorite part of the production? Is it auditions - when I get to search for the right actors and play with the material on its feet for the first time? Is it day one of rehearsals - hearing the play read aloud for the first time after months of prep? Is it staging? The nittygritty drilling down work? Is it design meetings, talking to designers about how to put the show in three dimensions? Is it a stumblethrough - which is at once terrifying as much as it is informative? Or is it tech, when it all comes together, and you as a director have to think on your feet in a way that is different from how you think on your feet in the rehearsal room?
I don't know. But I am pretty sure it's not performances...Is that sad? maybe.
But I do strive for enjoyment - I really do - and so last night, I had high hopes that after missing the Saturday performances, and being more or less satisfied with Friday's improved opening night performance, that I would be able to sit back and see the next stage of MASTER HAROLD's maturation.
it would be the final time I'd get to see MASTER HAROLD before departing from good ol' Weston Vermont.
Everything was humming along nicely, for the first 20 minutes - and then, without fail, something happened. A man had a diabetic seizure...or its equivalent. I saw him stand up, start to walk up the aisle towards an exit and then pass out...I went outside to make sure the house management was seeking medical attention for the guy - I thought maybe he was having a heart attack. The house management did not stop the show - but after about 10 agonizing minutes, the man stood up and walked out into the lobby. Fortunately he was ok. But man, it was scary.
I don't think the actors knew - but naturally, a good part of the house was shaken up by it - those who saw the man fall. There was a lot of noise as the paramedics attended to the guy. Many of the folks who didn't actually see the guy pass out had no idea why there was so much noise from the lobby - they grew very very distracted and they'd grumble whenever the paramedics in the lobby raised their voices in the hopes of making the man comfortable...
It wasn't until about the last 20 minutes or so of the play that things finally felt normal inside as well as outside.
So - needless to say, my enjoyment of the performance was pretty secondary to the fella's health. From what I understand he walked out of the lobby on his own and refused medical attention. But he's ok.
So I'll never get to see this show hit its stride - and I'll have to take satisfaction that the audience seem to love it - they're moved, they gasp, and they seem to be quite tearful at its end. I really hope I am not seeming callous here - I do hope the guy is doing well...
So what IS my favorite part of the production? Is it auditions - when I get to search for the right actors and play with the material on its feet for the first time? Is it day one of rehearsals - hearing the play read aloud for the first time after months of prep? Is it staging? The nittygritty drilling down work? Is it design meetings, talking to designers about how to put the show in three dimensions? Is it a stumblethrough - which is at once terrifying as much as it is informative? Or is it tech, when it all comes together, and you as a director have to think on your feet in a way that is different from how you think on your feet in the rehearsal room?
I don't know. But I am pretty sure it's not performances...Is that sad? maybe.
But I do strive for enjoyment - I really do - and so last night, I had high hopes that after missing the Saturday performances, and being more or less satisfied with Friday's improved opening night performance, that I would be able to sit back and see the next stage of MASTER HAROLD's maturation.
it would be the final time I'd get to see MASTER HAROLD before departing from good ol' Weston Vermont.
Everything was humming along nicely, for the first 20 minutes - and then, without fail, something happened. A man had a diabetic seizure...or its equivalent. I saw him stand up, start to walk up the aisle towards an exit and then pass out...I went outside to make sure the house management was seeking medical attention for the guy - I thought maybe he was having a heart attack. The house management did not stop the show - but after about 10 agonizing minutes, the man stood up and walked out into the lobby. Fortunately he was ok. But man, it was scary.
I don't think the actors knew - but naturally, a good part of the house was shaken up by it - those who saw the man fall. There was a lot of noise as the paramedics attended to the guy. Many of the folks who didn't actually see the guy pass out had no idea why there was so much noise from the lobby - they grew very very distracted and they'd grumble whenever the paramedics in the lobby raised their voices in the hopes of making the man comfortable...
It wasn't until about the last 20 minutes or so of the play that things finally felt normal inside as well as outside.
So - needless to say, my enjoyment of the performance was pretty secondary to the fella's health. From what I understand he walked out of the lobby on his own and refused medical attention. But he's ok.
So I'll never get to see this show hit its stride - and I'll have to take satisfaction that the audience seem to love it - they're moved, they gasp, and they seem to be quite tearful at its end. I really hope I am not seeming callous here - I do hope the guy is doing well...
Tuesday, September 4
Opening night
We spent rehearsal on friday working acting notes- the intent was to sort of soften hally who in the transition from the rehearsal room to the stage was coming off a little too pouty and bratty at times. Was hard to see the genuine affection between hally and sam. Clifton is a real pro and made these adjustments easily.
And we also worked on teching the rain - sound and set. The rain looks ok from up close - but its hard to sell the "raining cats and dogs" with a little mist on the windows. I understand there are limitations. I just wish I hadn't been promised rain. A gobo - though awful - might have done the job but alas it was too late.
The sound fix was simple - increase the rain sound just the two times when the doors open and close. Done. Add better thunder to the blackout. Done.
And finally - trying to get the end moment right. In the preview something went oddly wrong with the sound of the jukebox - it repeated twice before it was supposed to come on. Turns out it had to do with the ipod playlist being paused and restarted. But I wanted the last moment just right. And I think its almost there - not quite. And again a limitation that I was outside my control. I wanted the song to come to a definitive end, but the song that the sound designer came up with continued - and when she edited it to give me that definitive ending, the tempo change made it seem like the two guys were lousy dancers. So, I relented and had the sound and lights fade together. Its all right - but the way the song continues isn't quite the right feel.
In performance, hally was definitelly much more soft and as a result his relationship with sam really seemed special and genuine.
But all that work we did techwise was gone and I was furious. The thunder sound seemed like a toilet being flushed. The first rain cue was nonexistent. I could not for the life og me perceive that there was physical rain on the windows. Ah well.
Turns out that the two people operating sound and light in tech became a new one person that night. For the first time. On opening night. There are some things that you can never account for, some questions you can never anticipate.
Huge standing o - and two bows.
Friday, August 31
Tech and how we did.
1) The top of the play. How to get the fellas into position.
Problem solved - simply. Thunder in the blackout and the fellas find themselves perfectly.
2) Switching from rehearsal props to regular. We have a ton of things for the fellas to do at the tea room: fold napkins,
It was not a problem. Never felt that there was a slow down.
3) Haven't worked with lighting designer stuart duke. We'll have to find our rhythm. But I know he's lit this show before - so unless he has some radical ideas we should be ok.
He's smart and gets it. Working with him was just great. There are limitations to the equipment here, but I feel that he managed to create a great look and atmosphere.
4) Sound of rain. I don't want it to overwhelm our chums.
Sound was definitely my bugaboo here. First we had wall to wall, and it put me to sleep, then we had intermittent rain, and it sounded like mistakes. Today, taking the artistic directors note - I put it solely when Hally walks in and when he leaves. It works. looking forward to seeing it in context.
5) The rain and the sink. Let's pray that stuff works for real and doesn't make too much noise
The rain is a problem and will continue to be one. We added some plastic sheets to the windows and it helps create some texture - and traps the water in.
6) The actors' voices. Will we understand em?
We do.
7) Will the costumes be too hot - particularly for guiesseppe.
Not at all.
8) The chairs that are set up downstage: will they screw up the sightlines?
Easily solved.
9) Wendell and the floor. How's that gonna go?
No worries
10) The actors having two days without me. That's gonna be fine.
It was.
Problem solved - simply. Thunder in the blackout and the fellas find themselves perfectly.
2) Switching from rehearsal props to regular. We have a ton of things for the fellas to do at the tea room: fold napkins,
It was not a problem. Never felt that there was a slow down.
3) Haven't worked with lighting designer stuart duke. We'll have to find our rhythm. But I know he's lit this show before - so unless he has some radical ideas we should be ok.
He's smart and gets it. Working with him was just great. There are limitations to the equipment here, but I feel that he managed to create a great look and atmosphere.
4) Sound of rain. I don't want it to overwhelm our chums.
Sound was definitely my bugaboo here. First we had wall to wall, and it put me to sleep, then we had intermittent rain, and it sounded like mistakes. Today, taking the artistic directors note - I put it solely when Hally walks in and when he leaves. It works. looking forward to seeing it in context.
5) The rain and the sink. Let's pray that stuff works for real and doesn't make too much noise
The rain is a problem and will continue to be one. We added some plastic sheets to the windows and it helps create some texture - and traps the water in.
6) The actors' voices. Will we understand em?
We do.
7) Will the costumes be too hot - particularly for guiesseppe.
Not at all.
8) The chairs that are set up downstage: will they screw up the sightlines?
Easily solved.
9) Wendell and the floor. How's that gonna go?
No worries
10) The actors having two days without me. That's gonna be fine.
It was.
Opening Night of MASTER HAROLD
Last night was the first preview. And for whatever reason, I just wasn't feeling it. But my job is to figure out the reason. It seemed like the audience dug it - but on an intellectual level, not on an emotional. My job is to make them feel it, experience and contemplate it. And I think that's what's changed for me in the move from the rehearsal hall to the stage.
I think I've identified the problem - and it ain't just the technical woes. I think it has to do with how the character of Hally behaves and how he is perceived. He cannot seem spoiled or bratty or racist. He must be troubled and sympathetic. Clifton is a tremendous actor and for him it is merely a matter of making small adjustments to an already deepened approach to the role. As we worked it today, I knew we were on the right track and just needed to make small alterations.
Today in tech: I gave actor notes, we added rain to the door entrances and exits and added better thunder to the top of show.
I have given up on the idea of visible rain...it's just outside our capabilities.
I think I've identified the problem - and it ain't just the technical woes. I think it has to do with how the character of Hally behaves and how he is perceived. He cannot seem spoiled or bratty or racist. He must be troubled and sympathetic. Clifton is a tremendous actor and for him it is merely a matter of making small adjustments to an already deepened approach to the role. As we worked it today, I knew we were on the right track and just needed to make small alterations.
Today in tech: I gave actor notes, we added rain to the door entrances and exits and added better thunder to the top of show.
I have given up on the idea of visible rain...it's just outside our capabilities.
Tuesday, August 28
Tech Begins
Heading back from the weekend away. Excited to get to tech. Tomorrow is a ten out of twelve. Dinner, provided, lasts from 5-7.
I've never been very good at keeping my journal - let alone a blog - when it comes time for tech. I guess that in some ways is when the greatest mental energy is exerted in a way. So maybe I just get zonkered.
Concerns for tomorrow:
1) The top of the play. How to get the fellas into position.
2) Switching from rhearsal props to regular. We have a ton of things for the fellas to do at the tea room: fold napkins,
3) Haven't worked with lighting designer stuart duke. We'll have to find our rhythm. But I know he's lit this show before - so unless he has some radical ideas we should be ok.
4) Sound of rain. I don't want it to overwhelm our chums.
5) The rain and the sink. Let's pray that stuff works for real and doesn't make too much noise
6) The actors' voices. Will we understand em?
7) Will the costumes be too hot - particularly for guiesseppe.
8) The chairs that are set up downstage: will they screw up the sightlines?
9) Wendell and the floor. How's that gonna go?
10) The actors having two days without me. That's gonna be fine.
These are the main concerns tonight
I've never been very good at keeping my journal - let alone a blog - when it comes time for tech. I guess that in some ways is when the greatest mental energy is exerted in a way. So maybe I just get zonkered.
Concerns for tomorrow:
1) The top of the play. How to get the fellas into position.
2) Switching from rhearsal props to regular. We have a ton of things for the fellas to do at the tea room: fold napkins,
3) Haven't worked with lighting designer stuart duke. We'll have to find our rhythm. But I know he's lit this show before - so unless he has some radical ideas we should be ok.
4) Sound of rain. I don't want it to overwhelm our chums.
5) The rain and the sink. Let's pray that stuff works for real and doesn't make too much noise
6) The actors' voices. Will we understand em?
7) Will the costumes be too hot - particularly for guiesseppe.
8) The chairs that are set up downstage: will they screw up the sightlines?
9) Wendell and the floor. How's that gonna go?
10) The actors having two days without me. That's gonna be fine.
These are the main concerns tonight
Nudity and a spit in the face
This summer I’ve had to stage two shows with a degree of nudity. The first was LONESOME HOLLOW, the only show that Lee Blessing has ever required nudity for. And that was delicate getting Andrea ready to remove her bra. She did great – and I think every one in the room handled it with great aplomb.
For Master Harold, after Hally’s racist joke a bit a “nigger’s arse”, Sam shows him his ass. And yesterday, after putting on his pants and waiter jacket, Guiesseppe added nudity to the proceedings. He did the mooning and, probably because we know it’s coming, the act doesn’t seem nearly as jarring as I would have thought.
Neither does the spitting. But we have had to have a few spitting clinics. I think what makes it so horrible is how effortless it is. Initially, Clifton added something like a running start. His legs even flew into the table from the follow through. Nope. To me, it’s simply a turn, getting firmly into place, calling Sam’s name (suckering us into thinking its an attempt at rapprochement), and then a spit, expressionless. I think that’s the score. And I know Clifton will do it…
Still having major trouble with Wendell’s groan. He wants to make it into something like a cry for help. And it simply takes away from our reaction if he does it that way. Getting better, but not at all what I think the story requires.
Saturday, August 25
Final runthrough pre-tech
For me at least. I am leaving the fellas to attend to some business. I will be back late monday night, ready for tech.
Todays runthrough was grand. I felt that guiesseppe's failure monologue was brilliant. He has found it. The movement to be both disappointed collossally, pleading, incensed (spelling), loving, and devestated.
Hally too - clifton is putting less effort into his performance and i think with tremendous effect.
Run Through Friday
Today we had a runthru the HAIRSPRAY cast. It went exceedingly well, though I believe it was a step back in some ways from yesterday. Well, not a step back in terms of a set back. Just not as smooth is certain ways.
Kirche the costume designer was in attendance.
I believe the running time, what should be known in theater as "THE ONLY EMPIRICAL EVIDENCE", was about three minutes shorter. So we are down to 97 minutes from 104 minutes two runs ago.
I think the top of the show was sloppier - Clifton and Wendell reported out of body experiences. Wendell seemed to miss all of the good solid work we worked out yesterday. All the time at the top of the play washing the floors. It just seemed like random stage business as opposed to a method of cleaning. When its working right, he seems like he is part of the fabric of the play. When its off, I feel responsible: "who told him to mop the floor like that?" Oy. The "heartfelt groan" after the spitting is noticeably subdued.
We had a long long discussion about it yesterday. For me, his reaction was not only ruining the impact of the spit - but storywise, was missing the point. His groan was more like an attempt at preventing the event, rather than an acknowledgment that it was all over. the difference between trying to catch a baby thrown out of the window and missing catching it versus realizing afterwards what's happened. The difference between an expulsion of air, and a deep sigh. Reaching versus sinking.
It's better - just not quite there.
Guiesseppe is tapping into some great heavy heartfelt stuff. His "should i hit him Willie?" WHY NOT?""" was very scary - but taken too far and I think missed the point. I had no reason to believe that Sam wouldn't deck Hally. His speech about feeling like a failure - and the event of going into the bar with Hally and lifting up hally's father is really close. He needs to fight through the obstacle a little more.
We worked the spit and the mooning. It was brave. The power went out at some point during the run and well, it came back on when Guiesseppe mooned. Funny...but more to the point, fucking brave.
The spit needed work. I've asked Clifton to plant himself and not do a running spit - but a quick turn, plant, spit...We'll see how it goes tomorrow.
I felt the ending was a little forced. But hey, they needed to go that far with an audience if only to feel just that - that it went too far emotionally, and sort of robbed us of having emotions.
Clifton on the other hand needs to allow the obstacle at the end. I want him to be an open vessel post spit.
His work is getting much more grounded. I feel he needs to be reminded that Hally is a kid who lives in his mind. Clifton is much looser and freer in his body than I want Hally to be. I did something very hard today which was ask him to cut some of his laughs. His laughs take me out - and I've asked him to use the words themselves to laugh through. The effect is a deepening of Hally. Clifton needs to be reminded that he is 17 enough as is. I don't think he thinks he is playing at 17 - but certain choices he's made (his laugh, parts of his physicality) have the unintended consequence of keeping his voice too high. And it doesn't need to be. As I've said before, a 17 year old thinks he is an adult.
There was not a dry eye in the house.
Kirche the costume designer was in attendance.
I believe the running time, what should be known in theater as "THE ONLY EMPIRICAL EVIDENCE", was about three minutes shorter. So we are down to 97 minutes from 104 minutes two runs ago.
I think the top of the show was sloppier - Clifton and Wendell reported out of body experiences. Wendell seemed to miss all of the good solid work we worked out yesterday. All the time at the top of the play washing the floors. It just seemed like random stage business as opposed to a method of cleaning. When its working right, he seems like he is part of the fabric of the play. When its off, I feel responsible: "who told him to mop the floor like that?" Oy. The "heartfelt groan" after the spitting is noticeably subdued.
We had a long long discussion about it yesterday. For me, his reaction was not only ruining the impact of the spit - but storywise, was missing the point. His groan was more like an attempt at preventing the event, rather than an acknowledgment that it was all over. the difference between trying to catch a baby thrown out of the window and missing catching it versus realizing afterwards what's happened. The difference between an expulsion of air, and a deep sigh. Reaching versus sinking.
It's better - just not quite there.
Guiesseppe is tapping into some great heavy heartfelt stuff. His "should i hit him Willie?" WHY NOT?""" was very scary - but taken too far and I think missed the point. I had no reason to believe that Sam wouldn't deck Hally. His speech about feeling like a failure - and the event of going into the bar with Hally and lifting up hally's father is really close. He needs to fight through the obstacle a little more.
We worked the spit and the mooning. It was brave. The power went out at some point during the run and well, it came back on when Guiesseppe mooned. Funny...but more to the point, fucking brave.
The spit needed work. I've asked Clifton to plant himself and not do a running spit - but a quick turn, plant, spit...We'll see how it goes tomorrow.
I felt the ending was a little forced. But hey, they needed to go that far with an audience if only to feel just that - that it went too far emotionally, and sort of robbed us of having emotions.
Clifton on the other hand needs to allow the obstacle at the end. I want him to be an open vessel post spit.
His work is getting much more grounded. I feel he needs to be reminded that Hally is a kid who lives in his mind. Clifton is much looser and freer in his body than I want Hally to be. I did something very hard today which was ask him to cut some of his laughs. His laughs take me out - and I've asked him to use the words themselves to laugh through. The effect is a deepening of Hally. Clifton needs to be reminded that he is 17 enough as is. I don't think he thinks he is playing at 17 - but certain choices he's made (his laugh, parts of his physicality) have the unintended consequence of keeping his voice too high. And it doesn't need to be. As I've said before, a 17 year old thinks he is an adult.
There was not a dry eye in the house.
Friday, August 24
Run Through Thursday
Well done, mates. Well done. In attendance were Wilson Chin (sets) and Kim Fuhr (sound). At the production meeting preceding the runthru we discussed the floor. We are going to use the ground cloth which has been treated in such a way that it won't make too much noise. A big concern.
Worked extensively with Wendell on finding ways to include him and I think there was a huge payoff. He seems integral to the proceedings. He is our witness - and he is us. Great.
The Man of Magnitude really felt like a game. The guys did great! What could be extremely tedious material really lifted and felt, well, fun.
Still not ready for the spit and the moon. But soon.
Worked extensively with Wendell on finding ways to include him and I think there was a huge payoff. He seems integral to the proceedings. He is our witness - and he is us. Great.
The Man of Magnitude really felt like a game. The guys did great! What could be extremely tedious material really lifted and felt, well, fun.
Still not ready for the spit and the moon. But soon.
Thanks for the directions
Thanks for letting me know how you got here. Special thanks to Grote for the traffic my way. Right back atcha
Thursday, August 23
How did you get here?
I have no idea how you found this site. I know how adam got here - I guess because I link to his site, he is able to track the visit. But how did you get here?
I am delighted that you are here. I would be delighted if you had suggestions of how I could improve my blog.
I guess my motto is: I will do my best to write something interesting, and I trust you'll tell me if it is interesting, or if it isn't.
I will consider that I have tipped when I got a reciprocal link from Mr. Voucher Ankles himself.
I am delighted that you are here. I would be delighted if you had suggestions of how I could improve my blog.
I guess my motto is: I will do my best to write something interesting, and I trust you'll tell me if it is interesting, or if it isn't.
I will consider that I have tipped when I got a reciprocal link from Mr. Voucher Ankles himself.
Wednesday, August 22
The Heisenberg Uncertainty Principle
"The more precisely the POSITION is determined,the less precisely the MOMENTUM is known"
Or rather, the act of observing affects the outcome.
So yesterday, Steve Stettler, one of the three producing Artistic Directors here, watched a runthrough of MASTER HAROLD. Amazing how the observation of one new person, beyond the director, the stage manager, and the asm, can cause such panic...
I thought the gang did very well. They didn't seem overwhelmed. Sure, some notes were not applied and some ACTING was going on. But all in all, it seemed like they were keying in to new moments.
I am going crazy with all the mopping. I am gonna totally minimize it.
Guiesseppe and Clifton were hitting some nice emotional stuff. Too much? Unclear. Wendell is having a hard time with his "long and heartfelt groan" after Sam gets spit in the face. The noise he's making sounds like he wants to try to catch something that is falling outside of his reach. Instead, I want it to sound like he is getting hit in the gut - almost like the sound after that thing has hit the ground. He is now hyperfocused on it so that whenever he groans, or makes his sound of groaning, he is disappointed and shakes his head in frustration.
Guiesseppe and I were trying to make sense of a line. "So go ahead and groan, Willie. You do it better than me." Why does he say it? Context: Sam has asked willie if he should hit the boy. And Willie says "no, he is just a boy, little white boy. Maybe I just go in the back and cry." I didn't exactly know what it meant, but knew it was a transitional line. I knew that it had the effect of should-shrugging, but I struggled with Guiesseppe to figure it out. And then I did: it's about race. Everything that Sam says that follows has to do with his disappointment that he didn't do a better job raising Hally as a non-racist. And that he has a choice, hally does, to walk away from the bench that says "Whites Only". So - the line, Go ahead and groan willie. You do it better than me" seems to be about how Willie deals with race (wants to hit, advises against and goes in the back and cries" versus Sam (who has tried all his life to make a difference)
So there ya go.
Steve dug the proceedings. Gave me some good and effective notes.
Or rather, the act of observing affects the outcome.
So yesterday, Steve Stettler, one of the three producing Artistic Directors here, watched a runthrough of MASTER HAROLD. Amazing how the observation of one new person, beyond the director, the stage manager, and the asm, can cause such panic...
I thought the gang did very well. They didn't seem overwhelmed. Sure, some notes were not applied and some ACTING was going on. But all in all, it seemed like they were keying in to new moments.
I am going crazy with all the mopping. I am gonna totally minimize it.
Guiesseppe and Clifton were hitting some nice emotional stuff. Too much? Unclear. Wendell is having a hard time with his "long and heartfelt groan" after Sam gets spit in the face. The noise he's making sounds like he wants to try to catch something that is falling outside of his reach. Instead, I want it to sound like he is getting hit in the gut - almost like the sound after that thing has hit the ground. He is now hyperfocused on it so that whenever he groans, or makes his sound of groaning, he is disappointed and shakes his head in frustration.
Guiesseppe and I were trying to make sense of a line. "So go ahead and groan, Willie. You do it better than me." Why does he say it? Context: Sam has asked willie if he should hit the boy. And Willie says "no, he is just a boy, little white boy. Maybe I just go in the back and cry." I didn't exactly know what it meant, but knew it was a transitional line. I knew that it had the effect of should-shrugging, but I struggled with Guiesseppe to figure it out. And then I did: it's about race. Everything that Sam says that follows has to do with his disappointment that he didn't do a better job raising Hally as a non-racist. And that he has a choice, hally does, to walk away from the bench that says "Whites Only". So - the line, Go ahead and groan willie. You do it better than me" seems to be about how Willie deals with race (wants to hit, advises against and goes in the back and cries" versus Sam (who has tried all his life to make a difference)
So there ya go.
Steve dug the proceedings. Gave me some good and effective notes.
Tuesday, August 21
Conflict
I am supposed to put in NO CHILD at Berkeley Rep in May of next year, but I was just offered a job, a newish play, at another theater. The newish play opens May 9 on the east coast. Berkeley's NO CHILD starts previewing the same night.
One solution is to get my assistant director, the more than fabulous Jojo, to put it in for me at Berkeley Rep, and I'll come in for previews.
Another is that I leave the newish play after previews, missing opening night of newish play, and arriving in time for the first preview of NO CHILD - this would still require Jojo there for tech.
Yet another idea is that I ask Berkeley Rep to postpone the first two previews so that I might put it in myself. This is obviously not desirable for BRT. No one wants to cancel scheduled performances.
I really want to do the Berkeley Rep gig, for a number of reasons: I assisted Tony Taccone there about 13 years back and I'd love to eventually direct there; I went to grad school at ACT across the bay; Rachel's from there; it's Berkeley Rep.
Now - I will ask Val to deal with it all. I wish it all were just so simple. And it never is.
But all in all, I should feel lucky and I do.
One solution is to get my assistant director, the more than fabulous Jojo, to put it in for me at Berkeley Rep, and I'll come in for previews.
Another is that I leave the newish play after previews, missing opening night of newish play, and arriving in time for the first preview of NO CHILD - this would still require Jojo there for tech.
Yet another idea is that I ask Berkeley Rep to postpone the first two previews so that I might put it in myself. This is obviously not desirable for BRT. No one wants to cancel scheduled performances.
I really want to do the Berkeley Rep gig, for a number of reasons: I assisted Tony Taccone there about 13 years back and I'd love to eventually direct there; I went to grad school at ACT across the bay; Rachel's from there; it's Berkeley Rep.
Now - I will ask Val to deal with it all. I wish it all were just so simple. And it never is.
But all in all, I should feel lucky and I do.
Monday, August 20
Driving Guiesseppe Crazy, One Spoon at a time
And yes, he does spell Guiesseppe like that.
A lot of yesterday's rehearsal, sadly, had a lot to do with place settings.
A lot of yesterday's rehearsal, sadly, had a lot to do with place settings.
Saturday, August 18
it seems I am a little late
Isn't that how Stanislavski starts AN ACTOR PREPARES? The student is late for a rehearsal and the Stanislavski character tears him a new one for saying "It seems I am a little late". Stanislavski cancels rehearsal, letting the student know how incredibly disrespectful his tardiness is...
So, I was about a half hour late today. I was biking down in Londonderry - about 6 miles away, and I had about 45 minutes to get home. But I had a flat tire. So. It seems I was a little late.
Rehearsal went well. That darn kite monologue. I personally have a distaste for memories that are in any way acted out. We never speak this way in real life - when we are telling stories we check in with our audience, but we rarely step away from them and act out moments that have occurred long ago.
So I don't want that in this either.
So, I was about a half hour late today. I was biking down in Londonderry - about 6 miles away, and I had about 45 minutes to get home. But I had a flat tire. So. It seems I was a little late.
Rehearsal went well. That darn kite monologue. I personally have a distaste for memories that are in any way acted out. We never speak this way in real life - when we are telling stories we check in with our audience, but we rarely step away from them and act out moments that have occurred long ago.
So I don't want that in this either.
Friday, August 17
right before the kite monologue
We've blocked and now we are drilling down, doing detailed work. The issue at hand yesterday was trying to get Willie and Sam to have fun - not solely to justify Hally's "no joking" line - but also, I feel, it is here, right before the phone call from Hally's mum, that we need to see nostalgia for the good ol' days. Even if these were the good ol' bad days.
I think we are touching the surface, but the concerns now seem to be blocking and remembering lines.
Clifton expressed some concern about what it would be like to get lost up there. I am sure that by the time i finish my work, there will be such a clear feeling of beat changes that this concern can be avoided.
Tesh comes back today for some more dancing. And I am hopeful they'll all start to look great now. They look good, but I want great.
I think we are touching the surface, but the concerns now seem to be blocking and remembering lines.
Clifton expressed some concern about what it would be like to get lost up there. I am sure that by the time i finish my work, there will be such a clear feeling of beat changes that this concern can be avoided.
Tesh comes back today for some more dancing. And I am hopeful they'll all start to look great now. They look good, but I want great.
Thursday, August 16
master harold week 2 day 2
Slowly and methodically we've blocked (staged) the play. There is the moment where Hally spits in Sam's face. This is the climax, of course. It is now staged more or less center stage. With all these tables on the deck, there is surprisingly little space. What to do?
Had a nice conversation with Guiesseppe on the porch last night - trying to figure out why Sam asks Willie's permission - "Should I hit him?" "Why not?" He is a smart actor - and he figured it out. Willie hits people - thus Sam, who doesn't asks his new teacher if this is the answer to the insult.
Guiesseppe also has to moon Clifton. And it is center stage. Yow. We will also have to restage this for the schools - I think I can make it work
Had a nice conversation with Guiesseppe on the porch last night - trying to figure out why Sam asks Willie's permission - "Should I hit him?" "Why not?" He is a smart actor - and he figured it out. Willie hits people - thus Sam, who doesn't asks his new teacher if this is the answer to the insult.
Guiesseppe also has to moon Clifton. And it is center stage. Yow. We will also have to restage this for the schools - I think I can make it work
Offer
Or, "What should I do?"
I've been offered a gig in April of next year. It's a nice theater, a good play, and I have a three day overlap with my Berkeley Rep gig. Hmm. It'd be a shame to have to turn it down - I don't want to. But, I do think I need to be at Berkeley for various reasons.
Have emailed Val - I am sure we'll figure it out.
I've been offered a gig in April of next year. It's a nice theater, a good play, and I have a three day overlap with my Berkeley Rep gig. Hmm. It'd be a shame to have to turn it down - I don't want to. But, I do think I need to be at Berkeley for various reasons.
Have emailed Val - I am sure we'll figure it out.
Tuesday, August 14
Crappy Blocking
There's all these tables at the St. George Tea Room in the play and Sam and Willie have got to set the place for the next day of business. So, I had them move the furniture today. It was painful and laborious. ANd just awful to watch.
At one point the action of the play was all upstage - trapped behind these ugly tables chairs knives forks.
Awful. Restaged. All is well.
But the lesson I suppose is that no matter how you plan things, there's nothing like seeing in reality. And the reality here is that the most important stuff has got to happen front and center, not upstage and hidden.
We've practically staged the whole play - there are maybe 3-4 pages left. There will be no fireworks when we finish, but it'll mean we can get to the nitty gritty sooner.
At one point the action of the play was all upstage - trapped behind these ugly tables chairs knives forks.
Awful. Restaged. All is well.
But the lesson I suppose is that no matter how you plan things, there's nothing like seeing in reality. And the reality here is that the most important stuff has got to happen front and center, not upstage and hidden.
We've practically staged the whole play - there are maybe 3-4 pages left. There will be no fireworks when we finish, but it'll mean we can get to the nitty gritty sooner.
Master Harold: Sunday
Live and learn. I decided it was time (after say four days of being on our feet) to give some technical notes.
For Wendell, it was to avoid the "run-up" - He has a tendency to add "aaah.."sounds before he speaks. I get why - I think. It shows a sense of urgency and need for interjection, but my preference is that he do so with the words themselves.
For Clifton, playing Hally, I want him to see the 17 year old boy the way I think Hally sees himself: as an adult. Sure, he's petulant and a whiner, but he thinks he is smarter than everyone and is an adult. He's not.
For Guiesseppe: I feel technically he is stretching words out so much that the full force force of the sentences are not landing. I imagine part of this is simply the new dialect he has to assume. But I wonder. And I felt that nipping this now was the right step.
Unfortunately, I gave Guiesseppe this note during a break - and he (jokingly?) gave me grief about it. When Melissa the stage manager came around to let us know break was done, he said he wanted extra time 'cause I was giving him notes. Now...Guiesseppe and I go a long way back. A LONG way. So, I guess I figured he wouldn't have a problem with the notes - and he probably didn't.
But I was reminded that a break is a break. And I will respect that.
For Wendell, it was to avoid the "run-up" - He has a tendency to add "aaah.."sounds before he speaks. I get why - I think. It shows a sense of urgency and need for interjection, but my preference is that he do so with the words themselves.
For Clifton, playing Hally, I want him to see the 17 year old boy the way I think Hally sees himself: as an adult. Sure, he's petulant and a whiner, but he thinks he is smarter than everyone and is an adult. He's not.
For Guiesseppe: I feel technically he is stretching words out so much that the full force force of the sentences are not landing. I imagine part of this is simply the new dialect he has to assume. But I wonder. And I felt that nipping this now was the right step.
Unfortunately, I gave Guiesseppe this note during a break - and he (jokingly?) gave me grief about it. When Melissa the stage manager came around to let us know break was done, he said he wanted extra time 'cause I was giving him notes. Now...Guiesseppe and I go a long way back. A LONG way. So, I guess I figured he wouldn't have a problem with the notes - and he probably didn't.
But I was reminded that a break is a break. And I will respect that.
Sunday, August 12
Braly 8.5
that's what he's saying. He feels like he has hit his stride. Better yet - he has had the breakthrough that I've hoped for. He really took to heart my admonishing him (coaxing, "directing"?) that I've never seen him make that direct connection with an audience member, used that reaction to fuel him for the rest of the piece...
He did it.
So the point of the Edinburgh venture was to get him battle-ready for a new york run, to make him a better performer, and to improve the script itself. Seems like that's been accomplished...I can only imagine where he'll be in two weeks...
And now, hopefully, he'll get better word of mouth. The crowd size has been fine. averaging about 30 folks per show. Perhaps the audience tipping point will move in the right direction.
The other thing we hoped for was some decent reviews. Some pullquotes that we could use for the american run. He's got a string of reviews about to come out. But now, it really is all about the scotsman. If he can get a decent review there, he has a shot at a Fringe First. What that would do? Allow him to perform in front of a larger crowd and really get that buzz going...
Fingers crossed.
He did it.
So the point of the Edinburgh venture was to get him battle-ready for a new york run, to make him a better performer, and to improve the script itself. Seems like that's been accomplished...I can only imagine where he'll be in two weeks...
And now, hopefully, he'll get better word of mouth. The crowd size has been fine. averaging about 30 folks per show. Perhaps the audience tipping point will move in the right direction.
The other thing we hoped for was some decent reviews. Some pullquotes that we could use for the american run. He's got a string of reviews about to come out. But now, it really is all about the scotsman. If he can get a decent review there, he has a shot at a Fringe First. What that would do? Allow him to perform in front of a larger crowd and really get that buzz going...
Fingers crossed.
master harold dance
Tesha Buss arrived on the scene yesterday. She's a fantastic choreographer and just a wonderful force. Guiesseppe and Wendell are both reticent about the dance - and reasonably so. It's tough: you're not a dancer and you gotta act like one.
Well - after a few hours of dancing, Guiesseppe and Wendell are doing wonders with the quick step and with the foxtrot. Tesha's energy makes you relaxed and makes the proceedings fun.
So - good things. Today we are going to run everything we've covered so far. Which is a lot. I am pretty shocked. I think we've covered through page 40 so far. That's close to 2/3 of the play. How did that happen? Well - first off, I think Wilson Chin's design is such that, well, it makes the action easier to move through. Also, Guiesseppe and Wendell have great familiarity with the material. Guiesseppe played willie about 15 years ago, Wendell has been working with the material throughout the past several years, and Clifton, well, Clifton is just good...
I am pleased.
Well - after a few hours of dancing, Guiesseppe and Wendell are doing wonders with the quick step and with the foxtrot. Tesha's energy makes you relaxed and makes the proceedings fun.
So - good things. Today we are going to run everything we've covered so far. Which is a lot. I am pretty shocked. I think we've covered through page 40 so far. That's close to 2/3 of the play. How did that happen? Well - first off, I think Wilson Chin's design is such that, well, it makes the action easier to move through. Also, Guiesseppe and Wendell have great familiarity with the material. Guiesseppe played willie about 15 years ago, Wendell has been working with the material throughout the past several years, and Clifton, well, Clifton is just good...
I am pleased.
Saturday, August 11
Matthew Broderick
Last night, I watched a large portion of MASTER HAROLD, made for tv, directed by Michael Lindsay-Hogg. Wow. Pretty great document. Zakes Mokae is almost effortless. It's as if he is in a trance - but not the bad kind. Broderick is subtle and underplayed, but kind of lovely and boyish. Hard to imagine him, though, being alienated and friendless. Clear however is the love between Sam and Hally.
(BTW, it is awfully strange to say the name HALLY for me. Two folks in the world call me that: my mom and cousin gail)
Watching the video made me realize that we are doing justice to the play, both in the things that we are doing the same as the video, as well as the things I am directing differently. One notable difference: Willie in the video seems to insert himself a lot more into the action than I see him doing. It may simply be a made-for-tv idea, but it seems intrusive and wrong. The other thing that was notable to me, was that there really is no great way to block much of those long conversational passages. They are what they are. Additionally, I want to bring more attention to the thing that Guiesseppe spoke of at the bookstore: the love between the three men.
Yesterday: got a good chunk of blocking down (through page 30 of 65). Hopefully by tomorrow, we'll have blocked a solid 50-55 pages. then it's backtracking to do nice, finessy work. Guiesseppe, Wendell and Clifton worked with Patricia Narcia for a few hours. There seems to be a bit of disagreement between the actors and Patricia about certain sounds. I think the three men should noted sound the same. Hally is white and Afrikaaner. Willie is black and Basuto. And Sam, though black and Basuto as well, is more well educated than Willie.
The thing weighing most on my mind is what to do with willie. Really - how to block a guy who seems to be working on his knees for most of the play.
(BTW, it is awfully strange to say the name HALLY for me. Two folks in the world call me that: my mom and cousin gail)
Watching the video made me realize that we are doing justice to the play, both in the things that we are doing the same as the video, as well as the things I am directing differently. One notable difference: Willie in the video seems to insert himself a lot more into the action than I see him doing. It may simply be a made-for-tv idea, but it seems intrusive and wrong. The other thing that was notable to me, was that there really is no great way to block much of those long conversational passages. They are what they are. Additionally, I want to bring more attention to the thing that Guiesseppe spoke of at the bookstore: the love between the three men.
Yesterday: got a good chunk of blocking down (through page 30 of 65). Hopefully by tomorrow, we'll have blocked a solid 50-55 pages. then it's backtracking to do nice, finessy work. Guiesseppe, Wendell and Clifton worked with Patricia Narcia for a few hours. There seems to be a bit of disagreement between the actors and Patricia about certain sounds. I think the three men should noted sound the same. Hally is white and Afrikaaner. Willie is black and Basuto. And Sam, though black and Basuto as well, is more well educated than Willie.
The thing weighing most on my mind is what to do with willie. Really - how to block a guy who seems to be working on his knees for most of the play.
Friday, August 10
Braly and Reviews
I get reports from Susie and from James and occasionally Louise. It sounds to me that he is somewhat disheartened by the reviews. He got a few lame ones - one which accuses him of not being much of a performer. That sucks. I just want him to remember the good one, from the LIST, a four star, must-see.
Is it Mamet who says if you are going to believe the good ones you have to believe the bad?
The key is to not let the bad ones deplete you and disable you. The point of the Edinburgh run was not to amass great reviews - but to allow James 24 consecutive performances to hone his skills, work on his materials, and improve his connection to the audience.
Is it Mamet who says if you are going to believe the good ones you have to believe the bad?
The key is to not let the bad ones deplete you and disable you. The point of the Edinburgh run was not to amass great reviews - but to allow James 24 consecutive performances to hone his skills, work on his materials, and improve his connection to the audience.
The Pre-Talk Back
Last night went with the cast to Northshire Books with the cast. Education Director Lauryn Axelrod started the proceedings to the audience of about 15 with an intro to south africa and apartheid. (She pronounces it Ah-pahr-TAYED as opposed to ah-PAHR-teyed - hitting the last syllable and making it into TAYED rhymes with PAID; as opposed to teyed rhymes with LIED). Then she spoke about Fugard. There were a few audiences members who oohed and ahhed in disgust and amazement about Apartheid. We are in liberal vermont - but you'd think they'd have known. One audience member particularly surprised me: she couldn't comprehend that blacks and whites could not act together onstage in SA. She got that they couldn't be in the same audience - but the notion of them being prohibited onstage together wracked her brain.
Then it was my turn - i spoke about my personal connection to the South African anti-apartheid movement at Yale. Which was to say - remote. My friends participated in the divestment movement - got arrested and expelled. And I stood on the side and watched.
Then Guiesseppe, Wendell and Clifton talked about their personal connection as well as the difficulties they face in approaching the roles. For Clifton, it's his connection as a southern kid who has seen and detests racism - and now must spit in the face of another actor. For Guiesseppe, he brought up the great point that the three must LOVE each other. Perhaps I haven't mentioned that - because I feel that is so readily clear. But he is SO right.
At one point, I could see Guiesseppe getting antsy. And he was right to: we were spilling the beans about all the secrets of the play and the process. And it reminded me of how on some level I detest these events: "Hey, we are doing this really magical thing that we want you to see...and now, we want to TALK about it."
So - at a certain point, we had to just put an end to the proceedings...but I am still impressed with the folks going to these things.
Then it was my turn - i spoke about my personal connection to the South African anti-apartheid movement at Yale. Which was to say - remote. My friends participated in the divestment movement - got arrested and expelled. And I stood on the side and watched.
Then Guiesseppe, Wendell and Clifton talked about their personal connection as well as the difficulties they face in approaching the roles. For Clifton, it's his connection as a southern kid who has seen and detests racism - and now must spit in the face of another actor. For Guiesseppe, he brought up the great point that the three must LOVE each other. Perhaps I haven't mentioned that - because I feel that is so readily clear. But he is SO right.
At one point, I could see Guiesseppe getting antsy. And he was right to: we were spilling the beans about all the secrets of the play and the process. And it reminded me of how on some level I detest these events: "Hey, we are doing this really magical thing that we want you to see...and now, we want to TALK about it."
So - at a certain point, we had to just put an end to the proceedings...but I am still impressed with the folks going to these things.
Wednesday, August 8
* * * * Braly Gets Four Star Review in the LIST * * * *
Braly got his first review in Edinburgh. And its a good one! A four star review in the list. He really is going through a lot over there - trying to figure out how to adjust his show from the 8-10 minute story to the one hour show, using the microphone and now not using the mic, being able to see the audience and now not being able to see them.
It's a big change - and I have no doubt he'll rise to the occasion, especially given his determination. I just wish he'd relax, throw out all the technical stuff I've thrown his way, get out of his own way, and kick some serious Scottish ass.
It's a big change - and I have no doubt he'll rise to the occasion, especially given his determination. I just wish he'd relax, throw out all the technical stuff I've thrown his way, get out of his own way, and kick some serious Scottish ass.
Master Harold - Day Two
First Day of Rehearsal
After many an intro, I gave my schpiel (sp):
We will focus on the relationships. You cannot play politics, you cannot play cultural transformation, you cannot play history. We can steep the play in politics and culture and history, but really this is a personal story.
The reading was great. Very lucky to have Clifton, Wendell, and Guiesseppe together. They will be sensational. I have no doubt this show will move people.
We are proceeding slowly through the script, as is my wont. Why it's title "MASTER HAROLD"...and the boys: With Master Harold in quote we see that it is being mocked, but it is capitalized. The boys are in lower case, following the ellipsis. It seems very purposeful to me. That Willie and Sam aren't mentioned in the title is very much a strong point.
We have plenty of great background material to look at. We read a bit about the south african apartheid laws - many of which were passed around the time of the action of the play (1950). Important to remember that these were the de jure laws - there were plenty of de facto laws in place.
What is the deal with Hally's father. He is a cripple and an alcoholic. But what is the treatment that he is going through at hospital?
What else? go through about 1/3 of the play reading it slowly. Important to see the difference in performance of recalling memories and sharing them. By that I mean, I think there are moments where there are moments of heightened poetic nostalgia, and there are moments where its incumbent upon my actors to defeat the poetry...
Looking forward to working with these guys.
After many an intro, I gave my schpiel (sp):
We will focus on the relationships. You cannot play politics, you cannot play cultural transformation, you cannot play history. We can steep the play in politics and culture and history, but really this is a personal story.
The reading was great. Very lucky to have Clifton, Wendell, and Guiesseppe together. They will be sensational. I have no doubt this show will move people.
We are proceeding slowly through the script, as is my wont. Why it's title "MASTER HAROLD"...and the boys: With Master Harold in quote we see that it is being mocked, but it is capitalized. The boys are in lower case, following the ellipsis. It seems very purposeful to me. That Willie and Sam aren't mentioned in the title is very much a strong point.
We have plenty of great background material to look at. We read a bit about the south african apartheid laws - many of which were passed around the time of the action of the play (1950). Important to remember that these were the de jure laws - there were plenty of de facto laws in place.
What is the deal with Hally's father. He is a cripple and an alcoholic. But what is the treatment that he is going through at hospital?
What else? go through about 1/3 of the play reading it slowly. Important to see the difference in performance of recalling memories and sharing them. By that I mean, I think there are moments where there are moments of heightened poetic nostalgia, and there are moments where its incumbent upon my actors to defeat the poetry...
Looking forward to working with these guys.
Tuesday, August 7
Vermont Day 1
Have arrived alive. I decided to live in the same house I lived last year - rather than the one across the street from the office, with a beautiful view of the water. It would have been nice - but this place had a few things over the beauty incentive:
1) As of tomorrow, I will be here solo. Virginia - who I think is the wardrobe person on Hairspray, leaves.
2) Internet access. Perhaps that's the wrong idea - to be in Vermont you should cut yourself off. But I don't think so. At the very least, I wanted to be able to get email. And at the very most, I'd like to listen to the Yankees and the Phillies.
So - I am here. I had an uneventful trainride to Albany and got picked up by Gretchen the company manager. On the ride with me was Clifton, who will be playing Hally. He's gonna be great, i believe.
read a ton more on the trip up - so I feel like I accomplished all that I set out to re: prep. There's a lot of chairs on this set.
Went shopping and spent, somehow, 145 bucks worth of groceries. Hmm. I am gonna guess that a solid 25 dollars of which is all frigging staples - mayo, olive oil, etc. The cost of living rent free is that you have to supply yourself with all the things you just left elsewhere.
The key to feeling good about the freelance life is how you are treated with the material comforts. I am a little disappointed. The only thing I have requested is a bike. I want a good one - and I was going to ship mine, but they said they had one for me. Well, so far I have seen two: one if for a 12 year old boy, and the other is apparently for a giant from the early 70s.
Also, the house is a lot shabbier than I remember. The kitchen is gross and needs a good scrubbing. The house is a lot less tidy than I recall it being. I don't want to be a pain in the ass, but I do want to live cleanly. Found a few bugs in the kitchen - hey, it is rural vermont, but I don't want to see them in the fridge...
Now - shower and rehearse.
1) As of tomorrow, I will be here solo. Virginia - who I think is the wardrobe person on Hairspray, leaves.
2) Internet access. Perhaps that's the wrong idea - to be in Vermont you should cut yourself off. But I don't think so. At the very least, I wanted to be able to get email. And at the very most, I'd like to listen to the Yankees and the Phillies.
So - I am here. I had an uneventful trainride to Albany and got picked up by Gretchen the company manager. On the ride with me was Clifton, who will be playing Hally. He's gonna be great, i believe.
read a ton more on the trip up - so I feel like I accomplished all that I set out to re: prep. There's a lot of chairs on this set.
Went shopping and spent, somehow, 145 bucks worth of groceries. Hmm. I am gonna guess that a solid 25 dollars of which is all frigging staples - mayo, olive oil, etc. The cost of living rent free is that you have to supply yourself with all the things you just left elsewhere.
The key to feeling good about the freelance life is how you are treated with the material comforts. I am a little disappointed. The only thing I have requested is a bike. I want a good one - and I was going to ship mine, but they said they had one for me. Well, so far I have seen two: one if for a 12 year old boy, and the other is apparently for a giant from the early 70s.
Also, the house is a lot shabbier than I remember. The kitchen is gross and needs a good scrubbing. The house is a lot less tidy than I recall it being. I don't want to be a pain in the ass, but I do want to live cleanly. Found a few bugs in the kitchen - hey, it is rural vermont, but I don't want to see them in the fridge...
Now - shower and rehearse.
Monday, August 6
Return to nyc - off to vermont
Hot muggy and disgusting. Sound familiar? Gotta say though, yesterday was just fine. Got in around noon. Got home around 2. Rachel got in around 430. We were pretty jet lagged the whole day. Didn't at all know what to do. Drank a lot of water. Riveted? I am sure.
So today I am off to vermont to direct MASTER HAROLD...AND THE BOYS. As always, I do wonder how underprepared I am. Do directors ever feel over prepared? I doubt it. I've refamiliarized myself with some south african history and the laws of apartheid. And I've read the script several times and marked it up. I feel it is a "straightforward" play so I always wonder how to bring myself to it, to add my take on it. And yet, I still adhere to that idea of being a director who gets out of the way of a piece.
Looking forward to working with guiesseppe - my old act classmate. And wendell - who I directed up at penn state in 05. Nice times. And of course with the new guy, Clifton Guterman, playing my namesake, hally.
Weston will be beautiful. Let's hope the weather holds up its end of the bargain.
So today I am off to vermont to direct MASTER HAROLD...AND THE BOYS. As always, I do wonder how underprepared I am. Do directors ever feel over prepared? I doubt it. I've refamiliarized myself with some south african history and the laws of apartheid. And I've read the script several times and marked it up. I feel it is a "straightforward" play so I always wonder how to bring myself to it, to add my take on it. And yet, I still adhere to that idea of being a director who gets out of the way of a piece.
Looking forward to working with guiesseppe - my old act classmate. And wendell - who I directed up at penn state in 05. Nice times. And of course with the new guy, Clifton Guterman, playing my namesake, hally.
Weston will be beautiful. Let's hope the weather holds up its end of the bargain.
Sunday, August 5
Braly second preview
A vast improvement from the first. Much of the jitters from the first preview are gone. And the size of the house tripled.
He's added a bit of a prologue "I am james braly, I am from ny and I am storyteller..." Which I think gets him out of the gate waaay more himself.
He added a bit of too much to this prologue though - a story about terry anderson the hostage. "Terry was asked 'what's it like to be a hostage for that long.' And he answered 'Look to your left. Look to your right. Now imagine you're chained to them for 8 years'. Well, I've been like that for 23 years." It was a little heavyhanded and repeated much of what immediately followed. Still - a worthy attempt to make a connection with the audience right away. He is freer at the top and that's the most important thing.
Braly keys into his performance at moments of conflict. And I think he just needs to trust that a little extra volume will go a long way. He also needs to remind himself that by making real genuine contact with his audience - say really talking to someone in the front row until something happens - will radiate a connection throughout the house. And will remedy the fact that he cannot see his house in full. .
Way happier with the transitions. I had attempted bumps - 0 count light shifts that create an abrupt change. But that really was too radical given the equipment. So I went the other direction. And this caused waaaay too long transitions. Now I've found the right medium I believe.
Looking forward to hearing how it all went down. Steve Cramer from the list was reviewing. So... Fingers crossed. I think jackie mcglone is there today. Which may be happening actually be moments from now (I am flyinf home - ah the magic of the blackberry).
He's added a bit of a prologue "I am james braly, I am from ny and I am storyteller..." Which I think gets him out of the gate waaay more himself.
He added a bit of too much to this prologue though - a story about terry anderson the hostage. "Terry was asked 'what's it like to be a hostage for that long.' And he answered 'Look to your left. Look to your right. Now imagine you're chained to them for 8 years'. Well, I've been like that for 23 years." It was a little heavyhanded and repeated much of what immediately followed. Still - a worthy attempt to make a connection with the audience right away. He is freer at the top and that's the most important thing.
Braly keys into his performance at moments of conflict. And I think he just needs to trust that a little extra volume will go a long way. He also needs to remind himself that by making real genuine contact with his audience - say really talking to someone in the front row until something happens - will radiate a connection throughout the house. And will remedy the fact that he cannot see his house in full. .
Way happier with the transitions. I had attempted bumps - 0 count light shifts that create an abrupt change. But that really was too radical given the equipment. So I went the other direction. And this caused waaaay too long transitions. Now I've found the right medium I believe.
Looking forward to hearing how it all went down. Steve Cramer from the list was reviewing. So... Fingers crossed. I think jackie mcglone is there today. Which may be happening actually be moments from now (I am flyinf home - ah the magic of the blackberry).
What to see in edinburgh
Truth is - who the hell knows? Its too early to know. What the right thing to see hasn't emerged. Its just guessing at this point.
We saw three things at aurora nova which I guess is somewhat like ps 122. Best thing we saw was probably the rude mechs from austin texas (no relation to the rude mechanicals of nyc). Their show GET YOUR WAR ON was based on those comics of the same name. Kinda well done. Especially given all the work flipping overlay transparencies for an hour. Its all about bush and iraq and probably a bit too over-the-top with the irony factor. Still, always nice to review the hypocrisy. There was some quote bush said about iraq being a comma in its history. Definitely worth looking that up - and really, worth seeing
Also saw at aurora nova HANGMAN by a russian theater troupe DO THEATRE. No real idea what went on except there were three tramps: one deaf. One blind. One mute. And a lot of newspaper and some decent movement about the stage. A woman pulled a rose out of her mouth. It was at its best and most entrancing at the top and at some point using swinging pooltable/poker lamps. At its worst was when one of the dancers spoke auctioning paper. Stooopud.
Yesterday - also at ars nova - I mean aurora nova we saw an israeli troupe's ORPHEUS. Not quite a puppet show. Maybe modern dance. I had no idea what they were doing up there orpheus. Seemed to like to play instruments and was bald but wore straw on his head. Hmm. Two cool moments: a dance with three legs (two real, one a mannequins.) And the cerberus the dog fight using a boot as a snout. Then there were all these dolls on stage. Who the hell knows what that meant.
Also we saw BIGGER THAN JESUS. At first jesus is a brooklyn jew lecturing us about the real truth about who wrote the bible. Then at the end another puppetshow - this time with the last supper participants incluing mlk and gandhi, darth vader, judy garland and of course homer simpson as judas. What else? Oh - the scary guy playing jesus came out into the audience which is always fun playing a black gospel preacher. Bad. There's a whole enendurable middle part. Lord knows, if you will why. Then at the end the guy does dress up as jesus - and that's pretty cool. The shit with him as a flight attendant was hokey and endless. Still - it was sold out.
So - who knows what to see. Bummed I didn't get to see daniel kitson or go to the traverse. That's just how it goes, eh?
Return from edinburgh
On my way back from a terrific time. Rachel - my gal - is flying separate. Its a long story.
I am pleased with where james is - though I am bummed that I won't get to spend more time watching him improve. He is a great writer and a wonderful storyteller. Now its about turning him into a great performer. He's on his way...
Friday, August 3
Locked in
There is a sign here at the flat in edinburgh telling us not to leave the front door on "the snib". Now - I thought that might be just a britishism for "ajar" but it turns out it is a specific part of the door locking mechanism - that little piece that moves in and then latches when a door closes.
Well - we had a lot of fun with the word snib. But the joke's on us: we are somehow locked in the apartment - awaiting james braly's rescue. My big fear iis that we'd miss the show - bigger fear is that we'd miss our flights sunday.
It is scary. We are locked in.
Wednesday, August 1
L.I.A.M.I
Or life in a marital institution.
Tech is today here in edinburgh. We should have a pretty simple time.
The set is a chair, there are only a couple of lighting cues, we have a terrific stage manager/assistant director, Susie Schutt.
The structure - I think that's coming along. The most troubling thing for me has been making the two stories come together. James has this story of his sister dying and getting married in a hospice that weaves in and out of the individual tales about his wife. It works as a framing device only if they merge together
We had a long talk about that yesterday in which james riffed for about forty minutes about what happened between him and susan after he learned of his sister's death. He got very emotional and talked about how his sister lived and died to the fullest and always had a sense of humor and how now in his relationship there is no humor - and things just go too far - be it the susan's interest in leprechauns, placenta eating, or non-weaning of 6 and 8 year olds. And it might all be acceptable if they at least could laugh
I think he's doing a great job. And more importantly, seems to see that edinburgh is not the prize but part of the journey - and its a great place to enjoy life for a month without wife and kids.
Tech is today here in edinburgh. We should have a pretty simple time.
The set is a chair, there are only a couple of lighting cues, we have a terrific stage manager/assistant director, Susie Schutt.
The structure - I think that's coming along. The most troubling thing for me has been making the two stories come together. James has this story of his sister dying and getting married in a hospice that weaves in and out of the individual tales about his wife. It works as a framing device only if they merge together
We had a long talk about that yesterday in which james riffed for about forty minutes about what happened between him and susan after he learned of his sister's death. He got very emotional and talked about how his sister lived and died to the fullest and always had a sense of humor and how now in his relationship there is no humor - and things just go too far - be it the susan's interest in leprechauns, placenta eating, or non-weaning of 6 and 8 year olds. And it might all be acceptable if they at least could laugh
I think he's doing a great job. And more importantly, seems to see that edinburgh is not the prize but part of the journey - and its a great place to enjoy life for a month without wife and kids.
It depends what the meaning of "it" is
Gotta watch my sloppiness here.
Told my actor/performer/storyteller james braly that I have a blog and naturally he checked it out.
I was commenting on the show we've taken to edinburgh and the performance at a sound studio in new york in which I wrote:
"Not really sure what it is but people seemed to enjoy it."
I also wrote "still having trouble with the structure".
Now - to james's mind, I think he interpreted "not really sure what it is" as if I meant "not really sure what I am doing here".
I believe I meant, not really sure what the nature of the piece is. Is it a play? A series of stories? Or did I mean, not really sure why people enjoy it, but they do.
Either way, "it" shows the trickiness of writing. I keep a candid, breezy blog - and I risk alienating people or making myself seem a little callous. In the case of the nea/tcg interview, I think "it" made me feel like I was disgruntled with bob moss.
Either way, "it" reminds me that I need to be careful with "it" and other lazy words. And reminds me of course of the beauty of bill clinton - who when confronted by the special prosecutor about the veracity of a statement he made to his staff that "there's not a sexual relationship" with monica lewinsky, he responded:
It depends on what the meaning of the word "is" is.
Told my actor/performer/storyteller james braly that I have a blog and naturally he checked it out.
I was commenting on the show we've taken to edinburgh and the performance at a sound studio in new york in which I wrote:
"Not really sure what it is but people seemed to enjoy it."
I also wrote "still having trouble with the structure".
Now - to james's mind, I think he interpreted "not really sure what it is" as if I meant "not really sure what I am doing here".
I believe I meant, not really sure what the nature of the piece is. Is it a play? A series of stories? Or did I mean, not really sure why people enjoy it, but they do.
Either way, "it" shows the trickiness of writing. I keep a candid, breezy blog - and I risk alienating people or making myself seem a little callous. In the case of the nea/tcg interview, I think "it" made me feel like I was disgruntled with bob moss.
Either way, "it" reminds me that I need to be careful with "it" and other lazy words. And reminds me of course of the beauty of bill clinton - who when confronted by the special prosecutor about the veracity of a statement he made to his staff that "there's not a sexual relationship" with monica lewinsky, he responded:
It depends on what the meaning of the word "is" is.
Friday, July 27
Les trois cochons 2
Second course
Veal fricassee
With carrots, peas and scallions
Mashed potatoees
String beans with red onions.
Veal fricassee
With carrots, peas and scallions
Mashed potatoees
String beans with red onions.
Les trois cochons
Rye bread with fennel
Bock beer
First course
Sãlmon mousse with onion on toasted (fried?) Rye bread
Warmed duck with walnut oil, apricot, walnut and salad.
Watermelon, tomato and feta with salad.
Bock beer
First course
Sãlmon mousse with onion on toasted (fried?) Rye bread
Warmed duck with walnut oil, apricot, walnut and salad.
Watermelon, tomato and feta with salad.
Art of travel
I find myself traveling for the first time with blackberry in hand. Its a great way to go. I am amazed at how few telephone calls have come my way since I've left nyc (three - with one being a call from my brother after I asked him to call the vm in case it wasn't working). Which really means that most of the communication - no surprise - comes from email and text. As I am a cheapskate, I am relying mostly on email (which is free) as opposed to text (which costs 50 cents).
But more importantly. Here I am blogging - rather than keeping a journal. Not that I am doing a good job at it. But I can do it. To do it completely I'd need a different phone - one with a camera. I could really be documenting my journey. Instead, I'll have to backtrack and add my photos later.
There's a lot of them. Mostly of buildings. This town's architecture - new architecture - is shattering. Magnificent modern dwellings - one after the other - where the emphasis is on light and space but function as well. I have no idea what I am writing about - I like architecture - but have no real basic knowledge.
Which I guess all leads to my point. By traveling, I feel reawakened to colors, light and space. Riding a bike in this city - so peculiar and different from america's cities - stimulates me and makes me hungry to create.
That and the weather which has changed three times already. It was gorgeous and clear earlier - then a storm came through - and then it cleared - now the next little drizzling has ended.
I've spent my morning on christianshavn. Which is across the way from the center part of copenhagen. It's a harbor and I find myself sitting having a carlsberg and a chicken smorrebrod at around 1 pm on a canal. When I first biked over I went south along the waterfront and it was a series of spectacular new dwellings. For the rich?
Then eventually, after a fanta, I went to christiana which is an anarchist commune of sorts. Its always weird (raining again) voyeuristically gazing in a situation like that (no photos permitted). The folks that live there are hippies and junkies as far as I could see. Made me sad. And made me want to leave. So I did.
So more photos of buildings. There's an orange outdoor paint that I only see on b uildings in europe. Itd look great somewhere (on a set, on my wall). But I have a feeling that its a weatherstripping effect that nature alone can manufacture
Off to the jewish musuem, then the design museum and hopefully a bikeride before returning the bike.
Is it hailing?
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