Off to see this tonight with Rachel. Excited to see this for obvious reasons. Might be the last thing I see this year. Who can tell?
How often do I go to the theater? Once a week? More?
Resolved for next year: once a week for sure.
Wednesday, December 23
Thursday, December 3
Monday, November 16
Funny...
BY THE DIRECTOR:
* Wow, the designers were right, weren't they?
* No, today is the tech rehearsal, we'll re-work that scene later.
* I think the scene changes are too fast.
* Of course I think that we'll be ready in time for opening.
* The crew? Why they're just wonderful!
* That’s fine, I’ve got my own torch.
* Leave it where it is, we’ll re-block it.
* This chair’s fine, thank you.
* No we don't need to use glitter in this show as it takes the stage crew hours to sweep the stuff up. One small bubble machine should work.
* Thank You.
* We’ll use it as it is.
* My round, are all the crew here?
* No thanks, I don't drink.
BY THE DESIGNERS:
* Of course all of my drawings were turned in on time.
* Yes, it is absolutely my fault that the set looks awful.
* You know, you might have a point there.
* The director knows best, obviously I wasn't giving him what he wanted.
* We may have too many gel colours in stock, I can't choose.
* The shop will have the costumes ready on time.
* No thanks, I don't drink.
BY THE TECHNICAL DIRECTOR:
* This is the most complete and informative set of drawings I've ever seen.
* We built it right the first time.
* No problem, I'll deal with that right away.
* I love designers.
* No thanks, I don't drink.
BY THE ACTOR:
* Don't.... Let's not talk about me.
* I really think my big scene should be cut.
* This costume is so comfortable.
* I love my shoes.
* No problem, I can do that myself.
* I have a fantastic agent.
* Let me stand down here with my back to the audience.
* No, leave that spot where it is - I'll walk into it.
* I'm sure someone told me there was a wall down here, I just forgot.
* Without the crew the show would never run - let's thank them.
* No thanks, I don't drink.
BY THE STAGE CREW:
* There's room for that over here.
* We'll get in early tomorrow to do it.
* No, no, I'm sure that is our job.
* Anything I can do to help?
* All the tools are carefully locked away.
* Can we do that scene change again, please?
* It's a marvellous show.
* I don't need this many on the crew.
* I'm getting loads of sleep - everythings going really well.
* No thanks, I don't drink.
BY THE ELECTRICS CREW
* I must fix the light in the publicity office.
* This equipment is far more complicated than we need.
* Of course I can operate sound from here.
* Be sure to keep that instrument away from the flying pieces.
* All the lanterns on the bar a foot to the right? No problem.
* I’ll do that right away.
* All the equipment is working perfectly.
* No, please - take the last doughnut.
* That had nothing to do with the computer, it was my fault.
* Yes, it would be easier to do it on paper, wouldn't it.
* I have all the equipment I need, thanks.
* No, honestly, it’s my round.
* Thanks, but I don’t drink.
BY THE CHOREOGRAPHER
* This floor’s fine.
* Plenty warm enough, thank you.
* Thank you.
* The lights are spot on.
* Leave it; we’ll fit in somehow.
* One dressing room’s fine.
* The costumes are perfect.
* The boom positions are fine.
* The wing space is ample, really.
BY THE ORCHESTRA
* Oh the pit's fine; actually we don't need all that space you could have built a smaller pit.
* No it's alright we can unload our equipment ourselves, we don't want to trouble the stage crew when they are busy.
* Could you turn these music stand lights down? They're a bit too bright.
* Of course we can play quieter.
* The foldback is fine.
BY THE FRONT OF HOUSE MANAGER
* Yes, we knew all about the size of the mixing desk. We even allowed a few spare seats in the stalls in case you had some extra equipment.
BY THE PLAYWRIGHT
* Just say the line any way that feels right to you; I'm not precious about my words.
* My agent is wonderful.
* No need to pay me a royalty or a licensing fee -- it's such an honor just to work with this theater.
* I don't think 3% for 3 years is nearly enough back-end participation for this theater, given everything they've done to promote my play. I think they should get at least 20% -- forever!
* You're absolutely right! That character would never say that.
* You understand the character far better than I do at this point.
* I don't know what I did before there were dramaturges.
* That's a fantastic idea for a play. I'm going to stop all my other projects right now and write it. And I want you to have 20% of anything I earn from it, for coming up with such a fabulous concept.
* Why would I need to be at any rehearsals? I trust you guys know what you're doing.
* No thanks, I don't drink...
* Wow, the designers were right, weren't they?
* No, today is the tech rehearsal, we'll re-work that scene later.
* I think the scene changes are too fast.
* Of course I think that we'll be ready in time for opening.
* The crew? Why they're just wonderful!
* That’s fine, I’ve got my own torch.
* Leave it where it is, we’ll re-block it.
* This chair’s fine, thank you.
* No we don't need to use glitter in this show as it takes the stage crew hours to sweep the stuff up. One small bubble machine should work.
* Thank You.
* We’ll use it as it is.
* My round, are all the crew here?
* No thanks, I don't drink.
BY THE DESIGNERS:
* Of course all of my drawings were turned in on time.
* Yes, it is absolutely my fault that the set looks awful.
* You know, you might have a point there.
* The director knows best, obviously I wasn't giving him what he wanted.
* We may have too many gel colours in stock, I can't choose.
* The shop will have the costumes ready on time.
* No thanks, I don't drink.
BY THE TECHNICAL DIRECTOR:
* This is the most complete and informative set of drawings I've ever seen.
* We built it right the first time.
* No problem, I'll deal with that right away.
* I love designers.
* No thanks, I don't drink.
BY THE ACTOR:
* Don't.... Let's not talk about me.
* I really think my big scene should be cut.
* This costume is so comfortable.
* I love my shoes.
* No problem, I can do that myself.
* I have a fantastic agent.
* Let me stand down here with my back to the audience.
* No, leave that spot where it is - I'll walk into it.
* I'm sure someone told me there was a wall down here, I just forgot.
* Without the crew the show would never run - let's thank them.
* No thanks, I don't drink.
BY THE STAGE CREW:
* There's room for that over here.
* We'll get in early tomorrow to do it.
* No, no, I'm sure that is our job.
* Anything I can do to help?
* All the tools are carefully locked away.
* Can we do that scene change again, please?
* It's a marvellous show.
* I don't need this many on the crew.
* I'm getting loads of sleep - everythings going really well.
* No thanks, I don't drink.
BY THE ELECTRICS CREW
* I must fix the light in the publicity office.
* This equipment is far more complicated than we need.
* Of course I can operate sound from here.
* Be sure to keep that instrument away from the flying pieces.
* All the lanterns on the bar a foot to the right? No problem.
* I’ll do that right away.
* All the equipment is working perfectly.
* No, please - take the last doughnut.
* That had nothing to do with the computer, it was my fault.
* Yes, it would be easier to do it on paper, wouldn't it.
* I have all the equipment I need, thanks.
* No, honestly, it’s my round.
* Thanks, but I don’t drink.
BY THE CHOREOGRAPHER
* This floor’s fine.
* Plenty warm enough, thank you.
* Thank you.
* The lights are spot on.
* Leave it; we’ll fit in somehow.
* One dressing room’s fine.
* The costumes are perfect.
* The boom positions are fine.
* The wing space is ample, really.
BY THE ORCHESTRA
* Oh the pit's fine; actually we don't need all that space you could have built a smaller pit.
* No it's alright we can unload our equipment ourselves, we don't want to trouble the stage crew when they are busy.
* Could you turn these music stand lights down? They're a bit too bright.
* Of course we can play quieter.
* The foldback is fine.
BY THE FRONT OF HOUSE MANAGER
* Yes, we knew all about the size of the mixing desk. We even allowed a few spare seats in the stalls in case you had some extra equipment.
BY THE PLAYWRIGHT
* Just say the line any way that feels right to you; I'm not precious about my words.
* My agent is wonderful.
* No need to pay me a royalty or a licensing fee -- it's such an honor just to work with this theater.
* I don't think 3% for 3 years is nearly enough back-end participation for this theater, given everything they've done to promote my play. I think they should get at least 20% -- forever!
* You're absolutely right! That character would never say that.
* You understand the character far better than I do at this point.
* I don't know what I did before there were dramaturges.
* That's a fantastic idea for a play. I'm going to stop all my other projects right now and write it. And I want you to have 20% of anything I earn from it, for coming up with such a fabulous concept.
* Why would I need to be at any rehearsals? I trust you guys know what you're doing.
* No thanks, I don't drink...
Thursday, August 6
Thursday, May 21
Precious
Started staging last night. I like how it's flowing but I have to consider that I've got one stagehand. Summerworks. Its a fully staged play, but it definitely is a good idea to simplify. And so I am doing so.
Love the grand design of alexis's set. Two semicircles that create a movable enclosure. its gonna work great.
Today we played with the sonogram scene. How much of the "image" to show? It seems more important that we experience brodie's reaction than we see what brodie is reacting to.
Wednesday, May 20
Asher Lev Some More
Still have not cast the play. Today (before rehearsal for Precious Little) I am auditioning from 10-3. We can cast one role out of NYC - or none. We (Ryan Rillette) and I are seeing mostly Ari and Asher candidates. Very few breaks. Must pack a lunch.
Precious Little by Madeleine George
What a fascinating play. We began rehearsing on Saturday. Great cast, wonderful design team, and being produced by the incomparable Clubbed Thumb.
Madeleine's script is so intriguing - her intelligence oozes off the pages in a great way. She's made some important changes and additions - and my sense is, she'll continue to change things in the weeks ahead until it all feels right.
Our time is very limited - we have only 100 hrs or so: a standard showcase contract. And there are schedules to juggle. Somedays, we rehearse 11-2 then others, it'll be 5-9. I am trying to find a way not to be driven mad by the odd routine. I know how important routine can be to me. But this is something different.
I had minor surgery last week - and I am finally feeling like myself in the room. We started a few days earlier than anticipated - so it all works out.
Cast is fab. Did I mention that?
Emily Ackerman, Randy Danson, Kelly McReary
Design team:
Sets - Alexis Distler. Lights Lucrecia Briseno. Costume - Becky Lasky. Sound: daniel baker and ryan rumery. Props - Chris Morris.
Madeleine's script is so intriguing - her intelligence oozes off the pages in a great way. She's made some important changes and additions - and my sense is, she'll continue to change things in the weeks ahead until it all feels right.
Our time is very limited - we have only 100 hrs or so: a standard showcase contract. And there are schedules to juggle. Somedays, we rehearse 11-2 then others, it'll be 5-9. I am trying to find a way not to be driven mad by the odd routine. I know how important routine can be to me. But this is something different.
I had minor surgery last week - and I am finally feeling like myself in the room. We started a few days earlier than anticipated - so it all works out.
Cast is fab. Did I mention that?
Emily Ackerman, Randy Danson, Kelly McReary
Design team:
Sets - Alexis Distler. Lights Lucrecia Briseno. Costume - Becky Lasky. Sound: daniel baker and ryan rumery. Props - Chris Morris.
Wednesday, April 15
Thursday, April 2
In red bank
Watching melissa arctic, by craig wright, directed by aaron posner. A great looking theater - a fine production - just an hour and ten from penn station.
Tomorrow I head back to louisville. That's four years in a row. Cannot believe SIX YEARS is now four years ago...
Wednesday, March 18
BBB opening night
Went great. I loved these guys and I will miss 'em. DTC ranks as one of my favorite regional gigs thus far: great cast, supportive artistic and technical staff, nice theater. And nice digs.
Artistically, I totally felt fulfilled, getting to merge two of my loves: baseball and theater. A play about steroids where the word steroids is never spoken.
A good fun night of the theater. And if you're in dallas, go see it.
Wednesday, February 25
Backbackback
In dallas. And really loving it. The cast is outstanding and makes my work a joy. Juan Cardenas (raul), Will Fowler (kent) and Dennis Staroselsky (adam) play the ball players.
We're all working out together. Literally. In the gym. Will's a personal trainer so we are all getting in better shape. I am convinced that there is something terribly terribly wrong with the scale. But who knows? Maybe it'll fix itself should I lose some weight.
Off to a production mtg. At this point, less than two weeks in, we are ready for a stumble through.
The most challenging parts of itamar's play seems to be when there's only one person onstage. But here I do have some experience...
Thursday, February 12
Design for BBB
I think that tak's come up with an elegant solution using a turntable and panels. I think no part of the design will hit us over the head. So in a way, it'll be the costumes that will really pop out.
Claudia has done some nice exacting research. We've tracked down the 1998 all star uniforms, for example. Teal. Who knew? We've opted against including team names - and are using city names instead, more in keeping with itamar's id-ing the cities (not the teams) in the script.
I am thrilled to have lucrecia on board. with her take. She brought some great photos to look at: images of dugouts and locker rooms. There was an image of Connie Mack stadium where my dad and "uncle carl" sold hotdogs. She's coming down to texas today - she's not on my flight, though. I am sure we'll get very specific. it'll really be the lights that define the confines of these spaces.
Saw daniel a few times over the past week at juilliard where he designed the greeks. When I met with him and ryan (they co-design), we talked about creating a chronological progression (from early 80s to recent years). And how to incorporate this commercialization of mlb.
We all had a conference call two weeks back. It was a good way to meet - in lieu of meeting.
Claudia has done some nice exacting research. We've tracked down the 1998 all star uniforms, for example. Teal. Who knew? We've opted against including team names - and are using city names instead, more in keeping with itamar's id-ing the cities (not the teams) in the script.
I am thrilled to have lucrecia on board. with her take. She brought some great photos to look at: images of dugouts and locker rooms. There was an image of Connie Mack stadium where my dad and "uncle carl" sold hotdogs. She's coming down to texas today - she's not on my flight, though. I am sure we'll get very specific. it'll really be the lights that define the confines of these spaces.
Saw daniel a few times over the past week at juilliard where he designed the greeks. When I met with him and ryan (they co-design), we talked about creating a chronological progression (from early 80s to recent years). And how to incorporate this commercialization of mlb.
We all had a conference call two weeks back. It was a good way to meet - in lieu of meeting.
This of course is less impressive
But here is some live blogging from my dentist's office. Last week. So, not so live.
So from last week:
We've less than a week to go at juilliard with last black play. The students are close to being off book and we've blocked the whole thing. Ordinarily, I'd hope that we'd be further along - but truth be told, there are fewer hours on this project.
Its been pretty intriguing to have the students design their own set: since the play is set in a theater - why not have them define the space for themselves? I've had to make some adjustment for sightlines and logistics, but I think it was a good process for them. I've also asked them to contribute music etc for sound design.
So - what's left to do? I am doing some drilling down work on act 2. And hopefully, tomorrow night, friday, we'll be able to run act 2. Saturday is our biggie: 7 hrs. It aint much, but its more than we've had otherwise.
Tuesday, January 27
Page 73 reading of THE FIRES
PAGE 73 invites you to a reading of THE FIRESBy Josh Malmuth (Member, Interstate 73)Directed by Hal BrooksFeaturing Mia Barron, Rob Campbell, Keiran Campion & Aya CashMonday, February 2nd, 7:00pmRoundabout Theater Rehearsal Studios32 East 31st Street, 4th FloorWildfires rage in San Diego County forcing Christina and Richard, a dysfunctional couple ravaged by recent divorce, to take refuge in the home of Christina's new boyfriend Ron. When Ron's teenage daughter takes an interest in Richard, tensions ignite. The small condo that once appeared safe is suddenly in danger of being consumed. Josh Malmuth's THE FIRES looks at a family pushed together into tight quarters, and the amorphous terror that looms without and within.Josh Malmuth's play, The Architecture of Fear and Danger, was an Atlantic Theater Company entrant in the 2008 HotINK Festival at NYU, where it was presented in a staged reading starring Tony Award winner John Gallagher, Jr. He is a member of Interstate 73, the writers group of Page 73 Productions, where he is developing his new play The Fires. Last year, NuWorks, a reading and development series, produced a staged reading of his pilot, Gris-Gris. He is a graduate of Northwestern University where he received the prestigious Studio 22 grant for his short screenplay, What am I looking at? He currently lives in New York City.Seating is limited - please RSVP to info@p73.org or at 718-398-2099We look forward to seeing you there!
Friday, January 23
Yesterday
I had
a two hour design mtg for b-b-b
30 min casting session for a reading with p73 of THE FIRES by Joshua Malmuth.
a meeting with playwright billy finnergan
rehearsal at juilliard for LBP.
a two hour design mtg for b-b-b
30 min casting session for a reading with p73 of THE FIRES by Joshua Malmuth.
a meeting with playwright billy finnergan
rehearsal at juilliard for LBP.
Plus a vietnamese sandwich for lunch and bi bim bop for dinner.
A complete day for a freelance director.
Thursday, January 22
The Greeks
When I arrive a few minutes early at juilliard, I try to go to brian mertes' production of the greeks. This I think is his third year doing john barton's adaptation of the greeks with the fourth year students.
Its rock and roll. Totally inspiring. The set is littered with all kinds of objects: mattresses, sandbags, weights, and various found objects. There seems always to be a band playing. Its awesome.
Can't wait to see it. Can't wait to describe it. God bless the open rehearsal.
Saturday, January 17
Reparations
Last night I had the students split up and debate reparations for african americans, pro and con. Pretty fun to see these guys be so thoughtful and passionate, and for some, to have their opinions change by taking the contrary position.
There's a moment in the play (lbp) where the news anchor describes a lawsuit and a countersuit that references reparations.
Now, how to apply the passion to the acting?
Thursday, January 15
Zayd
Went to hear a new play by zayd dohrn tuesday at juilliard. I love his writing and this play didn't disappoint.
I think it packs a nice, mean wallop at the end - there was something so dirty about the proceedings. You know some shoe is going to drop, and then, when it does, it affects you more than you expected.
Wednesday, January 14
Last black play
Began rehearsal of excellent new play by second year juilliard fellow nathan jackson: the last black play.
About a playwright who writes a play to "usher in a new era...a play that is so saturated with black history that when the audience finishes watching and by being consumed by its "blackness" they'll never want to see anything like it again." The play that's put on is called "black history abridged". Playwright and troupe embrace all of black history from slavery through obama (act one) and the future in which black america sues white america (who countersues) in act two.
Its very funny and adventurous and a huge undertaking with the second year students. As I've mentioned, its a gig I really enjoy. This one will certainly be especially challenging.
Mon night, merely had time to read the play once. Tues. slowly slogged through page 25 out of 102. There's much less time on this project than in past ones.
Today - more slogging. Last night viewed old racist cartoons (betty boop etc), discussed new yorker obama/michelle cover, and the basic nature of stereotypes.
And discussed the role of narrator in this play - and how to connect to the audience.
About a playwright who writes a play to "usher in a new era...a play that is so saturated with black history that when the audience finishes watching and by being consumed by its "blackness" they'll never want to see anything like it again." The play that's put on is called "black history abridged". Playwright and troupe embrace all of black history from slavery through obama (act one) and the future in which black america sues white america (who countersues) in act two.
Its very funny and adventurous and a huge undertaking with the second year students. As I've mentioned, its a gig I really enjoy. This one will certainly be especially challenging.
Mon night, merely had time to read the play once. Tues. slowly slogged through page 25 out of 102. There's much less time on this project than in past ones.
Today - more slogging. Last night viewed old racist cartoons (betty boop etc), discussed new yorker obama/michelle cover, and the basic nature of stereotypes.
And discussed the role of narrator in this play - and how to connect to the audience.
Saturday, January 10
The freelancing issue
I swear - there are HOURS several days a week where I am looking for the perfect place to sit, read, work throughout new york. It sort of reminds me of that old seinfeld episode, where costanza can name the best public toilets in each neighborhood.
Yesterday, I went to new dramatists after meeting with a playwright at the westside. The westside used to be the kinda place you could sit undisturbed for hours. Not so these days. So off to ND. They've got an open door policy for playwrights and directors if you just want to read their playwrights' plays in their very warm library. Its also a great place to meet their playwrights. Still, I find it hard to get work done there and not be sociable.
So off to the performing arts library. Now granted, I am a bit sound sensitive wherever I go, but there there is a persistent beeping on the second floor reading area. Not sure its source. So, bring the ipod and decent headphones.
I guess that's the overall rule anywhere in nyc. Bring decent music, reading material, etc and you can make yourself comfortable anywhere.
I just had to leave BORDERS because of the crying kid, the horrendous music and the overall din.
Please: let's put a list together of decent quiet spots to work (or kill time) in nyc.
Yesterday, I went to new dramatists after meeting with a playwright at the westside. The westside used to be the kinda place you could sit undisturbed for hours. Not so these days. So off to ND. They've got an open door policy for playwrights and directors if you just want to read their playwrights' plays in their very warm library. Its also a great place to meet their playwrights. Still, I find it hard to get work done there and not be sociable.
So off to the performing arts library. Now granted, I am a bit sound sensitive wherever I go, but there there is a persistent beeping on the second floor reading area. Not sure its source. So, bring the ipod and decent headphones.
I guess that's the overall rule anywhere in nyc. Bring decent music, reading material, etc and you can make yourself comfortable anywhere.
I just had to leave BORDERS because of the crying kid, the horrendous music and the overall din.
Please: let's put a list together of decent quiet spots to work (or kill time) in nyc.
Thursday, January 8
Thwarted
Attempted to see county of kings today at public's under the radar, but hey: I snoozed, I lost.
Was talking to a scientist today about the trials and tribulations of setting up a lab with the funding all drying up at once. Not unlike what I fear is happening with arts funding.
Have attempted to get twitter up and running. I have a friend who is a twitter zealot - and perhaps there is a way to convince me of its potential in stimulating theater ideas. I don't want to be a nay-sayer as I assume people felt similarly about the rationale for blogging (and probably still do).
Finished sun also rises: Yes. I said. Isn't it pretty to think so.
Finally, met with sound designers ryan and daniel. They designed back back back at mtc - so it'll be interesting to see where we end up. I've avoided seeing either production (or even reading reviews or seeing production stills). And I have no plans of hearing the mtc cues. Daniel piqued my appetite for dallas, too.
Wednesday, January 7
Read: 30 pp of angler
Read: 30 pp of sun also rises
Read: last 1/2 of script from wma
Read: 30 pp of sun also rises
Read: last 1/2 of script from wma
But the biggest surprise came from 87 year old cousin rose who went to a reading of a play written by her personal trainor on sunday - (she can bench press 100 lbs). I spoke to frank earlier and expect his play sometime in the next few weeks.
The flu is almost all gone. I think.
Tuesday, January 6
That Good Night
I had a nice post-mortem with playwright andrew dolan about the reading last month for the rude mechanicals. Andrew and I go way back, he got me my gig at encore theater way back in 1994-95. I ad'd on substance of fire at the magic which he was in, in 93 and that's when we became friends...
I think the play has a lot of promise. And what's also great is that there is a lot in it that andrew is not sure what it means - in other words, he's written the thing from his subconscious. He's not sure why he's put that moment in - and he's willing to figure it out.
I told him I'd be happy to submit it to a couple of places and he seems thrilled.
I had some thoughts about the ending: the play deals so much with magic so we talked about the final "trick".
Good to get out of the house even briefly. This flu has slayed me.
Monday, January 5
Love and Yearning
Attended a table read of ari roth's play, love and yearning today at new dramatists. Excellent cast featured elizabeth rich, david simonds, josh alexander and aya cash.
It was an opportunity to finally hear the play out loud and focus on the areas in which ari's expanded it.
Table read was also a good way for ari and me to put our heads together in the same space. Literally.
Very glad to have started the new year at new dramatists this way.
Sunday, January 4
South Pacific: as promised
Yes, that boy is me. Only 28 years have passed, but that is me as Emile de Becque and Stacey London as Nellie Forbush. (please note the gold chain...)
I saw South Pacific last week at Lincoln Center. I am writing a bit feverishly literally - so I'll tell you what comes to mind most profoundly, rather than focusing too much on the LCT production: I grew nostalgic and then found myself musing on the hilarity of the Middle School musical.
South Pacific, Elkins Park Middle School, circa March 1980:
I have no recollection that we had a discussion about anything that the play deals with - the war, the politics, the history, the racism. No - we just staged the thing and performed it, i guess. I suppose there's nothing wrong with choosing a play which requires casting a 13 year old bar mitzvah boy as a 45 year old french plantation owner (and baritone).
Of course, this was 1980 in the suburbs of philly. The most controversial thing I can remember was kissing Stacey London, since I believe we both had braces...
Other memories: I remember doing this hoakey thing with my voice. You know, trying to really sound like a baritone (or is that bass? I forget...). I guess it was not too dissimilar to what Dylan does on nashville skyline. But I was thirteen. And i had to pretend to be forty five or something. Ah, acting...
Ok back to LCT production. Kellie O'Hara (Nellie Forbush)'s voice was wonderful - so pure. And i dug how Bartlett Sher directed her to really be "non-stagey". We might call that naturalistic. Very nice. And very funny.
Interesting that none of the big musical numbers were done "hugely" - they were all very simplified. You got the feeling, hey, maybe this is what a bunch of folks on a south pacific island bored out of their mind might do to have fun.
The two quotes projected onto a screen at the beginning and the end were fairly provocative and emotive too. I am certain they are direct quotes from the novel. The image of the cast - walking slowly to their destiny (their deaths?) near the end was very haunting...It seemed to me that Sher deliberately segregated the cast - blacks, whites, women...which seems like an indictment of the times as much as it honors those Americans, too.
What also struck me was how long the darn evening was. Some Enchanted Really Long Evening. The first act must be about 90 minutes. Which is a long time these days. And I think must have made for a fairly trying evening back in 1980 at Elkins Park. I only think we cut one song - a duet between Cable and Nellie which I don't remember - though I was no doubt back stage preening or flirting.
Chris Bartlett as the guy who wears the coconutsThe big controversy of You've Got To Be Carefully Taught seems ages ago. The racist-ness of Nellie Forbush - and how at the end of the musical (SPOILER ALERT) - she puts aside her racism and embraces Emile's Polynesian children does seem a bit dated...This seems to be the major plot point - can Nellie accept the man she loves even if he has mixed race babies from another woman, his deceased wife? This dilemma outweighs the fact that Emile killed someone. That's ok with Nellie - but those kids... There is something very dated about that - and it seems hard to imagine that a musical could be sustained with that as such a huge factor nowadays.
David Pittsinger who plays Emile (and is cast aged appropriately) has a brilliant voice. The audience really responded more to This Nearly Was Mine than to Some Enchanted Evening, which was surprising. But Some Enchanted Evening is a pop hit, and This Nearly Was Mine is way more emotional.
What also struck me - is how strange the human brain works. I could recite whole songs word for word, and passages of dialogue, as if I had performed them yesterday. Why?
All in all, it made me a bit nostalgic for those old friends. And I hope to one day revive the show at EP middle school one of these days....
Marcia Charen as Bloody Mary and Ray Cullom Lt. Cable who I forget was from Philadelphia and went to Princeton (Cable, not Cullom). But how weird to have a woman pimp out her daughter so egregiously?
Saturday, January 3
Batttlestar?
So we watched a lousy episode of BSG last night...myech. We are somehow lost in the middle of season two, which proves to be a really long season. I think it is 6 discs worth and we are on disc 5...but it is so much harder to crank through these than say, mad men which is close to perfection.
last night's had something to do with the blackmarket: apollo did something mean and nasty while trying to save the life of his prostitute? (Who knew...) Sad, in that the last episodes we watched were really great - about Admiral Cain - who was willing to use brute force to keep the peace - and tortured cylons.
Let's face it - the best part of this series has to do with the parlor game of who is a cylon. The rest of it is average.
Can you tell that i am sick?
Last night
Friday, January 2
resolved: I will be a better blogger
I don't know how it happened. But I totally fell off the horse, the wagon, the cart, the train, all of it. Choose your expression, but either way it's been about a month and a half ago since I last blogged. But now I am back. I am resolved to be a better blogger - or at the very least, to blog more frequently. Though I am never quite sure WHY i blog, I will attempt to be more diligent.
the blog has largely centered on my directing career - but I think I'll attempt to include some other stuff as well: personal stuff, praps...
So here goes: I am back. Happy New Year! I hope everyone who glances at this is doing well.
The big doings here - and maybe one of the reasons I stopped blogging for a while, is that I am getting married! Rachel and I are to be wed some time next summer (most likely August 30th) in Berkeley...so there's that. Rachel and I are both in theater, and she is a company member of the pearl, so we assumed that given our schedules, that's a good time to do it. Certainly, one of the things to think about in terms of being a freelance director...will I have work around then, and if so, what to do then? Fortunately, we are getting married at a family friend of Rachel's house - and as they put it, "the venue is not otherwise booked..." In other words, the date is momentarily flexible on our end.
What else? Coming up: On Monday, I will be directing a reading of a play by Theater J's Ari Roth at New Dramatists: LOVE AND YEARNING IN THE NOT-FOR-PROFITS. Might make more sense to say I will be listening to the play. Looking forward to hearing it.
January 12 I begin working at Juilliard yet again on a play by Nathan Jackson (THE LAST BLACK PLAY). Again this will be an opportunity to work on a new play with great young actors. I always really enjoy that gig. This is time #3.
This morning I finished evaluating plays for the O'Neill. I often enjoy doing this (I've done it for Princess Grace as well). I won't comment on what I read this time - but I will say that in the past I have found some real gems in the rough.
And what else? I feel really great about where the set is heading for Itamar Moses's BACK BACK BACK at Dallas Theater Center. I've worked with Tak before - and he is a great collaborator. The simplicity to his approach makes for elegant solutions - and this round is no exception. I look forward to working with a turntable for the first time too!
All right - happy new year. Drop a line...
the blog has largely centered on my directing career - but I think I'll attempt to include some other stuff as well: personal stuff, praps...
So here goes: I am back. Happy New Year! I hope everyone who glances at this is doing well.
The big doings here - and maybe one of the reasons I stopped blogging for a while, is that I am getting married! Rachel and I are to be wed some time next summer (most likely August 30th) in Berkeley...so there's that. Rachel and I are both in theater, and she is a company member of the pearl, so we assumed that given our schedules, that's a good time to do it. Certainly, one of the things to think about in terms of being a freelance director...will I have work around then, and if so, what to do then? Fortunately, we are getting married at a family friend of Rachel's house - and as they put it, "the venue is not otherwise booked..." In other words, the date is momentarily flexible on our end.
What else? Coming up: On Monday, I will be directing a reading of a play by Theater J's Ari Roth at New Dramatists: LOVE AND YEARNING IN THE NOT-FOR-PROFITS. Might make more sense to say I will be listening to the play. Looking forward to hearing it.
January 12 I begin working at Juilliard yet again on a play by Nathan Jackson (THE LAST BLACK PLAY). Again this will be an opportunity to work on a new play with great young actors. I always really enjoy that gig. This is time #3.
This morning I finished evaluating plays for the O'Neill. I often enjoy doing this (I've done it for Princess Grace as well). I won't comment on what I read this time - but I will say that in the past I have found some real gems in the rough.
And what else? I feel really great about where the set is heading for Itamar Moses's BACK BACK BACK at Dallas Theater Center. I've worked with Tak before - and he is a great collaborator. The simplicity to his approach makes for elegant solutions - and this round is no exception. I look forward to working with a turntable for the first time too!
All right - happy new year. Drop a line...
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