K.L.'s Bog: A Diary of Artful Things

K.L.'s Blog © 2004-2017 K.L.Storer -- all rights reserved

<--- PREVIOUS (Apr-June, 2004)

ENTRIES
(July-Sep, 2004):

click here for latest entry


Wed July 7, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



I have reconsidered using "To Life" as my audition song for LSOH. I have less than a week to get a new one. I still have been half considering something by Paul McCartney -- there are at least a dozen songs from his career that can be thought of as "Broadway like." At this point, however, I am looking closer at "Everybody Says Don't" from Sondheim and Laurents' Anyone Can Whistle, perhaps something from The Rocky Horror Show, but I am leaning heavily toward "Comedy Tonight" from A Funny Thing Happened on the Way to the Forum; again, Sondheim as composer. This last one has a few advantages for me. First, I was Pseudolus in my high school's 1977 production of the musical, so I have performed the song before. I hardly remember it but there is still a level of comfort for me there; second, the song has the right spirit, not exactly the same as LSOH. but still a similar one; third, the song is in a good range for my voice.

My hair is a tad long again, back down to my collar, I will get a hair cut this weekend. I also have a pretty bushy beard at present. I plan on a goatee, and I am considering washout black hair dye. I am focusing more on Mushnik, as I said before -- but will take Orin if I were to be cast as him. I don't believe that will happen, though.

I also have picked up a copy of The Diviners, which is the Dayton Theatre Guild's second production for next season. I am trying to keep ahead. There is no guarantee I will be cast in either Little Shop of Horrors or Sordid Lives. I need to have the next target ready for my scope. I have not yet read The Diviners, that may be a morning activity this weekend. Or a lunchtime one sometime sooner.

In terms of my novel. I printed out a copy of the manuscript to send my cousin. I made the error (or perhaps not) of reading it again, and, of course, I found things to fix. So I have been doing some minor editing. I also have a little more done on the movie treatment. A bit more writing, but I'd say I am less than five film-minutes into it.



Thu July 8, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



I have settled on singing "Comedy Tonight" from A Funny Thing Happened on the Way to the Forum -- the Sondheim composition, for my audition for Little Shop of Horrors. Beyond the reasons I list above, the last mitigating factor is that the sheet music was much more readily available. So, I will spend the next few days in focused preparation for this coming Monday evening, (and possibly Tuesday or Wednesday), and auditions at the Dayton Playhouse. I have the song looped over-and-over on a cassette tape for my car, office and home tape players. Still going to practice some of the songs from LSOH, just in case; and, of course, I am rehearsing dramatic readings of the script. I also got a tip from Greg Smith (the Cripple of Inishmaan and Proposals director) on a place to get the spray-on hair coloring. It's actually on my home way from the paycheck job.

Also, along with picking up a copy of the forthcoming Dayton Theatre Guild's production of The Diviners, which auditions September 6 & 7, I am also going to get a copy of Sylvia, by A.R. Gurney, the second Dayton Playhouse production for 2004/05 -- auditioning September 13 & 14. James Lockwood (Dr. McSherry in The Cripple of Inishmaan) is directing, and it sounds like an interesting play. I do want to give my first allegiance to The Theatre Guild, but, I also want to act as much as possible. And it's unreasonable to assume or expect to be cast in every Dayton Theatre Guild production. I want to be in more productions in a season than one ought to be at a particular theater, unless there's just no one else out there worth casting -- and I do not believe that to be the case at all.

On the independent movie front, I am still inching on with the script treatment. Got a few nice ideas today at lunch (it's my current lunchtime, laptop project). I'm still less than five film-minutes into it, or if over five, certainly not by much. I am concerned I will write in too many characters and locations but am trying to not allow that consideration to influence me away from a good idea when it presents itself -- so far, I believe I am succeeding.



Sat July 10, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



Dropped by Foy's Five & Dime in Fairborn (Ohio, of course) last night and picked up a can of black spray-on hair color, again, off of Greg Smith's recommendation. It's 9 a.m. here in South-West Ohio, and I have just shaved the bushy beard into a goatee and moustache. I have not applied the spray, yet. I get a haircut later today and I may give the audition look a spin later today -- after I get home from the gym. Of course, an overwhelming portion of today and tomorrow will be committed to rehearsing my audition: singing "Comedy Tonight" as well as Mushnik and Orin songs (just in case), and, of course, dramatic readings from the LSOH book.

The goatee looks pretty cool. It's a specific look I have never tried before. Here's a picture, as I post this (9:45-ish a.m., DST) it's less than an hour old.

K.L. with fresh goatee look for audition for 'Little Shop of Horrors'

EVENING

While out and about today, (and spending a lot of time singing "Comedy Tonight" in my car, along with the tape), I decided that coloring my hair black was too much. Perhaps it would be okay if I were cast as Orin, if the director went along with a visual reference to Marquis de Sade. But, since I am being realistic and going after Mushnik, who is Jewish, I decided I needed brown hair color, to remove the reddish-blonde tint of my natural hair color. So, after the gym, I stopped back by Foy's and bought a can of brown; picked up some white in case I want to tint some grey streaks in, as Mushnik is older. I tried the brown and it does the trick. Had a little bit of a dilemma about applying the coloring. Have to be careful about spray-on coloring; don't want obvious brown areas on the skin, even on the scalp. I figured out that I could spray the coloring onto a comb then work it into my hair that way. I am not sure if that is trace memory from high school theater days, or just such an obvious method that it easily presented itself -- I am sure I did not invent a new technique, however.

I became aware, as one will in the face of necessity, that I don't own something that I now have a use for: a hand-held mirror to see the back of my head in my bathroom mirror.

I haven't experimented with the white tint yet. I will tonight or tomorrow. Don't know if I'll use the white when I audition; it depends on the look, of course. It may be a decision I want to hold off and discuss with the director if I am cast. For instance, if I were to get Orin, I'd present the director with idea of using the black on my goatee and eyebrows and having a shaved head. But, as per the wise advice of Jim Lockwood, I would not take that radical step for the audition. I am going to use the brown coloring though, to blend out my Irish/English coloring, having Mushnik in mind.

Oh, and, by-the-way, When I got that haircut today, it was done by a woman, probably in her mid to late twenties. I requested a man's haircut from 1962. She wasn't sure what I meant, so, I said, "Think pre-Beatles." She still was unsure. I had her cut my hair to what she would consider "very short, but not a crew cut." She did, so, then I had her cut it a little shorter. Honestly, for historic accuracy, it's probably still a little too long, but, it'll do.



Sun July 11, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



Feeling pretty good about prep for tomorrow's audition. Got a good handle on both my song and on the readings from the playbook.

Here are a few pictures of what Mr. Mushnik might look like -- *(or maybe Orin, the dentist; who knows?). The gray highlights do work. Still am not sure if I am even coloring my hair at all for the audition. It's up in the air.

Mushnik Mushnik yells Mushnik and son

These are 8x10 headshots, one which I may take with me tomorrow night. There's also a composite 8x10, which uses all of these and a couple more. I am more apt to take that one. Dropping by Meijer early to get a few choices in the queue for development. I'll pick them up either at lunch or right after work. No gym tomorrow. I'm off at 3:30 and begin to psych myself for the 7:00 audition.



Tue, July 13, 2004
modified July 14

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



There is something about me and A Funny Thing Happened on the Way to the Forum, something about my memory and Forum, anyway. For those who read the essay "The Knowing In Me: the artist becomes himself," you will remember I discuss going up on lines from parts of the prologue. "Going up," for those who don't know, means to have the words ripped from your brain -- you couldn't remember them if the fate of civilization rested on your remembering them. Last night, I went up on something like half the lyrics to "Comedy Tonight!" That's not to say that is was anything like a bad audition, it wasn't. And I feel pretty good about it. When the words wouldn't come, I simply sang:

    I don't know the words
    I'll just keep singing
    'Cause it seems like what I should dooooooooo!
    Tragedy tomorrow! Comedy tonight!

Lost more words later and filled those in with scooby-doo sort of scats. Well, hey, I got a laugh. And the vocal was actually pretty good. The only other awkward place in the audition was the dancing. As some of you have read, the last thing I am is a dancer. On the audition form, for style of dancing I do, I checked "other," then wrote in, "IE: I fake it." I would be moving on stage well enough by opening night, but, going through 64 beats with any real level of smoothness (not to mention anything close to remembering all the choreography on the same evening it was shown to me) is not the sort of thing that's going to happen for me -- and it did not.

However, I sang well, and I read even better. I read two scenes as Mushnik (one of them twice), and once for Orin. I read very well as Mushnik, and did a pretty good job as Orin. Chris Shea, the young man I was so impressed with as John Wilkes Booth in Assassins, also read for Orin and nailed it, I think, better than I.

I really think I have a good shot at Mushnik. Of course, I was sure, if I got cast at all in Cripple, it would be as the doctor.

The second night of auditions are tonight. I am going back, but, not to read. I did not do the hair color last night. I am going to go back so the director, Grimace Boyer, can see me aged a little. Don't mind seeing the second wave of actors, either. I felt like the best Mushnik last night -- though another guy did really well. I wouldn't mind seeing if any other good reads on the part happen tonight. Of course, I will read again, if the director offers me the opportunity. I also know that Steve Easterling, a very fine actor who was in Proposals, will be there tonight going after the voice of the plant. He was Luis in Proposals, and was great. There were no bass voices there last night, except for Steve, who didn't audition because he thought we were singing from LSOH, so had nothing else prepared.

There was also a very pretty young black girl there named Waneta. Since I was "learning" the moves for the dance routine, at the time, I didn't get to hear her read, but I heard her sing. If she can act at all, I think Grimace has found Ronnette.

LATE EVENING

After work today I perfected the grey-haired Mushnik look. I combed some white into the roots at the edges of my hair line and the edges of my facial hair. Then I worked a lot of brown in to, again, remove my natural blonde and red. Last, I combed white in over the brown. I got a very real-looking greying effect.

Went to tonight's auditions to show the hair color to director Grimace. There were few actors auditioning tonight. I asked Grimace if it was okay for me to try the dance routine again. He was okay with it, so I did. I still was not what I would call good, but, it was better than last night.

I read again for Mushnik, and later I read for Seymour -- but that was because there was no other male at the time to read the part while actors were auditioned reading Mushnik and Audrey. Grimace told me I did well reading Seymour; unfortunately, I am at least twenty years too old to pull Seymour off. Twenty years older I can do, twenty years younger is a bit harder. One fella, who came almost when the night was wrapping, read very well for Mushnik. He didn't have a song prepared so I let him use my sheet music for "comedy Tonight," which was still in my rehearsal briefcase. Still feel good about my readings of Mushnik. I also was very much looking forward to hearing Steve Easterling's audition, but, by the time I left, he'd not shown up. Didn't get the idea the director and crew were staying much longer, either.

Grimace expects to email me Sunday or Monday with word on whether I am offered a role or not. And if not, well, Sordid Lives auditions Monday, July 26 and Tuesday, July 27.



Sat July 17, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



Once again an episode of Inside the Actors Studio has affected me. This one was a rerun of Barbara Streisand's appearance. The point of affectation being when she tells a student one must pay more attention to what one imagines and thinks can happen than what others say is possible. She tells another student she believes she became an icon because she was different, not of the mold. And she kept herself. She didn't change her name, her nose, her teeth. She spoke of how what she seems to believe about herself seems to be what is manifested as the world's perception of her.

I am struck by this because as I have been working on the treatment for the movie I have this little voice in my head that is concerned I am making it too elaborate and will not be able to produce it correctly. Yet, what I envision as the movie feels correct to the writer and artist inside me. If you read the short story the movie will be based on, "Shiloh," you'll know it is a small, character-driven story -- as is really, all of my writing. That was another point made by Ms. Streisand, that she doesn't like much of the purely action-driven, loud, special-effects infested movies cluttering the theaters these days (the wording is mostly mine there). So, I have had these pangs of doubt about the number of locations I am starting to require, the growing size of the cast, as well as that there are no intense, action-filled moments in it. Ms. Streisand's comments have helped get me back to the fact that it is a nice human story, worthy of being told, and that I can get the story told on film with as little compromise on production as possible. I am only vaguely sure at the moment how it gets produced, still I have no reason to believe it will not get produced.

I have also often second-guessed my novel because it is a character-driven story that is patient about its exposition and the unfolding of its plot. It has, however, the pace that feels right to me. I want the readers in love with the main characters and very much involved with them before the first big shoe drops. The current conventional wisdom says that isn't the way to do it, that you must introduce a major conflict early or the short-attention-spanned readers of today will not be engaged. I think my protagonist is a very dynamic and interesting guy with fascinating things going on in his head and wonderful, lovely relationships, from early in the book. And right now, I am -- because of Barbara Streisand's comments to James Lipton's audience of drama students -- in the belief that though some editors and literary agents will believe many readers won't be engaged, those editors and agents will be wrong. I need to imagine my manuscript getting into the hands of those who have more faith in and respect for readers.

As for my acting, I am a good actor and will presently be growing into an excellent one. I imagine myself at least semi-professional by the end of 2005. I have the potential to end up in full-length feature, studio-produced movies, or on Broadway (and like) theater stages. I am forty-six; that certainly counts heavily against me, I know. But there is no reason to believe it makes the task impossible. Here are some points, which often I am sad about, but in this perspective, they are in my favor:

  • I am not married and I have no children. There is no one depending on me who suffers as I go after these dreams
  • I don't have a house or its mortgage
  • my biggest debts are less than $2000 on my car and less than $600 on my credit card *(and I have a self- imposed limit of $750 on my card)
  • The only other financial commitment I have is the lease on my apartment; and if a good enough pay-off in exchange presents itself, I'll break the lease with not a hesitation in my heart

If push comes to shove, I can radically change my living situation with minimal delay and without unfairly affecting anybody else's life.

In related news, I have been steadily adding to the movie treatment. I also have made a few minor changes in the novel to make a few things a little more accurate and reflective of reality. I have a few changes still to make. I also have not worked on the sequel manuscript for a while. I am starting to feel a need to get back to it, to some extent.

And I think it's about time to again start a heavy query campaign of more literary agents for the first novel, as well as direct contact with some book publishers. I need to also contact some copyright holders about use of material in the first novel.

Then there's all that raw footage to edit into a music video. And one-hundred minutes worth of multi-track music to mix into a double CD concept album.

I often look at all the stuff waiting on my plate and either get overwhelmed by the magnitude or I beat myself up for having not gotten to a lot of it. Right now, I look at it all and think:

God! Look at all the COOL stuff I have to do!



Wed July 21, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



And it's on to the next audition.

Never got direct word from the Little Shop director, which by yesterday I interpreted as meaning I was not cast, and I was correct. On my way into Dayton to attend a board meeting at the Dayton Theatre Guild I stopped by the Dayton Playhouse to see the cast posting. I don't think Chris Shea was cast either, and I was sure he'd get Orin. But, I was in a hurry and didn't look at the cast list any closer than to not see my name.

See how I am?

Now it's on to the Sordid Lives auditions this coming Monday and Tuesday. Greg Smith is directing this one, just like Cripple and Proposals. It's happenstance: I'd be auditioning regardless. Greg was able to see me last night with the goatee, and will again on Sunday -- *(see below). I will show up for auditions Monday clean shaven. That way he has a better visual of me as any of the older male roles, including Brother Boy, the gay transexual, whom I am certain Greg will not want facial hair on. If I am cast as one of the "good ol' Texan boys," as I would call the other forty-something males, I can have a moustache, goatee, or beard grown in by opening curtain.

As for the guild board meeting last night, I am not yet an acting member, but am attending meetings now, even though I don't participate in votes yet.

This weekend is the guild's Guildkid's Program. The production to be performed is Alice in Wonderland. Kay Bosse, who is resident artist for the Dayton professional theater company, The Human Race, is the director. I am dropping by for the Sunday show, and will help strike the set after the show.

I have also started to snoop around a little for some sort of audition for productions in front of a camera -- indy film, even a commercial. Don't know all the technical details about local and regional commercial work, but I am in the company of folk who can clue me in. I've kind of started looking for actors' agents in the Dayton area, too. Though it's not quite time for that, I do want to have some sense of what (who's) out there.

AND LATER IN THE DAY, HERE'S A BIG OL' "DOH!"

At lunch today, as I was working on the movie treatment, it occurred to me:

The Guildkid's Alice in Wonderland production will be a great place to begin talent scouting for the movie. There is Kathy, the twelve-year-old daughter of the protagonist, he being named Lenny in the treatment (no name in the original short story, but for you). And there are adolescent extras needed for a few scenes. Plus Kathy has a little boyfriend whom at the moment is only referred to in conversation -- but, by the time I get to script then production, he may be at least on screen if not having some lines.

The treatment, by-the-way, is coming along nicely. I am enthused with what I thusfar have. I hope to have a finished draft to share with appropriate folk for honest feedback about what's wrong (and right) with the movie idea -- the list of such people is growing and will continue to grow.



Sun July 25, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



Finished the first draft of the movie treatment this morning at the picnic table at my favorite bend in the Little Miami River at John Bryant Park. I am pleased with what I have, so far. I will be showing it to a few people over the course of the next few weeks for constructive criticism. Tomorrow at the auditions for Sordid Lives I'll give Greg a copy for his feedback.

Also spent some time in the late morning today looking over and trying out most of the male roles in Sordid Lives. Going to go back to it tonight after I post this, too. The one I want to rehearse the most is Brother Boy. He is a flaming gay transvestite, but I don't really want to read him as a cliché or stereotype. I think he is served better if I were to read him as a woman rather than to "gay him up." Some may not see the difference, but I do. There are a couple references in the play to how you can't get much gayer than Brother Boy, I think those have more to do with the homophobia of those talking than that of Brother Boy's persona. So I really need to practice him more than the other men -- the rest of the men, as I said above, are good ol' Texan boys, and though I need to rehearse them, too, Brother Boy needs a little more attention.

Saw Alice in Wonderland at the guild today. It was fun and the kids enjoyed themselves. I did keep my eye open for talent for the movie. Saw two young girls who are potential; both show much promise as actors. One would work a little better because she has the right look for Kathy. I do not identify them here because it is way too early in pre-production to do so. Saw a potential male, too, for that role of Kathy's boyfriend.

Of course, with my direct involvement with the guild, I also helped strike the set. This was a total strike. All the staging is now gone.



Wed July 27, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



And it's on to the next audition.

More or less, that is. I was not cast as Brother Boy, which was the role I really wanted. Not cast as G.W., Wardell, or Odell, either. I will (following in the foot steps of Kevin Costner -- re: The Big Chill) be the dead body in the last "chapter" of Sordid Lives. Hey, gotta pay some dues, even at the level of community theater. Since I have a pretty easy part, I am also stage manager for the production.

I feel really good about my audition and was told by several people that I read extremely well for Brother Boy. Even Greg (director) told me I read very well. Bottom line though is another actor read well, too (though I think I had a little better handle on Brother Boy than he), and he is far more of a physical fit for the role. I read okay for the other roles, too, but Brother Boy was a damn good audition for me.

Craig Roberts came and read for Ty, the young, gay, successful screen actor not out of the closet back home in Texas, yet. His audition was most impressive. Chris Shea also read for the role. And though I find Chris a fine actor, Craig's was the best of the several young men who read for Ty. There were a few others who were good though.

Next audition I am aware of is The Diviners, at the guild, which auditions September 6 & 7. Actually, that will be directed by Michael Boyd, whom is cast in Sordid Lives as Wardell. I am also going to be looking for local movie productions, still.

Meanwhile, a few folk, including Greg, George Frey (TV & video at Wright State University), my friend Will Davis (who directed Gillian Anderson's first performance in front of a lens -- they were in college together), and a few others, have copies of the movie treatment. I have a few more copies to send out, including one, I think, to Chuck Scott (my high school director) and I am also thinking about Tosha (Natasha) Randall; when it comes to this arena, she has a strong thoughtfulness and an opinion I have come to respect.



Sat July 31, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



On the Sordid Lives front I thought I had a faint recognition of one of the ladies who is cast, the actor who is Dr. Eve. When I got the production contact list I realized it is Katrina Kittle. Katrina is a local novelist who has two well-received novels published, Traveling Light and Two Lies and a Truth, both from Warner books. I confess right here I have yet to read either. But I have a host of friends and acquaintances who have raved about one or both. I have told her that I will be picking up both novels in clothbound editions -- because I love having hardcover copies signed by the author. I have a sense I will like the text, too.

As for my role as the corpse of Peggy Sue in the production, at read-through the other night, Greg said he's is going to take some pictures of me in drag as Peggy, then use pictures of the actors playing her children, pictures from when the actors are younger, and created family pictures for the set. He thinks it will be a hoot, and I must say I have to agree.

I will insist on copies of them and will post them at the site.

First day of set construction is today, and I will be there for most of it, though I will bug out early. But, then there's tomorrow too.

As for the movie treatment, I have done a little tinkering and such, but I am really waiting for feedback from a few folk. I have begun researching some production things, such as lighting equipment and other production concepts. I am starting to be of the mind that I may want to pay the talent at least a token salary for involvement, perhaps crew, too. I am about to get to something that more-or-less resembles a production budget. I also have no real idea where any of the money is coming from -- aah, but what the hell, hey? I also have a couple ideas for actors to play the wife in the movie, but, as this is so so early in pre-production, I will get no more specific than I did about the twelve-year-old daughter or her boyfriend (a few entries back, above).

Sat down last night, for the first time in a long time, and played a little with my Final Cut software, using footage from that still unedited music video. I have much to learn about that software..........

In terms of the novel I have also edited a seven-thousand-plus word short story from the first few chapters, which I am sending out this morning. Still have not taken the time to sit down and write a new query letter to blitzkrieg the literary agents again. (I must tell you I have already warned Ms. Kittle that she and I are going to have a discussion about my novel and agents, etc, etc, -- which probably sent chills down her spine).



Mon, Aug 2, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



So far I have had two people get back to me with responses on the movie treatment, Will Davis and Greg Smith. Will's was pretty much that he saw no problems and found it believable. Greg likes the dialogue that is provided (yeah it's sort of half treatment and half screenplay) and he finds the characters believable -- but he doesn't see much of a plot. It is pretty much the same story as the short story that won an award, but, Greg's concern merits attention. It will be especially so if others bring it up.

Greg and I spoke about it as I helped with the first weekend of set construction for Sordid Lives at The Dayton Theatre Guild. Below are pictures of the set from nothing to where it was as of late afternoon Sunday when we left. The first picture is actually from the auditions last week, but it shows the big hole in the theater, after the total strike of all staging which recently took place *(see July 25 entry above). That's Craig Roberts reading with Henni Fisher; and that's John Spitler sitting behind them watching. Henni is cast as Latrelle, John is the preacher. The other pictures are obviously from the actual set building. Just click on the images here for larger versions.

SL_AUD_49.png
sordid_set01.png sordid_set02.png sordid_set03.png sordid_set04.png
sordid_set05.png sordid_set06.png sordid_set07.png sordid_set08.png
sordid_set09.png sordid_set10.png sordid_set11.png sordid_set12.png

That is also Henni helping Greg with set construction. As well we see Carol Finley and Terry Ronald. I am there, too, but I am obviously not in frame (having my face up against the back of the camera and all).

AUG 4 ADDENDUM: Carol is a major behind the scenes fixture at the guild, almost always at set construction; as well, she is president of the guild's board. Terry is often the lighting engineer for guild productions, as well as for productions at the the Dayton Playhouse and possibly (for all I know) other area theaters.



Thu Aug 5, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



As stated a few entries back, I have recently edited out a 7100-word short story excerpt from the first several chapters of my finished novel manuscript. It has put a bug in me to go back and do another edit of the whole book. I have already revised the prologue to some extent. It's back to that whole thing of hooking the reader. This may seem to contradict another recent entry where I speak of being satisfied with the first part of the book -- I still, in fact, am satisfied. But, I am not, I think the standard reader. I am also the author and was interested in the story and the characters before I began to write the book as it is today.

I will not be setting aside the movie treatment. That will be worked on after I have some more feedback on the draft I gave out. I have started the research on several aspects of production, too, including lighting on a slender budget, budgeting a movie in general, script writing, etc.



Tue, Aug 10, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



FIRST NOVEL: For the writers out there it likely isn't much of a shock that the "clean-up" I have just started to engage in has become more than simply "re-editing" -- I am doing some re-write. I have cut some passages, most which I like but see the need to remove. And I have altered or moved things around. That new wave of literary-agent-query blitzkrieg is on hold until I have gone all the way through the book. Though it's the first half of the book that needs the most re-working.

MOVIE PROJECT: More feedback on the movie treatment is coming in. Some important points have been made. Of particular interest to me are the following responses:

  1. it may not be a complete story
  2. the father's responses to his daughters and "boys" may be a little too censored as they stand at the moment
  3. the ending may make it appear that the resolution is focused otherwise than it is intended
  4. more of the narrative voice-over may need to be dramatized and taken out of the protagonist's head

The narrative voice-over, by-the-way, is virtually lifted from the prose of the original short story, "Shiloh," found in my virtual chapbook, Voices.

Otherwise for the movie project I have been reading Writing the Short Film, by Pat Cooper and Ken Dancygar (Boston:Focal Press). I have around a dozen more to read as well, on writing screenplays, production and production budgets. In terms of budget, I hope I can find a way to pay the talent and crew, even if it's just token sums. Not at all sure how practical that's going to be, but I hope it can be. Of course, I have only the vaguest sense of how this whole project is getting produced -- as I've said before.

SORDID LIVES: Really no new developments for me and the production. I haven't been to many rehearsals yet. I am going to start showing up more often because it's about time to start putting together the notes for stage management. The cast list is up at the guild site; click here if you care; the headshot for me is from Cripple, I have not provided a new one yet. The only other thing related to the play at all is that I have started reading Katrina Kittle's novel, Two Truths and a Lie (New York:Warner Books) -- so far I like it. I'm not very far in, yet. So many things demanding attention.

THE DAYTON THEATRE GUILD PICNIC: Sunday was the Dayton Theatre Guild's annual picnic where the in-house Murphy Awards for the 2003/2004 theater season were given out. The Cripple of Inishmaan won three: Best Show, Audience Choice Award for Best Show, and Ensemble Acting. Tosha (Natasha) Randall also won for Best Actress in a Supporting Role for Helen in Cripple. All the awards are (or will be shortly) listed on the Murphy Awards page at the guild web site. Beyond the awards being cool, the picnic was a nice day with theater people.



Sun Aug 15, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



FIRST NOVEL: Didn't mention in the last entry that as well as moving around, cutting and re-writing sections I have added some things.

OHIO ARTS COUNCIL: Yesterday I submitted a portion of the first novel for an individual artist's grant from the Ohio Arts Council. Were I to be chosen it will be either a $5000 or $10,000 grant. To be quite honest, if I beat the odds and get a check, it'll go toward the movie. Hey, I am the screen wright for the movie, so, it will still be writer related.

SORDID LIVES SET CONSTRUCTION: The set is coming along. Worked on it yesterday. One of the things built was the coffin for Peggy (me). See the picture here of me, test driving it, as it were. See also the further progressions of the set, beyond the pics from above. Of course, click on each image for a larger version. *By the way, pictured are Michael Boyd, Greg, Jocelyn Kandll and Stacey Emmoff.

sordid_set24.png
sordid_set13.png sordid_set14.png sordid_set15.png sordid_set16.png
sordid_set17.png sordid_set18.png sordid_set19.png sordid_set20.png
sordid_set21.png sordid_set22.png sordid_set23.png
sordid_set25.png sordid_set26.png sordid_set27.png sordid_set28.png
sordid_set29.png sordid_set30.png sordid_set31.png

DAYTONYS: There is a new theater awards for the Dayton Community Theaters, called, The Daytonys (the derivation being obvious). The ceremony is tomorrow night. I am confident that The Cripple of Inishmaan takes a few home. I'd love to think I get something for supporting role, but, I think there are a lot of fine performances to beat out and see no reason to assume myself more deserving, especially given the pesky flaws I have mentioned before. I will give you a report on Tuesday.



Wed Aug 18, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



DAYTONYS: As I predicted, Cripple of Inishmaan took quite a few awards at the first Daytony awards, Monday night.

The show won a award in the category of overall excellent productions. Natasha Randall also received an Award of Excellence for her portrayal of Helen McCormick. And the following awards of merit were given in the community theater category:

  • Performance by an ensemble cast
  • Barbara Coriell in her supporting role as Kate Osbourne
  • Dodie Lockwood in her supporting role of Eileen Osbourne
  • Craig Roberts in his supporting role of Bartley McCormick
  • Terry Ronald for lighting design
  • Greg Smith for set design
  • Matthew Smith in his lead role of Cripple Billy Claven

I think that's it for Cripple; if I missed or got something wrong, I will amend it here. I will say that I believe the ensemble should have won an award of excellence rather than simply merit; and Craig should have been recognized at the level of excellent for his supporting role as Kenny in Proposals. Well, hey, if the Emmy's can keep overlooking Martin Sheen, who can act better in his sleep than that Sopranos guy, then I guess the Daytonys can under-appreciate a Craig and an ensemble.

And I might as well not skirt the issue that I did not get an individual award for my role as Johnnypateen. Here's where I am at with that: as I already said in spades, there were what I consider serious flaws in my performance, kinks which kept it from being a fine performance, ones that made it, perhaps a good one, but much less than it could have been. It seems as if the adjudicators thought something of same. The other side, which we all know is there -- is that there most certainly is a little kid inside of me, who craves recognition, who wishes they had seen it differently. He is disappointed and feels slighted, and those feelings bleed into the "adult" psyche despite my best efforts to make it otherwise. No sense in pretending this stuff isn't going on. The big fact is, however, that I was in a fine production with fine people and I didn't suck -- so there you go. And the part of my ego that must be in charge of all this takes the stance that if I want to achieve that excellence I know is waiting for me, then I have to remember the imperfections which stood in the way of my personal recognition and fix that stuff.

And regardless of my situation, I am happy for my fellow cast mates, all of whom deserved their recognition!

Other awards of relevance to me: Greg Smith also got awards of excellence for the set designs of a play called Tally's Follys and for that great set for Proposals which I am proud to say I had a big hand in helping with. If you haven't seen the Cripple and Proposals sets here, check out the links below --

Kim Reiter, who is assistant director for Sordid Lives also won a Daytony of excellence for her supporting role of Annie in Proposals; and Gayle Andrews-Turner won one of merit for her supporting role as Clemma. Amande Beede was awarded a Daytony of excellence for her lead role in Proposals. Blake Senseman won for his role as Burt. And congrats to these four, too!

click here for the Dayton Daily News article on the event.

MOVIE TREATMENT: Did a very minor re-write yesterday, based on feedback I have already received. Have given a copy of it to Tosha -- who, by-the-way, is currently shooting an indy film

NOVEL: still plugging along with the minor adjustments to the first novel.

SORDID LIVES AND PEGGY SUE: time to start attending all the rehearsals. The actors need the body in the last scene, and I have to start getting stage management ducks in their rows. I played the last scene in the coffin last night for the first time. At first I didn't see any point in billing me in the program as "Peggy the corpse." However -- now -- having lay in the casket for somewhere around thirty minutes or so, in a situation where I can't let anyone see me breathe or move, whatsoever, I have come to the conclusion that this is an acting gig that not everyone could do -- so I damn-well deserve my name in the program. And I have no doubt in my mind, that there will be people in the audience who will watch me the whole time just to catch me being "not dead."

I did incredibly well last night. When the scene was over the general comment was that no one saw me breathe. I did smile at a couple jokes during the scene, but, that will work itself out by opening curtain. Being Peggy took a lot of concentration and I employed a few tricks of illusion. I laid my hands across my diaphragm so that they were actually about an inch above it so I could let my stomach move some with my breathing under the cloak of hands that were not showing the rhythm. I also made the expansion push downward into my back as much as possible, and that accounted for probably ninety-five percent of the my body's movement with the breathing rhythm. The big sticking point was a stiffness in my neck and one of my arms which was becoming more and more uncomfortable. Eventually I had a cramp in the arm. Well, I knew this was going to be a challenge. Not, of course, the challenge Brother Boy would have been, but, nonetheless, having rehearsed Peggy now once, I can say the dead guy (or gal) is most certainly a full member of the cast.

By-the-way, here is the URL for the guild's web site page for the production: www.daytontheatreguild.org/current.htm.



Mon, Aug 23, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



NEW HEADSHOTS: Saturday I shot my own headshot again, like I did in July for Little Shop, they, however, turned out crappy this time. They looked good on my screen but the actual prints had a flaky (in the literal visual sense) sort of digital look to them. Rather than try to figure out how to fake the lighting again, I have decided to use a photographer who specializes in actors headshots. Was going to be off tomorrow anyway (from that paycheck job thing), so I made an appointment in the morning. Need a decent 8 x 10 for the lobby display for the show and don't have a current one. Need headshots anyway. When I have more time to give to it, I may try to discover that formula for the home shots that works -- if there is one that really does work well. The Little Shop ones weren't bad, but, they weren't the highest quality, either. Big problem for me is my appearance changes frequently, and I often will have particular appearance purposefully for an audition. I'd like the headshot I submit, if I do submit one, to match the flesh-and-blood actor who stands in front of the director or producer, or whomever. Actually, at rehearsal tonight, Terry Ronald said he would do it for free, but I don't want to take his services for free. I will do the shoot tomorrow with the profression, then perhaps in the future I'll use Terry, but I'll want to pay him....something.

SORDID LIVES: have played the corpse in the last scene a few times now. The regular jokes from the script are not causing me to break character (I.E.: laugh, move), however, there have been a few blown lines that have got me. I know this will all be out of my system by the shows. No one reports having seen me move or breathe, with the exception of when I have broken character.

FIRST NOVEL: I am more than halfway through my little re-write.

TREATMENT AND THE MOVIE PROJECT IN GENERAL: I have done nothing more on the treatment though I have some thoughts about changes. I have been reading books on screenplays and recognize now some problems with the treatment. There are a lot of the "Don'ts" listed in all these books, which I have "Done." The big one: far too much instruction to the actors on how to say the lines, which words to emphasize, things like that. For the character I will play that's probably okay, but, if you think about it, unnecessary. I also have included some directions for camera which usually is a no-no, except I will direct the movie, so I am not stepping on the director's toes here. Another big mistake is too much information that is not directly related to what will be seen or heard. The things I have been reading all say a movie treatment, an outline, and a screenplay only deal with what will be in the movie: what will be seen and heard. If the words do not tell the person reading what will be in the movie, they need to be cut -- they have no use. Doesn't mean I can't know that information, as the god behind the world of the movie, but if it goes in the screenplay, it needs to be something which will be conveyed to the audience (by sight or sound). I am sure a couple of those who have not gotten back to me will point some of this out to me, because I am still waiting for more responses from the readers I gave copies to. I also have started reading and researching the whole process of producing and shooting..



Fri Sep 3, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



SORDID LIVES: It's been tech week. The show opens tonight. Last night was the final dress rehearsal. Wore Peggy Sue's makeup for the first time. I've been wearing the wig in the coffin for a few runs. The show has come right along. It will be funny. I have all the smiles out of my system. I have been able to lie there, motionless. The cast is really good. John-Michael Lander is doing good things with Brother Boy -- I say this in spite of the fact that I salivated for the role.

We had about twelve guests in the house for the final rehearsal. They liked the show but didn't laugh a lot. A few did, but not all of them. Jim Lockwood was there -- I was told he's mentioned quite a lot in the blog, but, that would be because he keeps showing up the places I am, in terms of the Dayton theater world. I mention Greg Smith and few others often, too. The show is ready for tonight

The stage management is mostly well-oiled now, too. I have an assistant stage manager, a young woman named Brandy Scott. Brandy was looking for some local theater to get involved with and came across this play and the Dayton Theatre Guild on the web. She contacted Greg and then showed up and started working. She's a great asset to the show and, I hope, to the guild from now on.

Wednesday and Tuesday nights were off-kilter nights for me, Wednesday, especially. I was just off my game in terms of stage management stuff. I was holding up as Peggy the Corpse, but not as K.L. the stage manager. Forgot to be places to catch props and dropped crap.

Plus, I'm moving into one of them funky down modes I sometimes slip into.

WRITEGALLERY AUTUMN UPDATE: Now I have to figure out how to work producing the Autumn 2004 Literary Update into the scheme of things. Of course, I still plan on auditioning next week (The Diviners), and if not cast in that, the week after (Sylvia), and if I am not cast in that, I'll swing back and work The Diviners. If I am cast in The Diviners the rehearsal cycle for that will begin before the run of Sordid Lives is over. That's possibly true of Sylvia, too. I am still not done with the novel re-write, though it's close. And I move right into the screenplay for movie, as soon as I am done with the novel re-write. And I have until September 22 to edit and create the HTML for the autumn literary update.

OTHER STUFF: Did get those headshots last week. They are good. I'll post a few when I have time to get the images together. Still on the novel re-write, but it's getting close to done. Need to start thinking about a new letter for the agent queries.

A NOTE: I have realized that I have been applying less of a "Creative Writing" technique to this blog for quite a while, really since after the start, when I wrote the retrospective entries. I guess I am rushed to get the info down and posted and not willing to slow the process down to try and get literary, if you will. Don't know if this is good or bad, but it is an observation I have just come to make.



Sat Sep 4, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



OPENING NIGHT FOR SORDID LIVES AT THE DAYTON THEATRE GUILD: Last night's opening performance went very well. To quote director Greg Smith, "Looks like we have a hit on our hands." There were a few dropped lines by actors, but, of course, there always will be in a live performance. The audience was very responsive and the cast kicked butt.

I did well in the coffin. One audience member afterward said she didn't realize there was a real person in the coffin until I sat up for my bow at the end of the show. Great complement. However, Jocelyn Kandl's mother said she did see my chest move slightly a few times. I will be on guard for that for the next eight shows.

The two biggest local critics were there, Terry Morris (Dayton Daily News) and Russell Florence Jr. (Dayton City Paper). I knew before curtain, as I was in my role as stage manager. I did not, however, clue the cast in that they were there.

By-the-way, here is the cast list with the bio's (taken from the Dayton Theatre Guild web site):

    Stacey Emoff as Bitsy Mae Harling. Stacy was raised in Alabama and currently lives in Trotwood. An account executive at Shumsky Promotional Agency, her favorite stage roles include: Rhetta in Pump Boys & Dinettes and Audrey in Little Shop of Horrors. Stacy appears in a locally produced soap opera, currently shooting pilot episodes.

    Diane Taveau as LaVonda Dupree. Diane is originally from California and made her journey to Dayton via Texas and Pennsylvania. She is excited to be in her first Dayton production. This month she joined the ranks of freshman at Wright State University as a member of their acting program. Her favorite roles include Suzannne in The Twilight of the Golds and Leyna They Come in All Colors. She recently celebrated fifteen years of marriage and wants to thank her husband for his support and love, and God -- in whom all things are possible -- even a career in theatre.

    Katrina Kittle as Dr. Eve Bolinger. Katrina's favorite past performances at DTG include Lisa in Collected Stories, Poopay in Communicating Doors, and Carnelle in The Miss Firecracker Contest. Katrina has published two novels -- Traveling Light and Two Truths And A Lie. A third novel is scheduled for release from Harper/Collins in the late summer of 2005. Katrina teaches English and theatre to sixth and seventh graders at The Miami Valley School. She would like to assure everyone that she is NOT inviting her students to this performance!

    Heather Martin as Noleta Nethercott. Heather lives in Dayton with her husband, Brian, and their son, Simon. She has been publisher of the Dayton Business Journal for a year and was the editor for five years. Sheís been a professional journalist for thirteen years. Her favorite theatre role was Alexa Vere de Vere in As Bees in Honey Drown, at the Dayton Theatre Guild in 2002. The most strange and interesting thing about her is that her dream job is to be a professional organizer: "You've got a dirty closet? I can help you with that!"

    Donald Smith as G.W. Nethercott. Three years ago, Don smith portrayed multiple roles in the Dayton Theatre Guild's production of Epic Proportions. He has since been busy traveling and working, but has finally made time for another performance. Don works at Exel Logistics in Dayton and is also a published poet.

    Roger Watson as Odell Owens. A lifelong Dayton resident (since college at University of Dayton), Roger is excited to be back at the Theatre Guild. In real life, he is a high school guidance counselor. Roger's favorite roles include Warren Harding in Camping with Henry and Tom and Daddy Warbucks in Annie. Roger has recently become a new grandpa to a beautiful little girl. While preparing for this role he has discovered that string figures has become a lost art!

    Michael Boyd as Wardell Owens. Michael has worked with Cleveland Playhouse, DoBaMa Theatre, Beck Center for the Performing Arts, Marin Theater Company, CellSpace (an alternative performance venue in San Francisco), and Marin Classic Theatre -- where he studied The Method under Artie Gilbert from the Lee Strasberg Acting Studio in Los Angeles. Here at the Guild, Michael directed the award-winning Equus and Who's Afraid of Virginia Woolf?, as well as, Inherit the Wind, Artist Descending A Staircase, As Bees in Honey Drown, and As Is. He also performed in Guild productions of Thurber Carnival, Strange Snow, All My Sons, Itís Only A Play!, and recently, Godís Man In Texas. Michael lives in downtown Dayton and is Account Director for B/R/C Marketing, Inc., an advertising agency based in Washington Township.

    John Spitler as the Reverend Barnes. John was born and raised in Xenia, Ohio, and now resides in a home he and his partner Garry Dowell built two years ago outside of New Carlisle, Ohio. John works for the State of Ohio Environmental Protection Agency, where he has been an Environmental Specialist in the Division of Surface Water for twenty-seven years. Johnís favorite roles include Babby Bobby Bennett in The Cripple of Inishmaan, juror number seven in Twelve Angry Men, and one of the Costazuela brothers in Odd Couple, Female Version. John and Garry enjoy entertaining in their home and living life to the fullest!

    Dolores "Dutch" Waterman as Juanita. It has been Ms. Waterman's "great good fortune to have been associated with the Dayton Theatre Guild for many years, nearly forty, I think." She has filled many roles from cleaning lady to costume mistress and president to cookie chairman -- with a few acting jobs thrown in. She last played Mrs. Higgins in Pygmalion and before that the Mother in Children. She also portrayed the mother in Da and Mother Goose in the John Jakes-Gil Martin musical Mother Goose Now. "After forty years one loses one's ingenue status." Along with her fellow actors, Dolores hopes to keep entertaining you for years to come and with your help, soon be performing for you at the NEW Guild location in downtown Dayton!

    Henni Fisher as Latrelle Williamson. A Dayton native, Henni has been active in the Dayton Theatre scene since 1984. She has performed at The Dayton Playhouse, The Dayton Theatre Guild First Stage Productions, and with the Human Race Theatre. Henni's favorite roles include Dolly Levi, Mame, Mama Rose and Mona in The Best Little Whorehouse in Texas. She is wild for the color green and riding her motorcycle.

    Travis Williams as Ty Williamson. Travis was born in Dayton and lives in Bellbrook where he attends high school and works at the local Hollywood Video store. Some of his favorite roles come from recent plays that he has done such as Oberon from William Shakespeare's Midsummer Night's Dream and Sky Masterson from the musical Guys and Dolls. Other than acting Travis loves to play guitar and write music.

    Cynthia Karns as Sissy Hickey. Cynthia has previously been seen at the Guild as Mrs. Danvers in Rebecca and Martha in Book of Days. This summer she played Ruth/Mrs Frieburg/Blind woman in A Crooked Man at The Dayton Playhouse's Futurefest. Cynthia is also active as a director and has staged Cat on a Hot Tin Roof, Educating Rita, and several Futurefest shows. She is an assistant public defender and past president of the Dayton Woman's Bar Association. She lives in Dayton with Gracie, her beautiful sheltie.

    John-Michael Lander as Earl "Brother Boy" Ingram. John-Michael has been involved in the biz since he won two gold medals at the World Platform and Springboard Diving Championships in Norway. He has done commercials for Long John Silvers, Diet Coke with Elton John, and many others. He has portrayed roles on All My Children and General Hospital. His films include: All The Rage, Latex, and Among Others One Nation, Two Worlds. He has created roles on and off-Broadway and is a 2001 Magnu Cum Laude graduate in Musical Theatre from WSU. He currently is Executive Director of the new JMI Talent Agency, Inc. and JMI Production Company in Dayton which has created a new soap opera.

    K.L.Storer, (who?) stage manager and Peggy Sue Ingram (corpse). A native Daytonian, K.L. earned his BA in English and Mass Communication from Wright State University, where he is now library staff. As Johnnypateen in the Guild's 2004 production, The Cripple of Inishmaan, K.L. returned to theater, after a twenty-seven year absence. He is an occasionally published writer and poet on the hunt for an agent for his first novel. He is also writing an independent movie that he plans to submit to film festivals. K.L. produces the WriteGallery Creative Writing Web Site, which features writers and poets from around the world.

    Greg Smith (director) - A visual information specialist at the Air Force Institute of Technology and chief designer for Entertainment Unlimited in Centerville, Greg has spent the last twenty years as an active member of the Dayton entertainment scene. Arriving at the Fairborn Playhouse in 1983, he has been an award-winning director, actor and/or set and costume designer for the Dayton Playhouse, Dayton Theatre Guild, K-O Theatre, Playhouse South, Waynetown Players, Sinclair Community College, La Comedia, the Gem City Sweet Adelines, FirStage Productions and the Human Race Theatre Company. He organizes and is on the boards of the Dayton Theater Hall of Fame and the DayTonys.

    Kim Reiter (assistant director). Kim Reiter As one of the newest board members for the DTG, Kim is thrilled to be assisting Greg on this production. Most recently she was seen in the Guild's Proposals as Annie Robbins. Local credits include The Laramie Project, All My Sons, 42nd Street and The Wallpaper Projects From Here -- A Century of Voices from Ohio. While living in the Washington, D.C. area this Maine native portrayed numerous roles including Lina Lamont in Singin' in the Rain and Sister Robert Anne in Nunsense. National Tours include Me and My Girl, Annie, Big, Cabaret and Jekyll & Hyde. She has also toured Germany and the Sinai with the Department of Defense singing for the troops. Cast as the Mother, Kim will begin shooting the film Chasing Bobby Knight this fall.

    Brandolyn Scott (assistant stage manager). A native of Columbia, S.C. Brandy is a wife and mother of two who also works as a contractor in Intelligence Analysis. She is a cellist and a singer who first made her appearance on stage at the age of five and "has a love for the arts that hopefully will lead to a degree in theater."

    *Brandy's bio was added September 7, 2004



Tue, Sep 7, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



FIRST NIGHT OF AUDITIONS FOR THE DIVINERS: Last night was the first night of Diviners auditions. A lot of good reads there. Tosha (Natasha Randall) was there and, as always, read very well. In fact, there were no bad reads. I did well, I think. Only read twice. First I read as the character Ferris Layman, then director Michael Boyd (Wardell in Sordid Lives) had me read for C.C. Showers, which was a bit surprising, since the script calls for a darling-looking thirty-year-old. I read him well enough, but, I don't see myself as the right type. But, it's the lead so I'd take it if Mike were to offer. There were a couple guys who are the right type who read very well, so I don't imagine I would get C.C., and really didn't go in with any designs on him anyway.

I wouldn't mind Ferris. He's the father of Buddy Layman, who's a sort of teenaged idiot savant. I also will ask to read for the farmer, Basil Bennett. To my thinking, those are the only two roles that I fit.

There's also a male cast member who will open the show by singing the blue-grass gospel song, "How Tedious and Tasteless." I can carry it off, though it is a difficult song, and I cannot sing it like the tenor in the recording I have heard. Anyway, I really want one of the roles of Ferris or Basil. And, as I said, though I doubt I'd be offered C.C., I would take it.

TREATMENT FOR THE MOVIE SHORT: Speaking of Ms. Randall, she did give me her notes on the treatment, last night. She affirmed a few things I had already come to, such as that much of the voice-over narration needs to be dramatized, especially being moved from the voice-over into dialogue exposition. She also suggested I not define the characters as clearly, because I may inadvertently limit my pool of talent to cast from. We also discussed the idea to give the actor only direction which is absolutely critical to the movie or when the character's reaction may be difficult to interpret otherwise. The voice over is still in the second person voice used in the original short story, and she found it a little odd. She also wasn't sure what the major dilemma for the main character is -- not the first time that issue has arisen. In the short story it's the philosophical concept of meeting a young woman who could have been his daughter in another version of reality, and I was already concerned that it wasn't translating well in this new format. Tosha was the latest to confirm that for me. The purest in me wants to not deviate from the original story, not change anything in a significant way. The purest may not be my biggest ally in this situation. Well, I have the last chapter in the first novel to go back through for any re-write that seems necessary, then I am going to go back to the movie script process. I don't know if I am going to write a treatment revision, do a point outline, or just do the screenplay. It may be some sort of hybrid. The "treatment" I have now is a hybrid of sorts -- one written by a man who barely knows the proper format for any movie writing.

FIRST WEEKEND OF SORDID LIVES AT THE DAYTON THEATRE GUILD: The Saturday and Sunday shows went as well as the Friday one. In terms of lines I'd say it mostly went better for the cast. I did screw up on a pre-set for some props, but, was able to cheat out a solution. I was suppose to set three beer bottles out, with water in them, before the opening curtain. I filled them and put them in the refrigerator to chill them, and there they stayed until an actor, Mike Boyd, actually, said, "Hey, the beers aren't on the set!" Was able to slip on during the scene change and get them in place. Tonight, after the second auditions for The Diviners, Carol Finley and I will preset all we can for next Friday. Greg is having a run through for the principals on Thursday, but, it won't be a full tech run and I don't have to be there, so I likely won't be. I do have an Autumn Literary update to edit and create HTML code for, so, I ought take advantage.

In fact, I have taken today off to practice more from The Diviners, for this second night of auditions, and also to do my laundry (the only day open for a while, either before or after). Besides also dealing with the last chapter of the novel, I might get some WG update editing done, too, in between loads of underwear and bath towels, etc.



Wed Sep 8, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



SECOND NIGHT OF AUDITIONS FOR THE DIVINERS: When I was a junior in high school, seventeen-years old, I took an acting class with James Malone, the other teacher who directed theater at Wilbur Wright High School, though infrequently and usually when Chuck Scott was unable to direct a particular play for one reason or another. Those ten weeks were the only time in my life I have ever done any formal improvisational acting -- that being the improv that does not include all the "Let's pretend...." from the every-day life of the average kid. But, in terms of any improv in a situation where it was actors doing improv, that ten weeks in 1976 was it, until last night.

The way this worked last night was that Michael had not asked me back up to read yet on the second night. I had expected that at some point he would ask if anyone wanted to read for a character or for a scene they had not. Then I would have asked to read Basil in a particular scene where he's particularly funny. Mike, however, announced that he was through auditioning most people and he only needed those who were auditioning for C.C. Showers and Buddy Layman to stay. Everyone else could leave. As he went on naming those I got engaged in conversation with an actress who needed my phone number. Actually it was Nicole, the choreographer for Little Shop of Horrors, that which I did not get cast for in July. Her boyfriend has a jacket that belongs to me that I've been trying to get back.

Now, I stayed for two reasons: 1) as stage manager for Sordid Lives I wanted to get as much pre-set for Friday's performance, and Thursday run through, done as I could; 2) I was interested to watch because Mike has a really good pool of actors to pull from for both those roles, including Travis Williams, who plays Ty in Sordid Lives and Craig Roberts (Cripple of Inishmaan and Proposals). After the rest had left, Mike told "those" actors that "they"' were going to improv a scene based on both characters' known motivations, gleened from the script. I was intrigued by the work these actors did in the following moments.

Then, Mike called on me. I pretty much had to have looked like a deer caught in fog lights, more out of surprise than intimidation. "I'm just here to move furniture!" I said. Then Carol Finley, who is producing for Mike said, "Well, now you have something else to do," or something to that effect.

I was at ease doing it, I think mostly because I do have a good understanding of C.C. and of the relationship between C.C. and Buddy. I have read the play a few times. Also, there had been a few pairings up already and I had a chance to study them and decide how I would do it. I always do that, regardless of the situation. I think to myself, Oh, that's the wrong emphasis, or, I'd play him angrier, or, If I were her director I tell her to be coy not brazen. So, I wasn't really plotting my own improvisational performance to be called upon -- I did not know I had been asked to stay (he must have said my name while I was talking with Nicole). When I got up there, I just did and said what it seems to me C.C. would do and say in the same situation. I was told by someone whose opinion I am coming to respect greatly that I did the best job. And that makes me feel good.

My recollection is that I wasn't good at improvisation in high school. I think I was probably too concerned with being brilliant so I got in my own way, I stifled myself. Last night I was concerned with doing my best to be C.C. I was not concerned with it being great; I was concerned that it be true to C.C. Now I was thinking on my feet, so the character wasn't solid, but the logic and the thinking was his.

I'm still a little mystified I would be in contention for the role of C.C. Now, I don't think of myself as an ugly man, but, I don't think I'm the dashing young fella that the script calls for. I may understand his character, and really see the depth and dynamics of his relationships, but I just didn't figure I look the part both in terms of sex-appeal and age. Yet, as I already have said, if Mike casts me as C.C., I'll come along for the ride.

And ultimately, even if I don't get cast at all, this audition has been a good experience.



Sat Sep 11, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



I HAVE BEEN CAST IN THE DIVINERS: Remember the song, "How Tedious and Tasteless," which I mention above, the song that is a bit of a challenge, the one that Diviners director Mike Boyd is using at the start of the show? I get to sing it. And I am quite happy about that. I did not get the role of C.C., which, as I said before, I wouldn't have considered myself for, at all, anyway. I am a little disappointed that I am not Basil, but, it's okay; I am excited to sing in the show.

I will sing one verse, another singer will sing a second (or first) verse, then we, and probably at least one more singer, will sing the last verse in lovely harmony. I have been singing the song and trying to figure out the most effective places to take my breaths. Mike also has said we ought to take the key up about a step, and that's going to mean I have to also figure how to keep the strength of the vocal in tact, because the high notes in the melody are on the edge or into my falsetto range. Mike also wants more nasal in my voice; and I have been working a southern accent into the vocal.

I'll also be in a crowd scene or two. In fact, I think Mike is pretty much planning on no actors, or hardly any actors, leaving the stage during the show. So, though I have also said I will work the show, I likely would not be able to be something like a stage manager. Mike told me he wants me to work with him on the music in a role more-or-less but not quite like an A.D. He said the exact use of music is still a work-in-progress. It will be interesting to see what develops.

So, now my next planned audition is for A Walk in the Woods in November. I obviously can't audition for Sylvia, which will be in rehearsal and production the exact same time as The Diviners. My big regret there is that I won't even be able to attend a performance of Sylvia, which looks like a really good play.

By-the-way, both Cynthia Karnes and Travis Williams, currently in Sordid Lives (as Sissy and Ty), are cast in The Diviners. Travis is cast in the lead as C.C. Showers.



Tue, Sep 14, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



SORDID LIVES AT THE DAYTON THEATRE GUILD LIKELY ADDING ANOTHER SHOW THIS SATURDAY EVENING: Looks like ticket demand is high enough that an 8:30 Saturday show will be added this weekend to follow the 5:00 show. It depends on whether all the cast is available. We were planning a party during that time slot, so, it seems everyone should be available. Looks like we will just have to start the party later!

Sordid Lives is going to overtake The Cripple of Inishmaan as the most successful show at DTG. Selfishly, I don't want it to, because I had a far bigger stage role in Cripple, and also, I frankly think Cripple is a better script. The story is stronger and the writing in general is stronger and the playwright allowed for the characters to be played fully in three dimensions. My take on Sordid Lives is that, Ty, Brother Boy and Latrelle are the only characters the actors have a chance to play wholly; the rest are, perhaps more than just two dimensional, but, not quite three dimensional. Although, the actors are having a blast with the roles. And this is an observation rather than an criticism; the lack of full dimensions is the nature of the play. Cripple is darker and the humor is often far more subtle and mostly a lot more ironic. Sordid Lives is all about purposefully low-brow humor and having a lot of fun with some southern stereotypes.

ON OTHER FRONTS rehearsals for The Diviners start this evening. I also slightly revised a chapter in the novel. I have sat once again to attempt a re-do of the query letter to agents for the novel. I have not started the revisions/screenplay for the movie, but, the concepts have been on my mind. My focus is on the autumn literary update for the web site, at the moment.



Wed Sep 15, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



A SECOND SATURDAY SHOW HAS BEEN ADDED FOR SORDID LIVES AT THE DAYTON THEATRE GUILD!: How cool is this? Despite my selfish misgivings (re: my protectiveness toward The Cripple of Inishmaan, which I still think is ultimately a better show), I am jazzed to be connected with another hit like this! Plus, my friend Lou Lala, who helped build the set, will be able to come see the show, as this 8:30 Saturday performance is not a schedule conflict for him.

THE DIVINERS REHEARSALS: Last night was the first night. Mike Boyd is a pretty laid-back guy, so the process looks like it will be such, though he does take theater serious. He comes from The Method form of acting and has said he will employ that approach to one extent or another as director. His approach seems to be pretty organic. It will be interesting to experience this production with him as director.

Travis was not able to be there so I did C.C. for the read through. I expected Mike might have me sing the opening song but he did not. Mike has not completely drawn the musical landscape yet, but, he has said the show will end with a vocal from a Celtic soprano. As well, the whole cast will join in to end Act I with a song. What Mike has revealed about his musical concept for the show sounds quite good to me. He has said I will have some sort of role assisting with music, but, I am not sure yet what that is beyond singing at the open of the show.

ON A SEEMINGLY UNRELATED TOPIC, I am really becoming discontented with my paycheck job. Changes are being made that don't set well with me. It's not that there are changes, it just that much of the change seems to be not well thought out and pretty foolish. Add in that the further I get into the artful place where I belong, the less tentable this paycheck job becomes to me, and then mix in that I feel more and more disfranchised as time goes on with this particular employment. Bottom line, every minute I belong there less and less. Even if I had great faith in the wisdom and ability of the management there (and I do not), I would be unhappy and growing more so with momentum. I have to find a paycheck job that more directly taps into my identity. In most ways, I have hardly a clue what that would be, save for that professional goal of acting and the related fields. It's between now and then I have to contend with. It's paying my rent with some manner of income that I am thrilled to get out of bed and go to while I am putting in the dues for the big goals.

Yeah, I need to pay my rent with a different paycheck than I am right now.



Sun Sep 19, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



SORDID LIVES: Today will be the final of a ten-show run. Yesterday we had our added 8:30 pm show. First time I had ever been involved with two theater performances the same day. Hope it is not the last. It went rather smoothly. As stage manager I had one minor "oops!" There needs to be a bowl of chicken set out for the first scene. I did not set it before the 8:30 show. Fortunately, I was able to get on stage during a blackout between the opening sequence and Scene One to get the prop food -- which is very important to the scene -- into place.

Most cast and crew went to Katrina Kittle's home for fajitas *(theme party based on the West Texas setting of the play). Katrina being the novelist who is cast in the play. She is, by-the-way, a very good actor and though I've only hardly begun to read one of her books, the second one, Two Truths and a Lie, she is clearly a good writer, too. This was only one of several cast parties which have occurred, two having been at Michael Boyd's.

Today we strike the set, readying the place for both and limited run of a one-man show, Underneath the Lintel (more on that below), and also The Diviners.

THE DIVINERS: We haven't had rehearsals since last Wednesday. Tomorrow and Tuesday will be blocking. Wednesday will be music, but off site. There will be rehearsal for next weekend's limited engagement of Underneath the Lintel.

UNDERNEATH THE LINTEL: Local Equity actor Bruce Cromer is doing a one-act, one-man performance of this script next weekend. I was approached yesterday about running sound for it. I have checked with Mike and he will accommodate my absence from the Wednesday and Thursday rehearsals. Actually, I think Wednesday music work is the one I needed most to be concerned with a conflict over. Well, I hadn't bought my ticket for Lintelyet anyway. Now I guess I don't need one, and will see it from the booth. I was also going to go see Little Shop of Horrors at The Dayton Playhouse this coming weekend, but it looks like I'll miss it.

SPEAKING OF LITTLE SHOP: The director, Grimace Boyer sent me an email congratulating me on getting cast in The Diviners. He was kind enough to tell me that he was very impressed with my Little Shop audition and felt I could do a great job in the role of Mushnik. I was neck and neck with the actor he cast, whom Grimace said was cast because he was closer to type. Nice to know that.



Wed Sep 22, 2004

OCT-DEC, 2003
JAN-MAR, 2004
APR-JUNE, 2004
JULY-SEP, 2004
OCT-DEC, 2004
JAN-MAR, 2005
APR-JUNE, 2005
JULY-SEP, 2005
OCT-DEC, 2005
JAN-MAR, 2006
APR-JUNE, 2006
JULY-SEP, 2006
OCT-DEC, 2006
JAN-MAR, 2007
APR-JUNE, 2007
JULY-SEP, 2007
OCT-DEC, 2007
JAN-MAR, 2008
APR-JUNE, 2008
JULY-SEP, 2008
OCT-DEC, 2008
JAN-MAR, 2009
APR-JUNE, 2009
JULY-SEP, 2009
OCT-DEC, 2009
JAN-MAR, 2010
APR-JUNE, 2010
JULY-SEP, 2010
OCT-DEC, 2010
JAN-MAR, 2011
APR-JUNE, 2011
JULY-SEP, 2011
OCT-DEC, 2011
JAN-MAR, 2012
APR-JUNE, 2012
JULY-SEP, 2012
OCT-DEC, 2012
JAN-MAR, 2013
APR-JUNE, 2013
JULY-SEP, 2013
OCT-DEC, 2013
JAN-MAR, 2014
APR-JUNE, 2014
JULY-SEP, 2014
OCT-DEC, 2014
JAN-MAR, 2015
APR-JUNE, 2015
JULY-SEP, 2015
OCT-DEC, 2015
JAN-MAR, 2016
APR-JUNE, 2016
JULY-SEP, 2016
OCT-DEC, 2016
JAN-MAR, 2017
APR-JUNE, 2017



A TRAGIC EVENT: This Monday night's rehearsal of The Diviners was marred by a very bad event. A fifteen-year-old neighborhood boy was struck by a car, while crossing the street in front of the guild, and was killed. His body came to rest right in front of the theater. Most of the cast and crew were on site and a few witnessed the terrible occurrence. I did not -- and I am quite all right with that fact. I did however see the poor child after the accident and I witnessed as his mother came upon the scene.

Moments after the impact, an attempt was made by some cast and crew to find cloth inside the theater to stop the bleeding. But, it was too late. Our director, Mike Boyd, cancelled rehearsal for the obvious reason that no one was in the mental or emotional state to rehearse.

The young man was Aaron Jackson. Aaron was an honor student and was considered a great kid by everyone who knew him. The Dayton Daily News reports that Aaron's mother "suffered from degenerative hip and back problems" and that he was her primary care-giver. Tuesday night I sat in my first guild board meeting as an active member. At that meeting, we voted to donate $500 to Aaron's family. There is also discussion of doing a special performance of The Diviners, with all proceeds going to Aaron's family, as well. I am all for it.

UNDERNEATH THE LINTEL: Have watched Bruce Cromer do two tech cue rehearsals now -- one where I ran sound (last night). Bruce is very impressive. I think I can get to the point where I can carry eighty minutes on stage alone, but, I ain't there yet. Bruce teaches acting at Wright State University. I wish I could get into his class without being an acting major. We have one full dress rehearsal tonight, then tomorrow night is a preview for the show's run this weekend.

THE DIVINERS REHEARSALS: weak week for rehearsals. Of course, Monday evening was lost. There was blocking last night. Tonight there is no rehearsal, because director Mike is involved in a private find-raising effort for the guild. Tomorrow night there will be a line read and character study at Mike's. I will be late since I am running sound for Bruce Cromer.

THE DAYTON THEATRE GUILD BOARD OF DIRECTORS: As stated above, last night I attended a board meeting for the first time as a voting member. Last night was a night of many hats for me. I arrived at the guild to run sound for Bruce's tech run. Then as an actor I attended rehearsals for The Diviners. Then I left for a while to attend the board meeting as a board member. I have been appointed properties manager for the guild, by-the-way.

AS FOR MY WRITING EFFORTS IN GENERAL: Have done nothing in recent days on any fronts in terms of my own writing. All my non-theater work has been editing the Autumn 2004 Literary Update for the site.




click here for the start of the diary
click here for the top of this page

K.L.'s Blog © 2004-2017 K.L.Storer -- all rights reserved

email me at: KL_Storer@yahoo.com

NEXT (Oct-Dec, 2004) --->

For the index of K.L.'s creative writing and essays, click here.