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Mon, Jan 3, 2005
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BRIEF "2004 YEAR IN REVIEW": This time last year my only
recent acting experience was in the short-short DV movie I had
shot and edited at the end of 2003. I was, on January 3, 2004,
gearing myself to audition for The Cripple of Inishmaan, at
The Dayton Theatre Guild.
Of course, I was cast, much to my amazement (see the
January-March, 2004 page of this
blog). So In terms of theatrical involvement, here are the bulletted
highlights of my 2004:
- Cast as Johnny Pateen Mike O'Dougal in The Cripple
of Inishmaan.
- Auditioned but was not cast in the local, short,
independent movie, The Conversation.
- Read the role of Andrey Botvinnik, from a portion
of Scene One of A Walk in the Woods, at preview
of The Dayton Theatre Guild's 2004/05 season; a night of
dramatic readings for the season ticket holders.
- Was assistant stage manager for Proposals at
the Guild.
- Auditioned but was not cast in The Dayton Playhouse
production of Little Shop of Horrors.
- Was elected as a member at large to The Dayton Theatre
Guild Board of Directors, to begin tenure in September
2004.
- Auditioned for Sordid Lives at the Guild. Was
not cast as I had wished, but, did take on a cameo sort of
role as the corpse of Peggy Sue for the last scene. Was also
the stage manager for the production.
- Cast as one of the Balladeers in The Diviners
at the Guild, along with the very talented Chris Shea.
- Auditioned but was not cast in the local, short, independent
movie, Coming Up For Air.
- Took on the job of stage manager for the musical,
Nutcracker, at the Guild, which was Jocelyn Kandl's debut as a
director. Like every other Christmas production in Dayton this year, the
audition turn-out was very slim. I was eventually persuaded
to switch to performing the role of Godfather Drosselmeier. And, though
I really did not want to be in a Christmas musical, I
will admit, however begrudgingly, that I enjoyed myself.
- Auditioned but was not cast in the Guild's upcoming
production of A Walk in the Woods -- kind of a
bummer, because I so yearned for the role of Andrey,
having fallen in love with the character via the dramatic
reading earlier in the year. I have agreed to run sound
for the show. Unless I get cast in something that interferes,
I am still on for that.
- Took on the job of producer for the upcoming Guild
production of Grace & Glorie. Have, in minor
ways, already begun that work.
MOST IMPORTANTLY: Met a whole very many lot of
incredibly talented people (actors, directors, techies,
of all ages and sorts), and, made a whole lot of new friends
in the world of Theater!
IMPROV WORKSHOP AT THE DAYTON THEATRE GUILD:
The improv workshop that the Guild is sponsoring will take
place on February 5. I have every intention of being one of
the participants. As I said, I don't think I will be good at it.
My real point is to learn better to be fast on my feet (or
start to learn to, would be more accurate). I also want to force
myself to lose the inhibitions I do have as well as practice the
big risk of being bad in front of an audience. I figure I will
pretty much suck -- but, by god, I will suck boldly!
A COUPLE ITEMS ABOUT MY FIRST NOVEL: 1) I have what I think is
a much better query letter, directed at literary agents, about
the first novel. polished it off this morning before
work at the paycheck job. I open it with a small, dramatic
portion of the prologue. I follow it with three paragraphs made
of a simplified, less-convoluted synopsis and explanation of the
story. I'd share it here, but, there are a few spoilers, which,
though I think are imperative to share with a potential agent,
I don't wish to expose to potential readers.
2) I am however, likely going to include an excerpt from the
novel in this upcoming Winter
2004/2005 Literary Update, later this month. I was originally
contemplating posting a thirteen-thousand-plus word short story
I have been having a hard time finding an outlet for (due to
the length), but, since the WriteGallery
also has a word-limit far below the story's length, I decided
to not post it here -- even if I can pull rank. There is another
shorter piece which was published a couple years ago I may use,
but, I am looking stronger at a novel excerpt more than any other
work by myself.
MOVIE SCREENPLAY: It is on full-tilt-boogie to get the screenplay
done. My self-imposed deadline is February 1. I am back to the
early morning routine, with that time before work primarily for
the screenplay.
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Tue, Jan 11, 2005
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MOVIE SCREENPLAY: The process of writing the screenplay has
been underway at full speed since the last entry. Mostly that
has meant a crash course in the correct format. Where it is true
that I will be the director and the producer, I still need to
know the proper format for a screenplay. First of all, since
this is not a one-time endeavor, it behooves me to get the format
down for the future. Also, I will not be making this movie in a
vacuum. There will be others involved -- likely some who have
worked in the medium before. Seems to me I ought to present them
with a script that looks right -- can't see how they will find
me credible, otherwise. What's the old adage?: If you wanna
be professional, act professional.
I am about to work on the actual screenplay, which I now think
I will more loosely base on
"Shiloh" than I
had originally planned. As I may have stated before, I have
decided that the story, as is, is not going to translate well
into a visual medium. So the short movie will not closely
resemble it. In fact, it's not altogether unlikely that I
ultimately end up with a brand new story.
ACTING WORKSHOPS: I am attending two actors' workshops next
month. As stated before, The Dayton Theatre Guild
is holding the Improv Workshop, and I am doing that on February
5. Sinclair Community College is also holding a Theatre and Dance
workshop on February 26, and I sent my registration off yesterday.
In that one, I hope to attend a session on "Preparing for the
Actors Audition" as well as "Chat with a Working
Equity Actor." Those are my top two choices. I am not sure
that the auditioning session will thoroughly address the point
I am most concerned with: cold readings. But, I still think
it will be worth it. If I walk away from each session with only
one new good idea or perspective, that's enough to make it
worthwhile.
AS FOR UPCOMING AUDITIONS: I will attend the Grace &
Glorie auditions next Monday and Tuesday, as producer. And,
of course, I am gearing myself up for the auditions the next
Monday and Tuesday, for Our Town at
The Dayton Playhouse.
The "Down Eastern New England" dialect tape is always
playing in my car as I drive, and I listen to it at work as much
as I can. My own estimate is that I am about seventy-five percent
accurate with the accent right now. There are some subtleties of
the vowel shifts that I don't have yet. One thing is that I have
grown the van dyke goatee back, and if I do get cast as Stage
Manager, it will have to go. The director, Adam Leigh plans on
the actor who plays Stage Manager to also play a few other roles,
one being an old woman. So, the facial hair would have to go. Oh
well.
QUERY LETTERS TO AGENTS FOR THE FIRST NOVEL: The next big push is
on. I will send ten query letters out to literary agents by the
end of this week, then ten a week until I have reach one-hundred
sent. Unless of course, I have an agent by then, (ah-hem).
WHAT'S WRONG WITH THE OHIO ARTS COUNCIL!: Well, I just got the
letter from the Ohio Arts Council saying that they did not recommend
the excerpt from my novel to the final panel for an individual
artist's grant. When I accept the Pulitzer for the book, I will have
added them to the No-Thanks-To-You list. Not that I would
actually read such a list out loud, but, you know, I gotta have
one in my head -- it's pure survival for this fragile ego that I
am stuck with.
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Sun, Jan 16, 2005
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MOVIE PROJECT: I am about seven minutes (I.E.: seven
pages) into the script. It's very "first draft" --
especially since, after feedback about the treatment, I decided
some important changes need to be made. I am not completely
sure what those changes should be, but, they'll come. It's
likely, half of what I've written these last few days will be
cut, too. That's the process. At this point, the screenplay is
close to what was in the treatment, but, the story is set up
differently, such as, it starts with a scene from thirty years
previous, which was a flash-back memory sequence in the
treatment. I am in the middle of writing a scene, which is not
in the original short story,
but does help tell that story. So far I have not put in any
new plot elements, nor changed any. I am considering
throwing out the scene I am working on now, then writing one
later, in a different setting, which will serve the same story
purpose.
The other night, at bedtime, I started to read and otherwise glanced
through Producing & Directing the Short Film and
Video by Peter W. Rea and David K. Irving (Boston: Focal
Press, 2001). Also looked through Film Budgeting: Or, How
Much Will it Cost to Shoot Your Movie? by Ralph S.
Singleton (Los Angeles: Lone Eagle Pub., 1996). The latter
focuses more on a bigger budegeted, independent, union film,
but, the budgeting principles are there. Of course, I, being
from a universe where accounting is an unnatural act, find the
whole prospect watching dollars to be daunting. All around, the
money is the part that overwhelms me. That I've hardly directed
before -- and nothing longer than ten minutes -- does not
concern me at all. That, with the exception of an instructional
DVD, during college, I have never directed talent, this doesn't
worry me, either. I am not intimidated at all that I know
nothing about lighting design; besides, there's some kind of a
chance that one of my best friends, Dave Sims (who took the
photographic inspriation for my poem
"Down For Me")
will design the lights, and perhaps be gaffer, as well.
Raising the money, and handling the money -- these are not
skills I excel at. The Rea-Irving book advices against producing
if you direct, and I halfway have in my mind that I might, at
least, bring in a co-producer, and a person of experience.
True, I am "The Producer" for the upcoming Grace
& Glorie at the Guild,
but, though there is keeping an eye on the budget involved,
I do not have to go out and find money.
I'm just in one of those places where it's: Oh, geez! How's
this all going to work? I don't have the camera, yet. I have a
car that's just about paid off, so, naturally, it's acting like
it wants to fall apart and either cost me thousands to fix or
force me to get another car. So instead of a signiture loan for
a good, high-end DV camera, I probably ought to be prepping
myself for another car loan. I need at least one good mic, and
lights, and light stands. There's location shooting that will
likely require payment for site use. There's food for cast and
crew. And I'd actually like to pay the talent and crew, even if
it's low pay, even if it's just token. MONEY. It's the MONEY.
The idea of a co-producer looks even better now. Not only because
I need someone more comfortable and competant at raising and
controling the money, but, also because I could use help getting
all the elements of the production together.
But, right now, my job is to finish the screenplay.
PRODUCING GRACE & GLORIE: The job description I was
given for a producer at the Guild
says that the producer should:
Work with the director as needed to:
- Help find people for show -- onstage
and back stage
Light design and operator
Sound design and operator
Set design and construction crew
Props
Costumes
Running crew
Photographer
Stage manager
Lobby display
- Schedule pre-show meeting with director,
set, lights, sound, costume designers to reach
an understanding on who is doing what and how
much money there is to spend,
- Manage approved budget and expenses.
Bills go directly to the treasurer, but the producer
should know how much is being spent.
- Man front desk at auditions.
Pass out applications, etc.
- Make sure that things are getting done:
Schedule photos for publicity
Get bios to the program person
Set
Publicity
Show mailer
- WORK WITH THE DIRECTOR TO COORDINATE
THE TECHNICAL AND PERFORMANCE ASPECTS OF THE
SHOW. On-going communication is required.
I've only begun to take on these tasks. I have already goofed.
I didn't make sure an announcement about the auditions this
Monday and Tuesday (Jan 17 & 18) was sent to Dayton
Daily News columnist Terry Morris, for inclusion in his
Thursday column -- that being the day he passes on such
information. It didn't even dawn on me it should be done.
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Tue, Jan 18, 2005
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NEW SCREENPLAY FOR THE MOVIE PROJECT: As I have said, I was
having problems finding a way to adapt the story from
"Shiloh" into a
compelling screenplay. Sunday evening I got an idea for another
story, so "Shiloh" is scrapped. I am about five minutes
into this new screenplay, but, I have a relatively good idea
where the story is going, so, I should be able to meet my
self-imposed February 1, deadline. I want to get at least the
first draft of the screenplay done so I have it to show
potential co-producers. I am writing it with particular
cast members in mind, but, am not being too specific with the
characters, so as not to limit casting potential.
Since this a new story idea for me, I am hot on it, and think
it's great -- but, I always do with the new ones. We have to
wait a while and see how I like it later. Having said that, this
new story idea is great!
PRODUCING GRACE & GLORIE: Last night was the first
night of auditions for this play at the Guild.
Turn out was a little small but, as director Fran Pesch said, "I
could cast this right now." There were a total of
six women who came. Four auditioned for Glorie and two for Grace.
The two who auditioned for Grace were Barb Jorgensen and Dutch
Waterman, both of whom I have worked with before, and both
who would do a fantastic job as Grace. Everyone read well.
ODDS & SODS: The M*A*S*H auditions at
Playhouse South
were moved to last night and tonight. Unfortunately, since, as
producer I must attend Grace & Glorie auditions, that
one is counted out for me. I am still gearing for the Our
Town auditions at The Dayton Playhouse
next Monday and Tuesday. One thing, actor Sean Astin (Samwise
Gamgee, in the Lord of the Rings trilogy) will give a
lecture next Tuesday evening in Springfield, Ohio. I am more
than a little tempted to attend. I do like attending both nights
of an audition if I can, however. It helps the director remember
better, as well, I up my odds of a better performance at some
point, if I am in the pool of potential cast for a longer period.
But, I would like to catch the Astin lecture. Then, again in
Springfield, next Thursday (the 27th), Colin Mochrie and Brad
Sherwood are doing a night of improv (re: Whose Line Is It,
Anyway?). Brad graduated from Wright State University, and I
work with a woman whose daughter graduated with him. They will
both be there -- on comp tickets -- and whereas I would not have
felt right even asking for a comp ticket, I would be okay with
having the opportunity to meet both Brad and Colin.
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Thu, Jan 20, 2005
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SCREENPLAY FOR THE MOVIE PROJECT: The new screenplay is
coming along well. I am at page 10 of the first draft, which
equates to about the same minutes (about 1 minute of screen time
per page). The workshop title is Matched, but I can't
imagine it will keep that title.
GRACE & GLORIE: Only two ladies auditioned the second
night (last Tuesday). Director Fran Pesch has cast the show now,
and Grace, the ninety-year-old mountain woman, will be played by
one of the ladies from Tuesday's audition, Jo Bond. I thought she
might get the role, as her performance Tuesday was impressive.
Ms. Bond has been in a workshop with Michael Kane, and he being
one of my favorite actors, I was perhaps biased. But I will tell
you that she was mighty impressive. Glorie, the yuppy hospice
volunteer, will be played by Debra Kent, one of the four women
who read so well on Monday for that role.
A WALK IN THE WOODS: I will be the house host tomorrow
night and Sunday afternoon. I also plan to go next Friday,
January 28, and sit in the audience. Though, I will pretty much
be able to watch the show this weekend.
I was told there's a review in a local paper, but, I haven't
found it yet.
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Mon, Jan 24, 2005
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OUR TOWN AUDITIONS: Guess I am prepared for tonight's
audition, and possibly tomorrow night's *(see next entry).
I have not been sweating in the woodshed as I have before. One
reason may be that I had studied and prepped for so long for the
Andrey role in A Walk in the Woods, then feel like I
essentially choked at audition, that I am trying to play it a
little cooler this time -- not be cocky or take it for granted,
but be more relaxed and not worry myself. I don't know that I
have the rural New Hampshire dialect down perfectly, but, I have
it well enough. I also don't have the play down perfectly, either,
but, I am familiar with it.
SEAN ASTIN: YES -- COLIN MOCHRIE & BRAD SHERWOOD: NO: I was
able to secure a seat for the Sean Astin appearance tomorrow
night. It's not a great seat but it's not lousy. I am not
one-hundred percent sure I will go, I may feel the need to be
at the second night of OT auditions. But, I probably am
going to see Astin.
Unfortunately, the Colin Mochrie & Brad Sherwood event on
Thursday is sold out. I had an impending auto problem that I
knew would need attending to. It finally did and I had to shell
out $350, so I needed to wait to buy this ticket. And, when I
called the box office, it was too late. Oh well. Shame too,
because as I said before, I know the mother of a lady who is a
friend of Brad Sherwood's, so I might have been able to meet
him and Mochrie.
SCREENPLAY FOR THE MOVIE PROJECT: Not much work done since last
entry. I've had other things taking most of my time. But, I am
four pages further along (page 14) and I am still happy with
what I have so far.
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Fri, Jan 28, 2005
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AND IT'S ON TO THE NEXT AUDITION: Aya. Didn't get cast in
Our Town. Would a been fun, but, there ya go. John
Bukowski (Ferris Laymen in The Diviners) has been cast
as Doc Gibbs, Cynthia Karns (Luella, The Diviners) is
Stage Manager, and young Sterling Faust (Sweet Tooth in
Nutcracker) is also cast -- congrats to all three!
I am, of course, disappointed, as always when not cast. I ended
up not going to the second night of auditions, though it wasn't
because I went to see Sean Astin. I actually did not feel well
Tuesday so I did none of the three things that were on the
plate to do that night: 1) Our Town audition, 2) Sean
Astin appearance, 3) Dayton Theatre Guild
board meeting. Now I'm into the mind game of Had I gone the
second night, would I have been cast? Might make better
survival-of-the-ego sense to go ahead and blame that as the
reason and move on.
Now I may -- (underline "MAY") -- run sound for
Grace & Glorie, since I am free. There is one
problem, which is that I am seriously considering an audition
*(see next section below) which will take place Monday,
February 28, which is the second night of tech week rehearsals
for G&G. The person running sound cannot miss any
rehearsals once he or she is on board -- the sound cues are
too important.
FUTURE AUDITION PLANS: There are, of course, some plays left
that I have mentioned before: Jake's Women at
Brookville Community Theater,
March 1st & 2nd, and An Act of the Imagination at
the Guild, April
25th & 26th. I have some reservation about Long Days
Journey Into Night, not only because for all practical
purposes I am not in the right age range, but, also because
director Michael Boyd has schedule a week of rehearsal where the
cast needs to be there from 9 a.m. through 6 p.m., and I really
want to bank as much of my vacation time for my movie production
as I can. I am reluctant to sacrifice the time. But, I have not
completely discounted auditioning for this. I could bring off
the role of Jamie, as far as the upper end of his age (35).
Then there are the two paying theaters,
The Rising Phoenix,
in nearby Middletown, Ohio, and Dayton's
Human Race Theatre.
The Rising Phoenix is having a special audition for Noel Coward's
Blithe Spirit on February 28. Their general audition for
next season is in July, and I have already thought about doing
that one. I also have half thought about The Human Race Theatre.
My take has been to get cast in a few bigger roles before I go
after the professional, Equity theaters.
I mentioned this last idea at a Christmas party last month. Someone
there chimed in that
he thought there was no reason to wait. His view is, and I have
to agree, that he's seen performances as good, and sometimes better,
in the Guild space as he sees in the local and not-so-local
professional stages. If I am ready to play on the Guild stage,
or the Dayton Playhouse stage, then I am ready for The Race or
The Phoenix. In theory that makes perfect sense. I must admit
a sense of, if not intimidation at the thought, then still some
trepidation as to whether I am indeed ready to take to the professional
stage. Still, I am more inclined toward auditioning than not.
Even if I don't do the special audition for the Coward play, I
will likely audition for The Phoenix in July, and The Race has
its auditions for next season coming up in late spring or
early summer.
If I get cast in at least a substantial supporting role in either
of these theaters, I will deem it time to submit my
résumé to an agent. I would likely go to the agent
that Natasha Randall and Craig Roberts, among others, use.
MOVIE SCREENPLAY: Coming along. The deadline for the first draft
is Tuesday (Feb 1) -- we'll see......
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Wed, Feb 2, 2005
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I HAVE NOT MET MY DEADLINE FOR DRAFT ONE OF THE MOVIE
SCREENPLAY: But I am pretty far along and the end is very much
in sight. I am hoping it is done in the next few days. As I've
said before, I want to have it to show potential co-producers.
I also have a few actors in mind who I want to try and get on
board, and I want a screenplay to show them. This being Dayton,
Ohio, it's not like I will say to a co-producer, or we can say
to a potential backer, "We have Lisa Kudrow on board and
we're talking to Jude Law...," but I have at least one
actor in mind to approach who is getting a name in the area and
could lend us some local caché. My reason for the
approach has more to do with talent and ability, however. I
have, as I think I said before, pretty much cast the script in
my head, so I have seen particular actors in all the roles as I
have been writing. I have still kept the characters generic
enough to not bind them to those actors.
AUDITIONS FOR LONG DAY'S JOURNEY... AND BLITHE SPIRIT:
I have done the math and if I were to be cast in Long Day's
Journey Into Night and thus had to take a week of vacation
for the April all-day rehearsals, I would leave that with almost
twenty hours of vacation left, and by the probable earliest
point for production of my movie, I'd have close to or a little
more than forty hours built up. So, despite that I am rather
sure there's not really a part for me, and, that I am a little
intimidated by this play, I am likely to audition in two weeks.
I also have set an appointment for Feb 28 to audition for
Blithe Spirit, so, if L.D.J.I.N. doesn't pan out
-- which is really the outcome I expect -- I will head to
Middletown and give an English farce a try.
Don't misunderstand me, I am not going to the O'Neill audition
with a defeatist's attitude. I will study up and go in there to
be cast. I'm not waisting my time or the director's time with a
"trial run." And I would absolutely love the challenge
of getting cast -- as Jamie I presume; don't know who else. I
can't imagine there won't be many age-specific actors of good
talent audition for James Sr. And, I can't pull off a mid-twenty
Edmund. But, I can pull off an early-to-mid-thirties
Jamie. I don't know if Mike Boyd (the director) is going to use
New Yorkish dialect, but, I have been listening to the New York
dialect tape, and trying on a mild, educated, middle-class
New Yorker's accent. . . .
. . . . . . . . . . . . . . . . .too much to do, sometimes. . .
. . . . .too little time to do it. . . . .
. . . have lot's more I wanna write, but, I am dead-ass-tired. . . .
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Thu, Feb 3, 2005
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IMPROV WORKSHOP THIS SATURDAY: I look forward to the Improv
workshop this Saturday. It is a big unknown to me. I did some
dramatic improv in a theater class in high school, then, not
again until the portion of auditions for The Diviners,
which I related here at that time. And none of that was improv
for comedy. It's much harder to be funny than dramatic. Notice,
in the movie and TV world, how so many more comedians do well in
dramatic roles than those known for their dramatic acting, first,
are successful in comedic roles? With the possible exception of
the art of "crying on cue," it's much harder to be
funny on stage than appear sad or angry. My biggest
disappointment as Johnny Pateen, in Cripple of Inishmaan,
as I have said so many times, was that I did not get the
comedic edge into him -- or, more directly, Johnny did not get
many laughs that he should have, and that must be the fault of
my performance, because he never got them in nine performances.
And Johnny Pateen was with a script and predetermined lines, and
some weeks to analyse the scenes and the overall arch of the
play. Improv is In The Now, baby.
LONG DAY'S JOURNEY...: Have started to read the play again,
and I am studying Jamie's lines s I read. Usually speak them as
him when I come to them.
PRODUCING GRACE & GLORIE: Feel a bit like
driftwood. Lots to learn about doing this that I don't know.
Especially don't have a big network of names to draw from in
terms of technical expertise and properties resources. I feel
like a couple folk who are old hands at this are in there
picking up my slack -- not that I mind; don't want to see the
production suffer due to my own green expertise. But, this is
the sort of thing I have to know more about. Though, the need
for a co-producer for my movie is more clear than ever.
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Mon, Feb 7, 2005
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THE SCREENPLAY IS FINISHED!: I am pleased to report that the
first draft of the screenplay was wrapped last evening. I was
so involved in it, I completely forgot Paul McCartney was
doing the half-time show at The Superbowl -- and, anyone who
knows me, understands the significance of that.
Right now the screenplay represents about a thirty-minute movie,
and I wouldn't want it to go more than that, least not by much.
There are 37.25 pages, and with the one minute per page rule,
that should be thirty-seven minutes. But I put several pages at
closer to thirty seconds.
My next big moves are to, one) go searching for that co-producer;
two) start shopping for the high-end DV camera.
Yes, it does have a new title now.
THE IMPROV WORKSHOP WAS A GREAT EXPERIENCE!: I attended the
Improv Workshop Saturday morning and it was a great, fun time. Jake
Lockwood, apart from being a nice guy, was superb at facilitating
this small group of mostly nervous participants. It was a small
group with mostly young ladies in their teens or early twenties.
Jake's mom, Dodie (Eileen in The Cripple of Inishmaan)
was one of the group, too. She, of course, is in her
THIRTIES, give'r'take. Also there, was Don Smith (G.W. in
Sordid Lives). Don and I were two of the three men.
A talented fellow name Mike (last name I don't recall) was the
third.
Okay, so first, it was much easier than I had been afraid it
would not be. That's not to say that it was nothing but
brilliant moments from every one. All of us had moments when
we just simply choked. But, we all had "brilliant"
moments, too. I had few moments I was happy about. I had a many
moments when all I could think was, Oh jeez, get me outta
this! I am stalled up here and this is at a dead end! The
solace is that this was the same for everyone. And I actually
was funny much more than I thought I would be; not that I was
Ryan Stiles or Colin Mochrie, but, I had a couple genuinely
funny moments.
Jake had us start with exercises to help us bond a little and to
get into the habit of listening to each other.
(Yet, I remember virtually no names from the morning!!)
In one game, each person introduced them self with a made-up name,
then pointed to someone else who had to come up with what the
first person did, using the first letter of each name.
For instance, I might say "My name is Ted Turner, and I..."
and the person I point to might finish it with "Tickle
tarantulas." It didn't have to make sense. In fact, if
you got the letters wrong, like Tickled Pickles
for Ted Turner, that was okay, too. Just move on
and forget it.
We also played the game. as they do on Whose Line Is It,
Anyway?, where we tell a story by each adding the next word.
And a couple other games, just to get the group bonded and
comfortable with each other.
The actual improv setups were two people (except a couple times
when it was three). The idea was always to let the audience know
who the two characters were, where they were, and what they were
doing. First setup the rest of the group gave the two on stage
one of the three elements, the particular element given was at
the discretion of the two who were on the spot. Then the two
did three lines total: first one speaks, second one replies,
first one speaks again.
When I went up it was with Don, and the group (actually, Dodie)
gave us the element that we were twin brothers. So it went like
this from there:
We stand next to each other and look down in front of
ourselves.
Me: "Momma looks almost alive."
Don: "Maybe she is alive."
Me (with my hands on my hips): "Mamma! You playing
another of your damn jokes?"
Then we did it again, but, without any elements given to us from
the group. This time one of the two standing up there gave the
scenario to the other, and that one did a lone improv. Then the
two switched. This happened to end up being me and Don again. I
gave Don that he was a cop, just promoted to Sergeant, in a town
where everyone else was a woman. He did a funny routine about
being sure he was going to "get sum tonight!" He gave
me that I was ice fishing in Alaska (I think it was
Alaska). I squatted and held my imaginary pool over my imaginary
hole in the ice. I shivered and exclaimed, "Jeez."
Then I sort of peaked around in the hole. What was really going
on was I was desperately trying to think of something to say.
Not a damn thing was coming to me. So, just to further the action,
I pretended to put my hand in the water in the hole. Then, I
suddenly decided something grabbed my hand and jerked me down.
I yelled, "JEEZ!" and that was the end of the improv.
So, that was me being lame.
We also did a setup called Yes, And. The idea is to build upon
whatever your partner has just done. You say, "Yes, and..."
yadda yadda yadda. It was important to keep it "Yes, and..."
rather than gravitate to "Yes, but...."
We did one where we tried to be as active as we could be.
At some point someone yelled, "freeze," and the two
on stage froze in place. The person who yelled, "freeze,"
took one of the two people's spots -- an position -- then the action
started but the scene was changed to something different.
It was all great fun and the basic fundamentals I took from the
morning:
- Find the humor in the situation -- don't worry
about "telling jokes."
- Don't negate the reality your partner has defined --
go with it and add to it.
- Be a partner not a leader -- don't try
to steer the skit where you want it to go; let it be a
collaboration between you and your partner or partners.
- Listen and be open to directions which hadn't occurred to you.
- The less you worry about being wrong, the better your ability to create
will be.
- Have fun.
There was likely more, but, that's what I remember the most.
HENNI FISHER AND KIM REITER IN ALWAYS... PATSY CLINE:
I saw these two ladies, both of whom I have had the privelege
to work with, last Saturday night. They were both nothing less
than superb. Henni was Patsy Cline, and there were moments, hell,
whole songs, where she had Cline's vocal style and phraseology
down to a tee. Kim was Patsy's number-one fan, Louise Seger, and
she was so funny. I was rolling in the isles, along with the
rest of the audience. I was simply impressed as impressed can be.
The show was at The Dayton Playhouse,
and Greg Smith directed -- as usual his strong, excellent director's
touch was all over the show.
A WALK IN THE WOODS LAST WEEKEND: By-the-way, I forgot
to say that I saw Gil Martin and Saul Caplan in A Walk in the
Woods, last week. Was a good show. The two had good chemistry
together.
GRACE & GLORIE PRODUCER PROBLEM: I still have not
found anyone to run sound for the show. I really want to find
someone; I don't want to run it. If I get cast in Long Day's
Journey... I want G&G Tech Week open, in case
there is L.D.J.I.N. rehearsals then. And if I am not
cast, as I said before, I have an appointment to audition for
Blithe Spirit in Middletown, which is the Monday of
G&G Tech Week -- and I could not miss that G&G
rehearsal if I am on sound. But, if I gotta run the sound, I
gotta run the sound. Duty calls.
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Sat, Feb 12, 2005
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POSSIBLE VOICE-OVER GIG FOR PUBLIC BROADCASTING: The local
public broadcasting television station, Channel 16, WPTD, is
looking for some people to do dramatic voice-overs for a
documentary about the Dayton flood of 1913. I have been in
contact with someone from the station, but don't have the
particulars from the producer yet.
EMILY'S BOYS: Went to a literary reading this afternoon by a
writers group named "Emily's Boys" -- ala: Dickensen.
Use to be in another writers group with two of its four members,
Jim Hughes, who was one of my English professors in college, and
Tom Schaefer. They read work by others, including Ms. Dickensen
and Langston Hughes; started off with Walt Whitman. Of course,
they read their own works, too. Even invited me read something.
I read a short flash fiction piece which has not yet been published.
Gave Jim Hughes a copy of the screenplay, too.
While at the reading I met the director of the forthcoming
production of Fools at the Beavercreek Community Theater.
She is Teresa Connair. She was inviting all us others there to
the show. I was already planning to attend as Jim Lockwood is
in it. I mentioned that Jake Lockwood was Dodie's son, but, he
is also Jim's son. Teresa, by-the-way, knows Jake from college.
I mention this to only again illustrate how small the art world
in Dayton is.
GRACE & GLORIE: Still have not found anyone to run
sound for the show. Still desperate to do so.
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Mon, Feb 14, 2005
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LONG DAY'S JOURNEY INTO NIGHT AUDITIONS TONIGHT AND
TOMORROW NIGHT: Don't know if I'm ready for this or not. I have
felt pretty good about my prep readings.
VOICE-OVER GIG FOR PUBLIC BROADCASTING: There has been no
follow-up from the WPTD staffer or the producer of the
documentary.
GRACE & GLORIE: Still no sound and light runners
confirmed, but at least one possibility has arrived.
A TIP FROM BRUCE CROMER:
Actor Bruce Cromer just gave me the tip of a good book about
auditions, oddly enough entitled, Audition, by Michael
Shurtleff. Bruce uses it in his acting classes at Wright State.
It will shortly be in my personal library.
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Tue, Feb 15, 2005
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LONG DAY'S JOURNEY INTO NIGHT AUDITIONS LAST NIGHT:
Well, I am not sure at all what to think. Mike only read me
once, as the father, James. I put down that he could read me
for it if he wished, but, really, I am so far out of type.
That he did not read me once as Jamie: I'm not at all sure what
it means.
It may mean he already knows what I can do, so was reading
others with whom he isn't as familiar -- except that he
read a couple actors, I know he's directed before, several
times. It may mean he thinks I am too old for Jamie. It
may mean nothing. I have hardly a clue, yet, a bit of a fear
it's that he doesn't see me pulling off mid-thirties (the upper
end of the Jamie age range). I believe I can pull it off.
I do know that I did not read well as James, but, really, my
heart was not in it. I would love the chance to at least read
for Jamie. I will be there tonight, because, if I'm not going
to be cast, it's not going to be because I didn't show up.
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Wed, Feb 16, 2005
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LONG DAY'S JOURNEY INTO NIGHT TUESDAY NIGHT AUDITIONS:
Yeah -- I don't think there's any need to cancel my audition on
Feb 28 for Blithe Spirit, least not on account of my
just current audition. I am not getting cast in Long day's....
Did not get to read for Jamie last night, either. Read once for
James, but, that was more of a I need someone to fill that
chair while I hear these other people thing. Which, to be
honest, I don't mind doing. But, it is clear that what I was not
willing to completely acknowledge yesterday is the truth of the
matter: the director saw me as too old for Jamie. Well, it is
his vision and his show.
The weird thing here is that, though I do get disappointed when
not cast, I do not get that reaction I have when my creative
writing is not accepted. I get angry at the editor, even if for
only a short period of moments. My reaction is chemical. Maybe
the fact that I am in the room with the director when I audition,
that he or she is a face and a voice, that makes it more difficult
for me to feel that instant animosity for their having been
born. Plus, now, in some cases they are people I have become
friends with to one extent or another -- they have often been
people I have worked with before on at least one production.
To be philosophical, I really did not believe I had much of a
chance of being cast in this play, anyway. Still, am I going to
pass up the opportunity to go for it? Yeah, yeah: once I decided
to try, I had this part of me that hoped the probable outcome
would not be. And there's a little voice in my head that's
saying right now, You're jumping the gun. callbacks are
Saturday, and you may get a phone call today and be requested
for this weekend. But, really! Well, there is no false hope,
just hope or no hope. Ahh, the head games -- the actors reading
this are all nodding their heads and smiling (or chuckling).
It is always good to practice auditioning. And, once
again, I am put in touch with the fact that I am not good at
cold reading. It is an art I have yet to master, whatsoever.
Quite a few people whom I know auditioned, most notable for me
was Greg Smith (who directed Cripple of Inishmaan, Proposals,
and Sorted Lives, and of course, many many others before
I came on the scene, not to mention the just closed Always...
Patsy Cline). Matt Smith (Crippled Billy from that Inishmaan
play) auditioned, as well as Barb Coriell (Cripple and the
director of A Walk in the Woods). Gil Martin, who won the
role in A Walk in the Woods that I hoped for, also was
there, and I actually thought we would make a good James and Jamie.
Craig Roberts (Cripple, Proposals, Diviners)
was there. So was Bradley Kasch (Diviners). Cynthia Karns
(Sorted Lives, Diviners, and currently in
rehearsal for Our Town) was there. Others whom I've seen
on stage and some I've heard about.
FEB 18, 2005 ADDENDUM: Doh!!
I forgot to mention Chris Shea, my singing partner in
The Diviners!
Okay, I guess even without me the show will do all right.
So, I start studying my Standard British Accent tape and
reading me some Noel Coward.
OTHER STUFF: Still no news on the Dayton Flood documentary
voice-over gig. Looks like I have a light runner secured for
Grace & Glorie; have a possible for sound, too. I
am frantically squeezing any time I can to get this damned
Winter 2004/2005 Literary Update,
for the web site proper, edited, coded, and posted. It's
already almost two months delayed. Now you know why the lit
updates are going on hiatus again.
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Thu, Feb 17, 2005
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AND IT'S ON TO THE NEXT AUDITION
No surprise.
I have a light runner for Grace & Glorie, and I may
have the all-important sound runner. This is important so that
I can audition for Blithe Spirit on Feb 28. May also
still audition for Jake's Women either Tuesday, March 1,
Wednesday, March 2, or both. All this contingent on not having
to pull sound duty for G&G.
IDEA FOR MOVIE PRODUCTION: A friend has suggested I look into
finding a grant (or grants) to help finance the movie, which is
a plausible idea. I really want to pay the talent and the crew,
even if it's just a stipend. I wish to pay them at least
something for their efforts. Plus, there's renting
locations, etc., perhaps some costs for properties.
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Wed, Feb 23, 2005
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GRACE & GLORIE PRODUCTION: Things are falling
into place, if much of it is in "the eleventh hour."
Have both the techies that we need, one brand new to the Guild.
Our sound person has worked one other time at the Guild, on
sound during The Diviners. We have the set to finish, this
Saturday -- just in time for Tech Sunday!! -- and there are a
few technical needs for the set, yet to be worked out -- how to
light the smoke powder inside the old fashion wood stove, on cue;
a working hand water pump. But, I have a feeling it will come
together just fine. I shot a small amount of footage, last night,
with my mini-DV camcorder to get some publicity stills.
Can't say they are the greatest, but, they're okay for a start.
Going to do it again tonight.
FRIENDS IN SHOWS: Tomorrow I am going to see Jim Lockwood in
Neil Simon's Fools being produced by
Beavercreek Community Theatre.
Jim, of course, was Dr. McSherry in The Cripple of Inishmaan.
Sara Gomes (Jenny Mae in The Diviners and Princess
Perlipat in Nutcracker) is opening in Oedipus Rex
at Rising Phoenix
Friday evening. Some of us Diviners/Nutcracker folk
are dropping in. Saturday I go to the theatre workshops at
Sinclair Community College, then see Trojan Women there,
afterward. A friend, fellow DTG board member, Lisa Sadai, whom I
have not worked with, yet, is in that production. Bradley Kasch
is Radar in M*A*S*H, and that is about to go up, too. So
I hope to see that in the next few weeks.
SORDID LIVES RIDES AGAIN!: Greg Smith has been pushing the
idea for months that we revive Sordid Lives during the summer.
As he put it last night: "Let's ring every dime out of this
that we can." It was a big money maker. All but two people
are able to do it. I have committed with the caveat that I might
be involved with principal photography for my movie -- but, I
believe I couched it thus -- "if a strange miracle occurs."
The summer run would go up July 8 and close July 24. Since I hope
to shoot mine in June, this really isn't a direct problem.
AS FOR THE MOVIE PROJECT: Ahh, who knows. Trying to figure out
the best way to go co-producer shopping.
UPCOMING AUDITIONS: Prepping myself for both Blithe Spirit
and Jake's Women. I am quite happy I do not have to commit
to run sound for G&G. I am taking next Monday off,
before Blithe Spirit. I need to spend some time before
then focusing on the two short monologues. I am not sure what
the second will be, but, the first is Johnny Patten Mike's
first big monologue from Cripple -- well, a portion
there of. I have a couple other monologues in mind, including
Jamie Tyrone's drunken one from toward the end of Long Day's
Journey Into Night. Since I wasn't afforded the opportunity
last week to show I could pull jamie off, this is my prime
candidate for the second monologue. I may also do a specific
monologue by C.C. Showers in The Diviners. I used it for
the audition for Coming Up For Air in November, and the
director responded well to it. I think it came close to getting
me the role, but, scheduling conflicts between his principal
photography and Nutcracker performances took me out of
running anyway. I am also taking Tuesday off to prep for Jake's
Women -- unless by Tuesday evening I know I am cast in
Blithe Spirit -- that is to say, I won't audition for the
second one. Probably would still be taking Tuesday off and prepping;
I doubt I'd know in time to cancel.
And, gee, what would happen if, later in the week, I was stuck
with the terrible dilemma of choosing which casting offer to accept.
Kind of problem I wouldn't mind -- but, don't really look for
happening.
By the way: Greg Smith has been cast as James Tyrone and
Chris Shea is Jamie in Long Day's Journey Into Night.
Congrats to both!!
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Tue, Mar 1, 2005
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BLITHE SPIRIT AUDITION: Auditioned at
The Rising Phoenix
last night and, though I don't have a strong feel for whether I
am a serious contender, I am happy with my audition. I also
should say I don't have one of those the-writing's-on-the-wall
forbodings that my last two auditions gave me, just before I
was not cast.
The theatre workshop I attended last Saturday, at Sinclair
Community College, was of good help to me. Fact is, it was
fortuitous that I attended the audition workshop Saturday,
before I did the audition Monday (last night). The audition
was one which asks for two contrasting monologues (each of
one minute or less) and there were a few details I did not know
and would have walked in there ignorant of, had I not been at
Sinclair two days earlier. First thing I learned was how
important it is to properly slate yourself -- to slate means to
announce to the director (or whomever) who you are and what you
will be performing. Important is to let "them" see a
positive and confident you, who will be fun and easy to
work with, and to be sure there is a clear demarcation between
you (the actor) and the character(s) you portray in performance.
Also, give yourself breathing room as far as the time limit. Leave
time to allow for a laugh or two from the observers, or, to let
yourself recover a line you having trouble remembering. I did
two, one minute monologues, but, they were really both about
forty-five seconds. Usually, when your times up, those who are
auditioning you will stop you, even in mid sentence. This
information helped tremendously and made my audition last night
much better. I spent all of yesterday afternoon rehearsing the
entire prepared audition in front of my camcorder, and I used a
mercilessly critical eye on each playback, and I utilized the
wisdom from the workshop.
I did a Johnnypateen monologue,
his first one, which is exposition about the American film makers
coming to the islands to make a movie. I ended up choosing another
monologue from The Diviners than I had said earlier I might
use. I ended up using a Ferris Laymen monologue where he speaks
of his deceased wife. It was a much better choice to have this
low-key, heartfelt dialogue coming from this sensible, home-spun
man juxtaposed against Johnnypat's over-the-top hyperbalics. When
I auditioned for The Diviners I had felt Ferris' sadness
as I spoke the lines. As I rehearsed it for last night's
audition, I did not. But, funny thing is, as I stood in front of
the director -- and I assume, the producer -- I again felt the
man's mourning. I was pleased.
I did get the callback, which was immediately after the
general auditions. I did well enough. I felt I might have been
a tad toward the cliché end of the spectrum from time to
time, but, as it is a comedy, that may not be an awful thing. I
left, in the air: no feeling I am a shoe in, nor, that I am
counted out.
The dilemma here is that I may not know until Friday:
see next section.....
JAKE'S WOMEN AUDITION TONIGHT -- AND, TOMORROW NIGHT?:
So, now, I go to an audition not knowing whether I can accept
the role, if offered. I contacted the director, Saul Caplan, and
told him I am up for Blithe Spirit and may not know if I
am free and clear until Friday. I said I intended to go tonight's
audition, but, if I have not heard by tomorrow evening about
the other show, I will pull my name from consideration for Jake's
Women. Saul would be able to cast his show before Friday, and
it is not reasonable to expect him to hold off on that. Not to
suggest that I'm so brilliant he would have a conundrum, but,
I have no business expecting such consideration. Saul told me
to show up tonight and "let the chips fall where they may."
Seen several friends in several plays recently, but, time is
tight today -- hell, recently -- so I'll discuss it all later.
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Fri, Mar 4, 2005
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At the moment, it's Friday morning. I will be adding to this
entry in spurts, throughout the day -- brief sanity moments as
I pause during the paycheck job.
AUDITION FOR INDEPENDENT FILM: Next Saturday, March 12, director
Mark Archer is holding open auditions in Dayton for several supporting
roles for his independent feature film Paper Dolls.
One of the types he's looking for is "one male age 35-45 for
a supporting role," according to the Dayton Daily News.
Oh, uh, will I be auditioning -- um. . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
YEAH.
The movie will be shot next summer for a planned 2006 release.
Looks like much of it will be shot in Fort Wayne, Indiana, but,
some may be shot in Dayton. As Archer is quoted in today's Dayton
Daily News: "The fact that we're holding auditions in
Dayton is a pretty clear indicator that we're leaning pretty
heavily toward shooting some of it in Dayton."
There are considerations for me. But, none that I see as an opstical.
Least major: Next Saturday is the two performance day for Grace
& Glorie and I am the "feed the cast and crew between
the shows" guy. But, the movie casting call ends at 5:00, and
the first G&G performance will end at about 7:10. So,
that is doable -- besides, I don't have to be the one who gets the food
there, I just have to be the one who makes sure the meal happens. The
other big consideration is my movie.
At this point, by mid-June, I'll have fifty-three hours of vacation
time to use as needed, and will earn a little more than another
half work-day every two weeks. I have no clue what would be the
production demands of the supporting role in the movie, whether
all that role would be shot in Dayton or some in Indiana, or,
when it would be shot (rehearsed): any earlier than August?
weekends? daytime?. I could promise the director close to
two weeks of vacation time by mid-August, if I spend none on my
movie. That would likely mean production of mine would have to
postponed some. But, really, It's March 4, June is three months
away. To be into principal photography by then, I'll have to
have found a co-producer, found some money, bought the high-end
DV camera, found a crew, found locations, and assembled the cast.
Not that it can't be done, but, I need to be wise enough to not
feel like a failure if I am not shooting in June. Besides, I am
not cold to the idea of producing and directing mine after I have
been on the Paper Dolls production, where that if such
comes to be.
I am, of course, sure that virtually every male actor in the area
who fits the type and could commit will be there. But, so, oh
well. Competition is surely to be tight. But, we go back to the
main principle: My odds of being cast if I don't audition are
a guaranteed zilch.
BLITHE SPIRIT: Well, it's early afternoon as I write this
part, and there still is no word from the director on casting.
JAKE'S WOMEN: Last Tuesday's audition for this went
well enough, I suppose. I am not sure I was brilliant, but, it
wasn't a bad audition. I happened to be the only man who showed
that night, so I got to read all night, which helped me to
begin getting comfortable with scenes and to try different
things -- it also allowed Saul Caplan to see me getting
comfortable with scenes and trying different things. He did
give me a couple directions that I don't belive I executed
well (one, I think, was a slight misunderstanding on my part,
as it seems clear he wanted something a little more
"pronounced." Still, if I didn't leave feeling
"great" about the audition, I did leave feeling at
least "okay" about it.
GRACE & GLORIE OPENING NIGHT, TONIGHT: The show opens
tonight. Went to the last two dress rehearsals, Wednesday and last
night. There were a few spurts and sputters. So much of this
particular production has been eleventh hour. The set was
finished later than I've ever seen. Lights and sound design were
still being set as tech week began. There's been anxiety and
frustration. But, I have a feeling there will be magic tonight
and that it will all pull together.
-- got blog stuff, galore, to play catch-up on. Will get to
it as soon as there's time to sit down and write more than a
two-dimensional journal entry
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Tue, Mar 8, 2005
*revised, Mar 10, slightly
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AND IT'S ON TO THE NEXT AUDITION
Heard through the grapevine, just before Grace &
Glorie's curtain, opening night, Friday, that the cast list for
Jake's Women was out, and I was not on it. When I got
home, I had an email from
Rising Phoenix
thanking me for my audition and stating that those who were cast
in Blithe Spirit had been notified by phone.
I know Saul Caplan (Jake's Women director), to some
extent, so, taking the advice Tosha (Natasha) Randall gave me a few
months back, I emailed him and asked him what were the weaker
points of my audition for Jake. He responded with a nice and
reaffirming email where he said there really were no weaknesses in
my audition "to speak of." He said he had narrowed it
down to me and two others. "You all had your strengths; you
all had your drawbacks and I had a plethora of riches," he
wrote. He said he made his final decision based heavily on
physical features, but, told me, " If we had only had the one
night of auditions then certainly I would have cast you, and not
been unhappy about it. Together I'm confident that we could have
put together a fine Jake."
Good stuff to know -- but, man, Jake is such a sweet role. I
congratulate Alex Carmichal on being cast. I saw Alex read for
The Diviners, during those auditions, so I know the guy
is an impressive actor. I just don't know his last name, at
the moment. Two female actors who auditioned also told me at
the G&G opening night that I auditioned well.
THEATRE PRODUCTIONS I'VE ATTENDED RECENTLY:
As stated in a recent entry, I've seen a few productions lately,
most with friends or acquaintances in the casts.
First: Tartuffe at
Wright State University.
February 19 I saw this performed in the Festival Theatre, in the
Creative Arts Center -- you remember the Creative Arts Center? --
from the beginning of this blog? And that theatre is the same
theatre where I saw Malcolm Getz in October of 2003, the night
before I could no longer deny that I need to be an actor. But, I
digress. This production of Tartuffe was enjoyable with
several impressive performances. Nick Verina was excellent in the
title role. I was also most impressed with Lauren Gribble as
Mariane and Claire Kennedy as Dorine. I found fault, in fact, with
none on stage. Diane Taveau (Lavonda in Sorted Lives at
the Guild)
was an understudy and played a party attender in Act
I Scene 1. However, she could have
portrayed any of the principal women with ease. A fellow audience
member felt the set was too upper-class, that the household should
have been less aristocratic. I don't know enough of the play, nor of
playwright Molière to agree or disagree with that
assessment. I enjoyed my evening, though.
Next: Oedipus Rex at
Rising Phoenix,
with Sarah Gomes as Greek Chorus member 1, on February 24. I
liked this production, too. Sarah was superb in her role, along with
her two chorus partners Ian Hayes and Ron Brown -- Ron, making
his acting debut here. As Oedipus, actor Martin Andrews was
nothing less than gripping. The set was a modern alley with the
characters in modern garb. Director Christine Brunner did not mess
with the language of the play, keeping the traditional translation,
rather than modernizing the dialogue. At one point, a Chorus
passage was performed in a delivery approximating hip-hop.
Though, I would not say it came anywhere close to falling flat, I
can't say it was the highlight of the show for me, either. It wasn't
the execution by Sarah and her mates that didn't work for me, it
was the concept itself. Still, that is a pretty minor criticism, and I,
again, enjoyed my evening.
Then: the next night, part of that theatre workshop at
Sinclair Community College,
was a ticket to that evening's performance of Trojan
Women, which had, also in that Greek Chorus, as Nadira,
Elizabeth Wilamaitis, who auditioned for The Diviners.
And though not cast there, I remember she gave a good reading.
Again, I liked the production. The breakout performance for me in
this one was Amy Hamilton as Cassandra. She walked that tight
rope of playing the insane perfectly. She was not too far over the
top nor was she too subtle. And she changed gears abruptly with
precise measure. She was the highlight of a good cast. Elizabeth also
did a fine job, along with her many Chorus partners. This time the
set was kept mostly traditional, as was the language. The soldiers
were in modern American military dress and the women were
dressed as Saudi Arabians. The back drop of the city also reminded
one of Baghdad. And women laid an Iraqi flag over the corpse of
young Astyanax (Benjamin T. Sadai, the son of fellow Guild board
member and actress Lisa Sadai), while what sounded to me like
Hebrew music played.
Last: just this weekend, I saw Uncle Vanya, again at
Wright State. This time I knew no one in the cast, though I
recognized one actor from the gym. Bruce Cromer was the
faculty member who directed the show. And, still yet, another
good show. Jason Bobb (as Vanya) was especially hilarious in the
Act II scene where the
character loses his temper at the professors announcement that he
is selling the estate.
OPENING WEEKEND FOR GRACE & GLORIE:
Friday night, the performances from the ladies went well, but, we
did have a few technical problems. The show was overall much
better Saturday. Don't know about the Sunday show. Between
personal business and attendance at Uncle Vanya I missed
it.
My big panic, as producer, came last Thursday, when it occurred
to me that I was likely the one who should contact the lady who
always caters the opening night gala, after the shows. It's always
hors d'ouerves based somehow in context with the play. Well, I had
not contacted her and I was sure there were no plans for the gala. So
I started working my contingency plan in case I was right. As it
turned out, she was on top of it. So, now, I have some proscuto
in the trunk of my car (there's proscuto in a scene in Act
II).
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Thu, Mar 10, 2005
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PREP FOR PAPER DOLLS AUDITION: I am not sure what I
will use for the one-to-two-minute monologue on Saturday. I may
use a monolgue from the end of Jake's Women. My instincts
tell me neither one that I used for the Blithe Spirit
audition will be appropriate here. I'd do the Jaime monologue from
Long Day's Journey... except that I don't have immediate
access to the play. Couldn't get it until probably Monday.
Whatever my choice is, I need to start rehearsing it tonight.
I also don't have a headshot printed at the moment. I'll probably
print one at Meijer. The problem there is that, though it is
convenient, they do not alway give you a good quaility print.
And man, would I love to have on my résumé that
I'm currently in rehearsal for a professional theatre gig (IE:
Blithe Spirit).
As for other auditions, of course, I will be auditioning for
An Act of the Imagination next month at the
Guild.
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Sat, Mar 12, 2005
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TODAY'S PAPER DOLLS AUDITION: It starts last night with the
prep and rehearsal for the audition. I had checked a small hand
full of plays out of the library, Three One Act Plays by
Jason Miller (It's a Sin To Tell a Lie, Circus Lady,
and Lou Gehrig Did Not Die of Cancer), In My Mind's
Eye by Doug Haverty, Dr. Jekyll and Mr. Hyde by
Richard Abbott, and, again, Lee Blessing's A Walk In the
Woods. Plus, I still had a collection of Neil Simon plays,
which includes Jake's Women. I just walked into the play
collection at the library and quickly browsed. The Blessing's
play was, of course, because I happened across it, not at all a
random choice. I narrowed it down to a passage from A Walk...
and one from Jake's Women. Ironically, The Walk
one was a John Honeyman monologue, rather than Andrey, because
of the nature of this audition. A general middle-aged American
is a better choice than an older Russian. I finally settled on
the Jake monologue, however. It was a calmer, subtler piece,
and I decided I wanted to act for the camera. And, in
retrospect, I think it was perhaps the right choice, or, at
least, a good choice. I wanted the director to see I can have
that subtler presence the camera desires.
I could be completely off base, though, for all I know.
So, last night I learned the words, and began the process of
rehearsing it before the camera. I got a little tense, after a
while. Kept making really silly, sloppy mistakes. So, I went to
bed and put myself to sleep going over the monologue in my head.
This morning, when I woke up, a little after 5:00, I was fresh to
it and was able to do something approximating "perfecting"
the performance. The monologue is technically written to be spoken
by Jake to the theatre audience, conversational, but, leaning
toward presentational in style. The words do lend themselves to
a more intimate conversational performance,and that was my goal.
By my last rehearsal this morning, I was there. I am pretty sure
that was what I did for the director's camera at the audition.
Yes, as would be expected, the monologue audition was performed
for the camera as a screen test; we are talking about casting
for a movie. And, I feel good about my performance. Once again,
I don't think "fabulous," "striking," or
"brilliant," are words that come into play, but, I
didn't tank it as I have before.
What are my chances? Beats the hell outta me! No clue! If I am
not cast -- and let's be real, the odds are that I will not be --
at least it won't be because I sucked. And if nothing else, I made
it through a professional audition for a film with success. I did
a decent job, gave a good performance. I'd love to know about
any weaknesses in the audition, but, am not sure I would have
access to the director to find out.
Shortly before I went in to test, Greg Smith arrived. It's good
to see Greg acting again -- actually, with the exception of his
audition for Long Day's Journey... I have never seen him
act. I look forward to his James Tyrone and think it would be
cool if we both were cast in this movie.
DIM-WITTED STUPIDITY AT WALMART, BY WALMART: If you are an
actor with a CD-ROM full of professionally shot head shots,
don't bother going to Walmart to get a print for your next
audition. The management and employees of Walmart are too
ignorant to know that the copyrights on those pictures have
reverted back to you from the photographer. Yesterday, I was
denied a print because I didn't have a legally unnecessary
copyright release from the photographer, whose assistant told
me later in the day, they were about fed up with Walmart's
over-zealous nonsense. Well, I am finished with Walmart. I
will not spend one red cent in any configuration owned by that
corporation.
You can do what you want. I'll never darken their doors again.
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Fri, Mar 18, 2005
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IS IT "ON TO THE NEXT AUDITION?":
I don't know for sure. As I write this it's morning. I have not
received a callback for the Paper Dolls movie. I'd bet,
I would have by now if I were going to get one. But, then again,
maybe not. I am proceeding under the assumption I will not get
a callback. There's nothing in the immediate future that is a
conflict to pursue even if I were all-the-way-to cast in the film.
I don't see it happening, however.
I am auditioning for An Act of the Imagination at
The Guild,
either way. That show is up in June, and the movie (which I
doubt I will need worry about) is shooting in August, or
later.
DAYTON THEATRE GUILD
LINE-UP FOR 2005/06 APPROVED THIS WEEK: We approved the line-up
for the 2005/06 season, last Tuesday at the board meeting. I
have already gotten hold of four of the six plays, and have
another on its way from a book seller. Haven't been able to get
access to the last one, but, it's an all-woman cast, anyway.
As an interested board member, I still want to read it.
Until the season has been officially announced, I won't list
the plays here. But, I will be reading them, with an eye on roles
I am good for.
CLOSING WEEKEND FOR GRACE & GLORIE, AND A GOOD REVIEW
IN THE DAYTON CITY PAPER:
Tonight marks the start of the last weekend for G&G.
I haven't been at every show, but I've been at several and they have
went well (with a few small burps here and there). The feedback
from the audiences has been good. They've been liking the show.
Russell (Florence Jr) gave the show a good review in this past
Wednesday's Dayton City Paper,
saying that "Jo Bond and Debra A. Kent are well-cast by
director Fran Pesch." He writes later, "Funny and
heartwarming, Grace & Glorie is such an enjoyable
showcase for Bond and Kent."
I congratulate the ladies on this fine and well-deserved
response to their work.
At least for the time being, you can find the whole review by
clicking here.
PRE-PRODUCTION FOR MY MOVIE: Okay, maybe, "pre-pre-production"
is a better term -- or pre-pre-pre. I've been creating a
few production documents: 1) cast of characters list; 2) Exterior
locations and Interior set sheets (actually the interiors will
be location sets) -- I'm not using sound stages, though I will
need a studio for one brief scene; 3) a list of the crew positions
and duties. That last list is taken from information about bigger
productions. so, some duties won't be necessary and others will
be done by one person in my production rather than the two or
three people as on the list. I'll likely have an AD
(assistant director) as opposed to a First AD, Second AD, and
Second Second AD. What I am doing with these documents is
getting together some organized documentation to present to
potential co-producers. And, as I look at all the things that
need done for the production, a June shoot seems less and less
likely.
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Tue, Mar 22, 2005
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RAMBLINGS: This apparently is a section where I play
the apologist. I want to answer a few observations that I
believe (hope) are off the mark.
Someone approached me a few months ago, before opening
curtain of a play we were both attending, and ask me about
how I had "whined on a web site about not being cast
as Brother Boy" in Sordid Lives. My
immediate response was that I certainly had not whined
about it. But, then I got to thinking, could my words
about it here (this had to be the web site) have been
interpreted as such? Well, I went back and looked at all
the entries. I came to the conclusion, which I hold fast to,
that what I have written about it does not merit being called
whining in any reasonable reading. I certainly said I was
disappointed; that would be because, well, I was
disappointed. See, that's what happens when an actor
much desires a particular role then does not win that role:
he or she is disappointed. That is no sour grapes to those
who did the casting nor toward the actor who did win.
Since I have been back to acting, and had the fortunate
happenstance to get cast the very first audition I went to, I
have lost many roles, in Little Shop of Horrors,
Sordid Lives (though I did cameo as the corpse of
Peggy Sue), A Walk in the Woods, Our
Town, Long Day's Journey Into Night,
Blithe Spirit, Jake's Women, not to
mention two short, independent movie productions,
The Conversation and Coming Up For Air.
I was, to one degree or another, disappointed at not being
cast in each and every of these. I know I would have done a
good job in every one of them. But, that does not suggest I
think those who won the roles I sought would not -- or did
not do the roles justice. In fact, I've seen some great work
from some of those who beat me out.
John Michael Lander as Brother Boy is a prime example of
this idea. Now, I will very much admit that during auditions
I did not believe he had as good a take on Brother Boy as I
did. However, the Brother Boy
he presented the audience on opening night was a strong
one. He played the role different than I would have. Of
course he did. He's not me and I'm not him. We are two
different actors and two different men. When I read the
play, I liked Brother Boy the most, thought he was the
most admirable character, even more so than Ty, who is the
other likable one -- though Wardell does redeem himself in
what can be called Act II.
John Michael gave Brother Boy a strong humanity and
decency, which made Brother Boy far more than just a
comic element. I think Del Shores wrote Brother Boy that
way, but, it would have been easy for an actor to lose that
ingredient in the midst of all of Brother Boy's comedic bits.
John Michael made humanity the foundation of his Brother
Boy and thus gave a performance I admired much.
The other big example is Gil Martin as Andrey Botvinnik in
A Walk in the Woods, the role I wanted more than
any other I have gone after thus far. There is a bigness to
Gil's presence on stage that I don't think will ever be a part
of whatever magic I end up developing for myself (if I ever
accomplish such a thing). As I am sure I would have done at
least "well" as Brother Boy, I know I would
have brought off a good Andrey. My Andrey would have
been much different than the one Gil gave the audience,
however. His was a broad stroke, very much a robust
Russian portrayal we have seen many times, and with that
big presence Gil has to offer. Had I tried to play Gil's
Andrey, I would have failed. I would have had to play him
as more of a mischievous imp with a gleam in his eye, a
Russian Yoda prankster if you will. In the auditions, I very
consciously steered away from a stereotypical Russian, and
frankly would not have been happy playing it had I been
cast. This is in no way an aspersion on Gil's work, his
work was simply wonderful.
Onward now: I recently received an email from a fellow
actor, responding to the blog, who told me I do what all
actors do: "cry bitterly for a moment or two, impugn
the director's casting abilities and obvious failure to
recognize brilliance, and then move on." Thing is, I
don't think I do this. My take is that, though I express my
frustrations and disappointments, I am a good sport about
it. I suppose one could read the entries about the audition
process for Long Day's Journey.... as
"crying bitterly, then impugning the director's
casting abilities and obvious failure to recognize
brilliance." It was not my wish to convey these
things, however. I certainly was unhappy that director
Michael Boyd did not read me as Jamie even once. He did,
however, say to the room, at the start of both audition
sessions, "If I don't read you in a part you've put
down, it's because I don't see you in that role based on
those who are here." So, it became clear to me that
based on who all was there, he did not see me physically as
fitting into his vision of the Tyrone family. I did not nor do
not hold that against him. I, of course, wish he'd had a
vision that would accommodate consideration of me as
Jamie, but, he didn't, and that's that. When I wrote in this
blog on Feb 16, "it is his vision and his
show," that was meant as a statement, an
acknowledgement that I understand those facts. It was not
intended to be read as ironic or sarcastic.
RAMBLINGS (PART 2): A year ago this month, I was
performing in the first show of my return to acting,
The Cripple of
Inishmaan. I had no idea then how far into the
Dayton Theatre world I would go. I wasn't really keen on
being in a lot of stage productions. The idea, as revealed in
the early entries of the blog, as well as the
essay on
the subject, was to shake some rust off the acting tools. I
still am interested in acting for the camera, but, I must
admit, I do like the stage.
I would not have guessed I'd audition for as many plays as
I could, be welcomed onto the board at
The Guild,
make so many theatre related friendships, or that in a year's
time I would be waiting, with some hope, for a
possible callback for a supporting role in a professional
movie production. I certainly haven't acted as much as I
would have wished, but, it's still been a good year. Last fall,
I was in the company of a few fellow cast members from
Sordid Lives. We were speaking with a sculptor
when one of us, while introducing us to the artist, said,
"We're all actors." And I felt half silly being
labelled such. Today, I can say, I have no comfort problems
saying that I am an actor.
MORE ON PAPER DOLLS MOVIE: Speaking of Paper Dolls,
a fellow Dayton actor, a bit more of a veteran, named Geoff
Burkman, sent me an email response to the March 18 blog entry.
He thinks it's still too soon to know if there will be a call
back. So I guess I wait a few more weeks before I completely
count it out. Goeff, by-the-way, was the third actor being
seriously considered for Jake in Jake's Women, along
me and Alex Carmichal -- with Alex winning the role.
GRACE & GLORIE CLOSED: The show closed Sunday. We
had a good run. I really wish I felt like I had done a whole
lot as the "producer." I got thanked several times
for all my "hard work" and can't help thinking it
must have looked like I worked harder than I did. But, I know
we had a good run, even if we had a few technical faux pas' and
such. -- (I suppose I would produce another play for the
Guild; but I'd want to feel more on top of things)
I also know that Burt Saidel, the arts critic for the local
Oakwood Register
was there and, even though it will be after we are closed, we
may get a review of the show in today's edition of that weekly.
Terry Morris (Dayton Daily News)
did not make it to the show.
TOSHA AND CRAIG IN IRIS: Natasha Randall and Craig Roberts
(both re: Cripple of Inishmaan, Proposals, and The
Diviners) will open March 31 in Iris, in Cincinnati
at The Know Theatre Tribe company.
I have hopes to see them. Tosha is one of those who has a copy
of the screenplay. She gave me a quick response yesterday,
positive, she enjoyed it. A few others have given me responses.
So far they have been good.
A MOVIE SHOOT IN JUNE?: Speaking of my screenplay and the
movie production thereof -- one will note I mention above that
The Dayton Theatre Guild
production of An Act of the Imagination runs in June, the
weekends of June 10-12, 17-19, & 24-26. As I am going to
audition for that, it is clear I am not hot that my movie be
shot in June. There's no way I could not use weekends to shoot.
There will be a kid actor, about twelve, everyone else will be
adults, likely with day jobs. Plus, let's remember that none
of those pre-production things such as crew, locations, equipment,
not to mention cast, have been done. It is still that let's
find a co-producer place. Of course, if I don't get cast in
the play, June is open at least in that sense.
CHANGES FOR THE WRITEGALLERY SITE, PROPER: I am going to change
the way I do literary updates at the site. I am ending the
scheduled seasonal literary updates. I will start doing
theme-based virtual chapbooks, such as the
First Flights chapbook, which
served as the Winter
2003 Literary Update. This new system will allow me to still
add work to the site, but, not under the preassure of regularly
occurring deadlines. The reason is likely obvious. I am not in a
place to keep up these seasonal updates without it being unnecessary
stress. And I don't want to retire the literary aspect of the site.
That is truly the main point of the site. My blog and the diary
of my other artistic ventures is a supplemental thing. As for
how big each of these chapbooks will be or how often they will
appear, I don't know yet. I will still illustrate them, so, there
likely will not be more than two a year, and it may be only one.
We will see. There will be a formal write-up on this on my
From K.L.'s Desk page,
soon.
{ADDED SECTION}
DISHEARTENING INFO ABOUT BLITHE SPIRIT: I just saw a
posted casting call to fill the lead role in the production
of Blithe Spirit that I did not get cast in. That's a
little discouraging -- to know that it wasn't simply because
the director saw someone else that she thought fit better that
I was not cast, but, because she does not think I am good for
the role, period. Now I am urged toward that previously
suggested "crying bitterly, then impugning the
director's casting abilities and obvious failure to recognize
brilliance." -- but, that would be wrong.
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Fri, Mar 25, 2005
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CASTING CALL FOR A SHORT INDY FILM: At the same time that I
spotted this more-recent call for Blithe Spirit, I spotted one for a
short indy film being shot close to Cincinnati by a couple
fellows. The screenplay is based on a Stephen King short story
and the film makers are working through Stephen King's Dollar
Baby Program. According to the call text, the program "is
for independent film makers (the man who directed Shaw Shank
Redemption started through [this program] as well)."
The text also promises that though there's no pay "Stephen
King will see it and this film may be entered into national
film festivals." I have sent my résumé and
headshot to the two co-producers/directors, Steve Smith and
Tony Bushman.
THE SHOOTING SCRIPT FOR MY MOVIE: I have begun the process of
breaking down the screenplay into the shooting script. I am now
assigning scene numbers and specifying the camera shots. I did
some camera shots in the original screenplay, although, usually
the screenwright is to avoid all but only the absolutely
necessary, as the camera angles and shots are the purview of the
director and/or the DP (Director of Photography). But, I am at
least the director, so I put some in. I didn't put in many, however, as
I wanted practice at just writing a screenplay as it
should be. Now I am playing the director a little more, as I
specify all the shots. I am studying how to make a proper
breakdown production script, as well, which is the script
many of the production crew will attend to the most.
And though I really dislike them, I will likely need to make
story boards. Actually, I know I will need to. I just
Just don't like bothering with them. Hated them all through
production classes in college. But, I will be on screen a bit,
and though I do want to shoot some of the footage, I can't
hardly when I am in front of the lens.
Which puts me to another very wise warning I just got from a
fellow actor -- Geoff Burkman, whom I mentioned earlier. He, as
is the common wisdom, has warned me against directing myself.
It's actually a very sound piece of advice. But, I have this
belief, even if it's naive, that I can pull this off. There are
just some technical things to deal with, especially for the
cast and crew -- I will likely roll back the takes I am in to
watch them, on the spot. I may also let my AD run a little more
in front of the production when I am in front of the camera. I
am willing to roll the dice, but, must also be willing to admit
that I understand the pitfalls. And I do understand them.
I'VE PUT THE NOVELIST'S CAP BACK ON FOR A FEW: I have also been
tinkering with the opening of my first novel a little. Just
sharpening up the opening some.
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Sun, Mar 27, 2005
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First off, Happy Easter to whom is out there who is of the
religious bent to honor the day.
OUR TOWN AT
THE DAYTON PLAYHOUSE:
I saw the production last night. I found it enjoyable. I was
especially impressed with the performances of Josh Mollohan and
Abica Dubay (George Gibbs and Emily Webb). They both gave
excellent performances and their chemistry as young lovers was
beautiful. They truly captured the innocence of the period.
Cynthia Karns (Stage Manager) brought off a good performance, as
did John Bukowski (Dr. Gibbs), Beck Lamb (Mrs. Gibbs), Jennifer
Lockwood (Mrs. Webb) and Bevan Michael Haynes (Simon Stimson).
Cynthia and John were both in The Diviners and Cynthia
was also in Sordid Lives. I've also seen Becky and Bevan
on stage before and Jennifer is of the Lockwood family, which I
have mentioned here before (Jim, Dodie and Jake). The children
and most of the rest of the supporting cast did good jobs, as
well. Oh, jeez, John Spitler (Babby Bobby Benton in The
Cripple of Inishmaan as well as the Rev. in Sordid Lives)
was in the cast as Constable Warren -- I forgot to mention that.
THE FICTION WRITER MAKES A VISIT: I feel a need to submit some
short stories to some lit mags. Haven't done so in a while. I
have one flash fiction piece ready and have started another
short story. I also am still looking at tweaks for my first
novel. And it would be nice if a damned agent would bite!
THE PRE-PRE-PRE -- (OR WHATEVER) -- PRODUCTION OF MY
MOVIE: Still plugging along with the shooting script and various
production documents. I need to soon compose a roster of
production things which need created: such as a portrait photograph
of one character, a family picture of the main family, html code
for a website that will be seen on screen. Things like that.
I also will be approaching a friend of mine about using some
music he and his band have recorded as incidental music in some
scenes -- stuff on the radio or the cd player. I have tentative
plans to record one of my songs for the closing credits. I have
a couple candidates which may be appropriate both in style and
lyrics, but, may write something new. I haven't written a brand
new song in a long while and the idea is appealing to me.
ANOTHER SCREENPLAY ON THE BACK BURNER: I have a short story I
wrote many years ago that has needed a major re-write. I have
come to the idea that the re-write could be in screenplay format.
the particular story is far more conducive to translation to
the screen than "Shiloh"
is. So, that may be a way to go when the time comes -- which is
a ways off.
SENDING A RÉSUMÉ TO
THE HUMAN RACE THEATRE COMPANY:
It may be too early, but, I am thinking I ought to send my
résumé and headshot to Dayton's Human Race Theatre
and try to get a general audition call for them. I was told the
general auditions were coming up in May. I think I might go for
it. This is the big local professional theatre so there are
Actor's Equity union points earned when one is cast in a show
there. plus, it's very good exposure to more directors. I am sure
I will do The Rising Phoenix
general audition in the summer. As I've said, it may be a little
too soon for the Race. I feel in many ways as if I ought to
have more time on stage before I try for the Race; but, that may
just be intimidation. At any rate, I am placing the idea of going
for it now, on the plate. I ought to start thinking about an
agent, too -- maybe.
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Mon, Mar 28, 2005
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BELATED REVIEW OF GRACE & GLORIE: As I predicted
would happen, Burt Saidel, the arts critic for the
Oakwood Register
did review Grace & Glorie in the March 22 edition of
that weekly. He had nice things to say. He praised Jo Bond and
Debra A. Kent saying they "[weaved] a spell of character
interpretation and dramatic sincerity," then later, that
they "made the most of every moment. Laced with real
comedy and even more real agony."
One last warm-fuzzy for closure.
THE NEXT AUDITION -- AN ACT OF THE IMAGINATION: I received my
purchased copy of the play in the mail Saturday. Usually I just check
a copy out from the library where I work. In this case, I would have
had to borrow it through a system called OhioLink -- which is
more-or-less like Interlibrary Loan. That's what I did when I
originally read it. But I wanted more concrete and longer
access to the play as I study it for the audition coming up on
April 25 & 26. So this time I went to Amazon.com and
bought it.
Bought the first play for the Guild's
2005/06 season, as well, since I could find it in no library, mine,
OhioLink or Interlibrary Loan. We had four of the six 05/06 plays in my
library and the other one is that all-woman cast so, as I said before,
I don't need to read it for a part, though I would like to know
the play, as a board member. And, again, I won't reveal the
play titles until the Guild has officially announced the season.
I will say I have read one of the plays and I have strong interest
in the lead role. I would do it great service -- I believe.
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