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

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Sun Apr 1, 2012

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APR-JUNE, 2014



CLOSING TODAY
GOING TO ST. IVES by Lee Blessing, at The Dayton Theatre Guild.

The Cast of Going to St. Ives
CHARACTER
           ACTOR
Dr. Cora Gage            Katrina Kittle

Mae N'Kame            Marianna Harris
*due to unforeseen circumstances, Ms. Harris has stepped into the role of Mae N'Kame

The Podcast for Going To St. Ives


Wed Apr 4, 2012

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WHERE I NOW PLAN TO TAKE THIS COBBLED COLLECTION OF LOOSELY CONNECTED VIGNETTES:
Improv Movie Project Icon -- black and white photo of DP Fred Boomer behind the DV movie camera with Director K.L.Storer standing next to him, watching the action they are shooting

I believe I have arrived at the decision to edit the full-length as more of a study of the improvisational work being done than as a focus on the so-called overarching story. The truth being that there really is no overarching story and the parts are so disjointed that making them cohesive as connected "stories" is not at all practical.

This concept had originally been an idea for a supplemental commentary disk or chapter on the DVD. But, now I think it's best if this becomes the focus of the movie. It wasn't shot with this in mind so there's a lot of backdoor footage that would be great to use that does not exist. But, I think I can get a decent edit with this approach that gives the full movie a unification and continuity that it would otherwise lack or struggle damned hard to support.

I don't know if this concept is going to be a rock-solid continuity, but it'll be less of a burdon to achieve by using this approach.

I think.

And, as I have intimated again and again and again, however the final cut is cut, overall, the performances from the actors range from good to excellent.


U.D. LAW:
PROFESSIONAL GIG ICON

Over the weekend we did three of the five trials in the Mock Trial Process series. I always go into these things, I mean the U.D. Law gigs in general, not just trial settings, feeling at least a little unprepared, but it all turned out more than just fine.

One participant told the acting coach/coordinator (and actor), Fran Pesch that, in the last trial, Sunday afternoon, "all of the jurors discussed how amazing the doctors were. In fact, they asked...if you guys were real doctors. I imagine that is about as high a compliment as an actor can be paid...."

So, kudos to my fellow performers: John Beck, Kara Ganter, Sandy Lemming, Jenny Meyer, and, of course, Fran.


PRE-PRODUCTION WORK FOR THE MUSICAL:
THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

Tonight we will record the accompaniment for the music to this show so that the two men who are cast have the music to sing along with outside of rehearsals. That is, karaoke style rather than with the Broadway soundtrack that has vocals as well.

Though I did buy the B'Way soundtrack and it might not be a bad idea to loan that to them as a tutoring device, as well. It certainly helped me to have the B'Way recording of Caroline, or Change.

Such will ultimately be up to the director and the musical director, but I cannot see how it would be detrimental.


SOUND DESIGNING ICON
Show Cue Systems icon - http://www.showcuesystems.com/

Last night I attended a pre-production meeting for the Brookville Community Theatre mounting of Stephen Temperley's Souvenir, which was our second production of this season at DTG, and which was the area premier. This new production is the same cast and much of the same crew.

I am not going to sound-tech it myself so I am now searching for someone with a lap top that runs Windows 7 that I can temp install the Show Cue Systems software on.

Once that is found, running the sound will be as simple as hitting the space bar at the appropriate time for each cue.



Fri Apr 6, 2012

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THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

Wednesday evening we recorded Raymonde Rougier playing on electric piano the portions of the score that our actors will need to practice the songs on their own.

I must admit I have not yet listened to the tape nor have I begun to process the recordings toward the eventual CDs. One reason is that I left my ac power adaptor for my MacBook Pro at the rent-payer yesterday, so the evening that could have been about at least starting, if not mostly completing, the mixing, digitizing and burning, was thwarted. Even with two relatively new batteries for the computer, I don't like tasking the computer as I would have when only on battery power.

So, I guess we know how I will spend this evening.


GOLDEN SLUMBERS FILL YOUR EYES!:
PROFESSIONAL DEVELOPMENT ICON

Unfortunately I missed this past Monday's HRTC acting class, not because of the potential commercial shoot gig, which, once again, I did NOT book!, but because I was ASLEEP!

I finished the move out of my old place into my new one early Monday morning. I got to bed at just about exactly 4:00 a.m. Then, I had to get back up at 8:30 to meet DTG President Carol Finley at the old place so we could haul off the office partitions and lattice sheets, which I had used to make a false wall and accordingly a small back room in my old apartment's main space. We took them to the theatre, as I have donated them to The Guild.

I got back to bed about noon, maybe later, only to be awoken at about 1:00 by a phone call. I'd set my alarms for 3:30, giving me plenty of time to get ready and make the 5:00 class.

When I awoke at 8:03 Monday night, I did not at all recall my alarms sounding four-and-a-half hours earlier.

Now it will be the case that I will end up having missed 33% of the class sessions. I do have a U.D. Law gig on Monday, the 16th at Montgomery County Common Pleas Court for Judge Mary Huffman's Trial Practice class. It's pretty much the same time as my acting class, so that will now be the second out of six class sessions with my absence.

NOT ENTHUSED.

We have a showcase, with invited guests, at the last class on April 23. I have some worry about my not being present the week earlier for what will constitute a Final Dress sort of day. Only because I am part of the ensemble work with the rest of the students for Act I of Jules Feiffer Hold Me!. I will also, of course, be doing Pozzo's "Ah yes! The night...." monologue, from Beckett's Waiting for Godot. I am less concerned about missing the "rehearsal" for that on the 16th, yet I am not wholly thrilled about missing such, either. But at least I can rehearse that on my own with more encompassing thoroughness, than I can my part of an ensemble performance.

But the situation is what the situation is.


DTG PLAYS TO READ, AND PRETTY MUCH "NOW":
Dayton Theatre Guild
DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote
THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
SOUND DESIGNING ICON
DTG Producer icon

For at least two hats -- (the sound designer's & the producer's) -- I need to get on the chores of actually sitting down to read our last two DTG shows of this season, Horton Foote's Dividing the Estate and Bartram and Hill's The Story of My Life.

Foote is perhaps slightly more imminent in need than Bartram/Hill, since the show is up first and I am designing the sound for it. But, the auditions for the latter are this coming Monday and Tuesday, and I will likely be scheduling a production meeting very shortly. I ought to be completely familiar with the show by that meeting; although I have listened to the B'Way soundtrack several times and the show is pretty close to a sing-through.

It's true that as well as producer, I'm designing the sound for Story, but the need to know what I'm talking about and to know what questions to ask about production needs is more vital than the very limited sound design needs of the show. Dividing's sound needs are probably going to only be scene transition music, for that matter. It is clear that I need to read both plays this weekend, however.

And that doesn't include that I need to read Waiting for Godot this weekend for the acting class, so I will be able to do my monologue in context. I haven't read the play in a very long time and I really need to refresh my memory. Of course, "in context" is a VERY relative term when you're talking about a Beckett play.    cool smile icon

And leave us not forget Opus by Michael Hollinger, which opens the DTG 12/13 season. I have some interest in being the show's AD and have been told I ought to audition. So, that needs to be read, too; perhaps not sometime soon, but it does need to be on the short list.


TIME'S GETTING SHORT, DUDE! GATHER THE FRICKIN' RECORDS FOR YOUR 2011 TAX RETURN FILING:
THE BUSINESS OF ACTING ICON
I mean, come on! It's April the £µ@#!%g sixth, already! Gather the frickin' records for 2011 taxes together and start filing!       Gather! File!     Gather! File!      Gather! File!     Gather! File!      Gather! File!     Gather! File!

TurboTax® has been recently sending me reminder emails, close to daily.



EASTER
SUNDAY
,
2012

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Happy EASTER to those of Christian faith, and may those observing other religious or and spiritual events be also blessed








On The New Patio

When I started this entry yesterday, I was on the patio at my new apartment. Now, mind you, the layout of the new place is exactly the same as the old place, the patio is a carbon copy of the old one. The setting, yet, is different. My new apartment is on the other edge of the complex right next to the main road and a little more tree-populated.

The road has some traffic, perhaps a car driving by about every minute or two. The road is one a main road into the little burgh where I live.

But yesterday afternoon was a nice coolish, sunny day. There was a symphony of varied bird songs softly playing in surround-sound. The intermittent passing cars were a decent accompaniment. An occasional propellor plane flew over, I'm close enough to farm land to guess at least a few were crop dusters, to add to the "music."

And, of course, the midwest is in bloom.

It was a nice place to sit and start this entry. Okay, honestly, I wrote good portion of this on that patio yesterday.

K.L.Storer seated on a chair on his apartment patio with his lap top
Patio Boy
The MacbookPro with the HTML software and the HTML page for this blog on the screen
The HTML code for this page and this entry
Screenshot of the HTML page for this blog on the screen
Closer look (more or less)
Pull bakc photo of K.L.'s corner ranch apartment, with three trees closely flanking it
My new place
the "busier" road as seen from K.L.'s patio, with trees lining the other side of the road.
My new view of the road
POV from K.L.'s patio of one tree, in bloom.
Blooming



THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

I got all of that score music digitized for the actors cast as Tom and Alvin -- whoever those men may be.

AUDITIONS TOMORROW NIGHT AND TUESDAY NIGHT AT THE GUILD!

Only one glitch: there's a finger snap before one of the songs, that is a cue into the start of the vocals, which start with the music. I didn't get it onto the digital version. I couldn't remember which song it was, so I had to go back to the tapes and find it and redigitize that one. The singer needs that snap to get his cue.

I will fix that today, then the practice piano accompaniment disks will be burned and ready for the actors; well, save for the printed song lists.


DTG Podcast Production logo
DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote
THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

I believe I can get fairly easy access to the copyright holders for both Dividing the Estate and The Story of My Life. This, of course, to get clearance to use text, and in the case of Story, perhaps a little bit of music, in the promotional podcasts for each.

For the Horton Foote play there is the Horton Foote Society website, hortonfootesociety.org, which won't be the copyright holder, but I bet I can get in touch with his estate through the society.

Neil Bartram and Brian Hill have their own website, www.bartramandhill.com with a contact link.

My DSL isn't up and running at home just yet, so I'm using my myTouch 4G Android cell phone Wi-Fi hotspot feature to go on-line at home. I have a limited monthly data usage plane on the phone so I'm being stingy and conservative about when and why I am on-line at home until my DSL is installed. I go on-line usually just long enough to check my email, or to FTP this blog entry, for instance. I may wait until I'm at the rent-payer tomorrow, where I can use the campus Wi-Fi. But either today or tomorrow I'll contact Bartram and Hill about clearance and at least enquire about who to contact for the Foote play.


DELAY FOR SHORT-SUBJECT NARRATIVE MOVIE:
NON-PROFESSIONAL GIG ICON

Since the original word on the scheduling of a pre-production type meeting for the short film I have a cameo of sorts in, I had heard nothing else, especially about the location, which was not determined at the time. The meeting was supposed to be yesterday afternoon. I spoke with Josh Katawick, the casting director, late yesterday morning. The meeting has been postponed and the project seems to be moving into a holding pattern.

So, more when there's more to tell.


THE PROGRESS TOWARD MY 2011 TAX RETURN FILING:
THE BUSINESS OF ACTING ICON

My little patio sit yesterday didn't include catching up on my 2011 actor's and volunteer's mileage. I'll do a patio session on that right after I have posted this then gone to the store for some coffee creamer. I'll also work on catching up my records for actor's expenses and charitable contributions. Don't know that I'll get complete;y done but I'm sure I'll have taken a major step toward completion.

So then then it'll be:

Finish and file!     Finish and file!      Finish and file!      Finish and file!     Finish and file!      Finish and file!



Mon Apr 9, 2012

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HRTC ACTING CLASS:
PROFESSIONAL DEVELOPMENT ICON

I'm taking off work early today to get some time in working on the Pozzo monologue from the Beckett play, Waiting for Godot.

Not quite as concerned about the Jules Feiffer, Hold Me! but will still probably give that a look over, too.

Again, I'm somewhat worried about missing the Apr 16 class as the next one is the last one and when the showcase for the class will be.


AUDITION ICON

  • Short-Subject Student Film -- Have a line on a short film audition that I will do next week. Don't have the sides yet but I've sent my résumé and a bearded and beardless actor's photo to the producer. There is one role I think I am prime for and another than is a solid maybe.
  • HRTC 2012/13 Season Generals -- This Wednesday I make my appointment for the general audition for the Races 2012/13 season. I may do a song this year, but I have not decided yet. If I do, it'll be a character song because the whole point would be to set myself up for a callback for Avenue Q.



  • U.D. LAW:
    PROFESSIONAL GIG ICON

    The Mock Trail series is wrapped this coming Saturday with the last two court trails. I am still in need of a copy of one deposition, too.

    Next Monday night is the Trial Practice class with Judge Mary Huffman, and the reason I will miss the acting class. I still do not have the specs for the case, either.


    PRE-PRODUCTION AND AUDITIONS:
    DTG Producer icon
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

    The CD of the piano accompaniment for the actors to practice with is burned. All we need now is a cast to give the copies.

    And remember, auditions are tonight and tomorrow starting at 7:00 pm both nights:

    DTG Podcast Production logo

    I've contacted Neil Bartram and Brian Hill about using dialogue and music from the show in the podcast for The Story of My Life. I have not heard back from them yet.

    I'm in the process of finding out who to contact about Horton Foote's Dividing the Estate.


    THAT PROGRESS TOWARD MY 2011 TAX RETURN FILING:
    THE BUSINESS OF ACTING ICON

    I took out something like 99% of the actor's mileage yesterday, but I need to check to be sure I have it all. I still need to plug in most of the non-profit volunteer mileage, and I have most expenses and donations to still gather together.

    Thus it's still:

    Finish and file!     Finish and file!      Finish and file!      Finish and file!     Finish and file!      Finish and file!


    MISCELLANEOUS ICON
    xxxx

    Congrats to John Riley, whose short narrative western, The Line Shack, will soon be screening at two film festivals.

    First, the Lewiston Auburn Film Festival in Maine, on April 14th.

    A few days later, on April 19, at the Bare Bones Film Festival in Muskogee Oklahoma where it has been nominated for six awards, including:
    • Indie Auteur of the Year
    • Best Filmmaker/Actor in a feature film (John Adrian Riley)
    • Best Actor in a feature film (Jon Briddell)
    • Best Western



    Tue Apr 10, 2012

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    HRTC ACTING CLASS:
    PROFESSIONAL DEVELOPMENT ICON

    In the class last night we spent the first half of the evening going over the Jules Feiffer play, Hold Me!, where I had to catch up on the blocking from the week before -- my golden slumbers absence, if you remember. Kay Bosse also cut quite a few pages from the work we're doing in Act I, a move which was fine with all of us, as far as I know; certainly was fine with me.

    I worked on the Beckett monologue (Pozzo from Waiting for Godot) at the end of the class. I'd remembered Kay's note from the last time that I needed to make him haughty and condescending. So that was how I rehearsed him yesterday afternoon, and how I played him during class last night. Then, Kay had me take him very big and very broad.

    Love to say my hands were empty, that I was off-book, but, alas, no. And, of course, unfortunately I am not back into class until April 23, the last class. But Kay is looking to find times when we each can get with her out of the Monday night class time. And it would be nice if we could get together for the Feiffer piece, else I won't do it with the rest of the class until we are in front of the invited guests for the showcase. And I'd really like final notes on Pozzo before that showcase, too.


    AUDITIONS END TONIGHT:
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill


    GETTING PERMISION FOR THE PODCASTS:
    DTG Podcast Production logo

    I have secured clearance from Neil Bartram and Brian Hill to use dialogue and music from the show in the podcast for The Story of My Life. AND I have secured clearance to use dialogue from Horton Foote's Dividing the Estate in the podcast for that.

    So: YAY!


    2011 TAX RETURN FILING?:
    THE BUSINESS OF ACTING ICON

    Finish!     File!     Finish!      File!      Finish!      File!       Finish!      File!         Finish!      File!           Finish!     File!                 Finish!      File!                       Finish!      File!       Finish!      File!     Finish!      File!  Finish!     File!          Finish!     File!           Finish!      File!

    Really, it's got to be this week, so....



    Wed Apr 11, 2012

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    APPOINTMENTS & SIDES:
    AUDITION ICON
    Screenshot of iCal alert, re-- appointment reminder, "Tomoorw at 10:00 AM, Make HTRC Gen appoiintment"

    The librettos for AVENUE CUE and NEXT TO NORMAL, setting on the desk at K.L.'s day job
    Checked these librettos out of the library this morning. I was actually only looking for Next To Normal to see which songs the characters I am type for sing. But the Ave. Q was almost next to it on the shelf, so what the hell.

  • HRTC 2012/13 Season Generals -- The screen shot above was the twenty-four hour warning I set weeks back when the appointment day and time was first announced. There have been iCal alerts before that and were some after, as well as some alerts on my cell phone.

    The appointment is set, Saturday, April 21. And I will sing. I contemplated that decision up to almost the last moment. I've been on the fence for weeks, hell, maybe months.

    As you, gentle reader, may or may not know, I don't really consider myself a musical theatre actor, though I have been interested in a few musicals over the years: Little Shop of Horrors, Man of LaMancha, I'd love to do Pilate in Jesus Christ, Superstar -- actually I'd love to do Judas, but that ship has sailed.

    Some will know that I have never sung at The HRTC General Auditions before. Marsha Hanna asked me one year if I was interested in any of the musicals on upcoming season and I replied something along the lines that I hadn't done a musical at all since high school (Pseudolus in A Funny Thing Happened on the Way to the Forum) and I would rather have at least a few community theatre musical experiences under my belt before I presented myself for a professional production of one.

    Funny how things work out.

    The advent of the unexpected call and subsequent casting in Caroline, or Change has rendered moot the explanation (perhaps "excuse") I gave Marsha. Plus, I am interested in two of the three musicals up next season at The Race, and not opposed to booking the third, though won't at all be heartbroken if not called back for it.

    I got the B'Way soundtrack for Avenue Q a few weeks back and I just got the same for Next To Normal. And you can see the pic of the librettos for both, above. In fact, it was listening to the Next To Normal soundtrack this morning that gave that final push to sing this year.

    Of the two audition choices that include music I am opting for the "Both" option: one monologue of sixty-seconds or less and one "song." And I did verify during the appointment phone call that it is a full song, not just sixteen bars or so. And I know exactly what song I'm doing.

    But I'm not telling.

    It is a song that suits a focus for both the musicals already mentioned, and one can argue it can showcase toward Oliver, too (the third musical on the HRTC season). It's a song that calls for a range of vocal approaches and covers my vocal scale range. And it's got some rock and roll in it. And I could throw in a character voice for Ave. Q. And I'm very confident that no one else will sing this song nor anything else from the project it comes from -- and, yes, it is a known song by a famous and most successful composer and from a very critically and commercially successful vehicle.

    I'll say what song it is, after the fact.

  • Short-Subject Film, Ember -- The producer sent me the needed sides for the April 17 screentest for this short movie. I'm not completely sure now that it's a student film. The audition tonight is in the Creative Arts Center on the Wright State campus, but then so were the auditions for The Monster's Mind and that was a full-length feature by WSU film school alumnus Brett Hatten. My reason to suspect it's not a student film is that the producer is not in the on-line student directory. Regardless of that, I will do the screentest next week.



  • IDEAS & CONCEPTS:
    DTG Podcast Production logo
    DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

    Conceptual approaches for the last two podcasts of the DTG 11/12 season are formulating. The more imminent of the two needs to be that for Dividing the Estate, since that production is up before The Story of My Life, and in only two and a half weeks. So bottom line: I have to start dropping in with a DV camera in hand pretty soon -- next week, in fact.

    My original concept for Dividing was frame in frame images, still photos and DV movie clips of 4:3 aspect ratios, floating to and fro inside a 16:9 master frame. That was a concept based on the assumption that I would not have clearance to use dialogue text from the script. Now I have that clearance and that's a game changer, at least to some extent.

    I think I'm going to still use the motif but will be less dependent on it. I'm not sure how I'm presenting the sound-byte's from the cast yet, save that, with a cast this big, they are all going to be short. I've done the group thing a few times this season so I'm doing individual interviews this time.

    I'll do the same for Story. And the concept formulating in my head is to do almost a documentary style movie. Certainly I'll show the musical work early and as it progresses. The challenge will be to shoot this so I don't intrude on the work.


    In the audience icon

    Once again I try to actually go see some theatre. Some cases will happen, others are certainly on the dockett.

  • Gem of the Ocean -- Speaking of The Human Race Theatre Company, I'll see this tomorrow night.
  • Two Chances To See A Midsummer Night's Dream -- The Bard is up with this one at both Springfield StageWorks, opening tomorrow night, then, opening next Friday, April 20, at Edison Community College. Hope I can make both. It'd be interesting to see to different mountings (Interpretations) so close together.


    2011 TAX RETURN FILING:
    THE BUSINESS OF ACTING ICON

    Really do have to take out as much of the records gathering and ducks in a row for filing as I can tonight. All of it if I can.

    After I'm done with the gig Saturday, I need to zip home and do the filing.



  • Fri Apr 13, 2012

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    In the audience - Not in the audience animated gif icon

  • Gem of the Ocean at The Human Race Theatre Company -- Saw this fine production last night. Kudos to the talented cast -- Bryant Bentley (Caesar), Jonathan Berry (Citizen Barlow), Kevin Brown (Eli), Alan Bomar Jones (Solly Two King), Dwandra Nickole (Aunt Ester), Scott Stoney (Selig), and Marva M. B. Williams (Black Mary). And kudos to director Mark Clayton Southers.

    I now am even more disappointed than before that I did not get cast in this!     frown icon

  • Another One I'm Going To Miss -- Well, The Pearl, The Zoot Theatre Company's latest production opened last night at the Mathile Theatre (The Schuster), for a limited run. Between prepping tonight for tomorrow's U.D. Mock Trails wrap-up, then taking the 2011 tax return filing to its necessary conclusion tomorrow, after the U.D. gig, I will once again miss a Zoot show. Too bad, too. They do great work!


    U.D. LAW:
    PROFESSIONAL GIG ICON

    The last deposition transcript finally made its way to me so I will be prepared, so to speak, for the last two mock trial sessions for this series, which take place tomorrow morning and afternoon. A big focus tonight is once again brushing up on the factoids of this case. Though, some tax records stuff is surely in the mix, too.

    A couple days back, I got the material for the Trail Practice Class I'll be a part of this coming Monday night with Judge Mary Huffman. A need to get familiar with that, fit in over this rather busy weekend, is much on the plate.


    2011 TAX RETURN FILING:
    THE BUSINESS OF ACTING ICON

    There really isn't a whole lot else to write, save that: What I have not finished as of yet, must be finished, and quickly.

    This is the last stretch of the raceway.

    I have calculated, by-the-way, over 4300 miles attributed to acting. And I know I have missed some that I am just going to give up looking for. The count for volunteer miles (re: my other time and travel for The Dayton Theatre Guild) is at 1131 miles, but I am nowhere close to done scrutinizing my records and calendar to compile them.

    That Record-the-mileage-as-it-happens rule: it really, REALLY, R E A L L Y needs to return to my procedural behavior pattern.



  • Mon Apr 16, 2012

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    AUDITION ICON

    Through the wonderful academic research service known as OhioLINK, I have a music score book on the way to me at my rent-payer (status last time I looked was "In Transit"). That score book has the song I will do next Saturday afternoon during the 2012/13 Season General Auditions for the Human Race Theatre Company. Don't worry, I don't need the score to learn the song. I know the song and have for a long time.
    A lo-o-o-o-o-o-o-o-ong time.

    The score is for the accompanist who will be there Saturday at the Loft. All I have to do is use my limited* knowledge of music theory to cut some bars and make sure the key on the score is the same as what I'm used to. Though, honestly, the song was written for a first tenor, so if it were a step or so down, that wouldn't be a bad thing. *(And believe me, "limited" means just that.)

    Of course, before that audition I screentest for the short-subject narrative film, Ember. That happens tomorrow in the late afternoon/early evening. As I indicated a couple posts back, I have the sides. I don't have them memorized, but both are short and I will likely do that after I wrap the U.D. Law gig tonight.


    2011 TAX RETURN FILING:
    THE BUSINESS OF ACTING ICON
    DONE!
    Least-wise I hope so.

    Here's the thing: My Caroline, or Change gig in October and November at The Human Race was an independent contractor gig. I may have declared my Equity Membership Candidate status but until that day, not terribly close, when I earn the union card, there's no withholdings taken out of my paycheck. It's the situation with the overwhelming predominance of my actor-for-hire work. Even usually when I will gig through the talent agency. The irony there is that the management company that paid my wages for the two days on the Ides of March set, which I booked through the agency, did take out the withholding, despite that I wasn't SAG -- which of course now would be SAG-AFTRA.

    Between the HRTC and several other independent contractor acting gigs in 2011, I was prepared to either owe or to get a refund of about five dollars. I was pleasantly surprised to have TurboTax tell me an extraordinarily different story, for both the Federal and the State. I have pretty decent refunds coming back from both the Feds and the State.

    My paranoia is that, by doing the sole proprietorship as an actor for hire that I will get flagged sooner or later as a matter of course for an audit. TurboTax rated my risk at medium, which is too high for my own sense of well-being. I know my filing is legit, but I just don't want to deal with the stress and trouble of an audit.

    Also, though what I am getting back is no amazing amount, at all, it's just a big surprise to me and I am making myself anxious about it.

    But I know that all my deductions were real and true, so if it comes to the dreaded ordeal, I believe I'm not going to be in trouble when it's over. I live a relatively different life than most people, and the best example is the miles I drive during the year. Just about 60% of my annual driving has something to do with theatre or acting in one way or another, whether its travel to auditions, rehearsals, performances, movie shoots, or some other involvements at my home theatre as a volunteer, board member, sound designer (or tech), or producer; or it's some other theatre arts related trip. This year I could legitimately claim 4400 miles as an actor and another 3000 miles toward DTG volunteer work.

    The worry to me is that some who look at that may be skeptical. Save for others in the theatre arts. They will know it's true and real.

    I got an email yesterday that the federal return has been accepted -- whether that means to stop fretting or not, we will see. The state one has not, but they always seem to take a little longer.


    U.D. LAW:
    PROFESSIONAL GIG ICON

    Finished the last two mock trial sessions for this series on Saturday. Tonight it's Judge Mary Huffman's trial practice class, which I studied up on last night and as much already today as I could.

    The case tonight does not have anything close to the amount of information to know that this mock trial series that was just wrapped did. Some spot work during the day today then some work before the gig tonight and I will be in good shape.

    This is another one where I will play both the man who was robbed and the man accused of robbing him. And in the second case, I and at least one other actor who has these same roles in another courtroom tonight, are a bit mis-cast as we are both a good 25-30 years older than the character. That's happened before and it will happen again. This U.D. Law work is more about giving the law students practice on their skills, so what's needed more than anything is a client/witness that is giving them real reactions and behavior, not that the actor totally meets the physical specs of the character profile


    DTG Producer icon
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

    The show has been cast:
      Scott Knisley as Thomas Weaver
      Jeff Sams as Alvin Kelby
    There was not what could be labelled a giant turn-out at auditions last week. First off the amount of male double threats (actors who can act well and sing decently) is limited in the local acting community -- tripple threats (add dancing) are even a rarer bird. Second, Beavercreek Community Theatre is holding auditions for Chicago tonight and tomorrow night, and there is no question that many double and tripple threat actors (male and female) have their eyes trained on that production.

    One would think that a slim group of auditioning actors would make Director Debra Kent's job of casting the show easier. That was not, however, the case. The fact is there were no "bad" auditions. It had to boil down which two actors seemed best fitted for each other in all the terms of chemistry, the blending of their voices, their look together, and all the other various points a director needs to consider. So it took Ms. Kent a little longer than she'd anticipated to cast the show, because she had a lot of variables, a lot of pros and cons to weigh, and more than two people who were justifiably cast-able. That's always a good thing but still, you gotta tell actors who could do the work, who in slightly different circumstances would have won a role, that they are not in the show: a yucky duty to perform.

    The rehearsal process has now begun, though in a slow mode since Mr. Sams is currently in rehearsal for The Guild's next fare, Dividing the Estate. The Story table read was yesterday morning; I did not attend -- up late the night before, doing that tax thing. Now the two men have a coule weeks to look at the script and work on the music. Both will likely spend some time working with our production's vocal instructor, Reneé Franck-Reed. They have the piano score CD we recorded two weeks ago, the Broadway cast recording, the score and the libretto. Blocking will start after Dividing is up and Jeff is free for full-on rehearsals.


    DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote
    SOUND DESIGNING ICON
    DTG Podcast Production logo
    MISCELLANEOUS ICON
    xxxx
    xxxx
    xxxx

    Directer Ralph Dennler and I have had a few communications, including a brief conversation yesterday, about the music for this show and he has given me more than a good idea what feel he is looking for, both in terms of the production music and the pre-show and intermission. In fact, intermission will probably be mostly his pick of music, but I think it's a good choice, so I don't mind at all.

    I have not began to assemble anything but I will have it ready by this coming Tech Sunday. It should not be difficult at all. One evening this week and some time Saturday night should do it.

    During this week, I'll also be shooting footage for the podcast, starting tomorrow after I finish the screentest for the short film. This week will mostly be about getting those brief interviews with the cast shot, especially earlier in the week.

    Likely I will get some rehearsal footage shot early but want the meat of rehearsal footage with dialogue used to be from tech/dress rehearsals so there is a fuller stage set on the screen. I believe I am going to have to do a vacation day next week to edit this one to final cut, since I am not sure which tech/dress next week will wrap my shooting.

    Speaking of the stage set, I did pitch in on set construction this weekend, yesterday, to be exact. Not sure if I'll get another session in, but the pictures on the right are from Sunday.



    Wed Apr 18, 2012

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    U.D. LAW -- "OOPS!":
    PROFESSIONAL GIG ICON

    Well,

    The Trial Practice Class for Judge Mary Huffman mostly went well.

    MOSTLY.

    One glitch. In studying up on the information on the accused character, one of the two characters I portrayed, I missed an important fact. It seems that my character wrote a letter from jail to another character in the scenario and I missed that fact.

    The defense attorney, my character's defense attorney, asked me while I was on the stand if I'd had any communication with "Ms. Bar" after the time I saw her in The Chicken Shack -- which was my alibi.

    I said, "No."

    He looked puzzled.

    I thought: uh oh

    He said, "Are you sure you didn't perhaps write her a letter."

    Then one of the students acting as prosecution objected that the last question was leading the witness.

    Bottom line: I screwed up!

    But, other than that it was Fabulous!


    AUDITION ICON

    I did the screentest for the short-subject narrative film, Ember, last night. It seemed to go well. Who knows. It felt okay, at least.

    Still waiting for that OhioLINK copy of the songbook with the score I need for my song I'm singing at my 2012/13 Season General Auditions appointment Saturday at the Human Race Theatre Company. I am starting to get nervous. Need that thing to get here!


    DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote
    DTG Podcast Production logo
    SOUND DESIGNING ICON

    Last night I shot a little more than half the podcast interviews with the cast. I have a few left. I had planned to polish them off tonight, but the spot I'm using is in the back corner of the boardroom (a location I have used before) and as it turns out, someone else has dibs on the office tonight during the time I would be in there. Not a problem. I can finish the interviews during Tech Sunday.

    Podcast production is still on tonight, mostly so I can get B-roll of Act II, and especially of one actor who is only in the second act, and thus I'll get no good B-roll on her from this week's rehearsals unless I shoot tonight. She does not need to be there when only Act I is on the agenda.

    After tonight no more podcast shoots until Sunday. But I will certainly shoot as much of I can both for B-roll, and possibly I'll start to get more probable footage where the dialogue makes it to audio in the podcast. Certainly Monday and Tuesday that will be the case; I will be focusing on getting good sound-byte footage of the script on stage.

    I have scheduled a day off from the rent-payer next Wednesday to get the podcast edited to final cut, so principal photography needs to be done Tuesday evening..

    Tomorrow evening is all about working on the sound design: the show music, the pre-show music and the intermission music. Some preliminary work has been done, but more direct action to fulfill the necessary repertoire for all these needs will be made. Saturday, after the HRTC Generals audition, the rest of the day is allotted to get the music to completion so all is ready for Tech Sunday, the next day. I hope there is a sound tech because I will not be available to run this.

      *) TECH SUNDAY: The Sunday rehearsal day at the start of the final week of rehearsals for a play, all of which will be tech rehearsals (I.E. all the technical aspects of lights, sound, special effects and all set changes and costume changes will be done during "Tech Week" rehearsals). Tech Sunday will be one or more rehearsals where all the technical elements are first incorporated into the rehearsal performances. "Tech Sunday" is traditional for many community theatres, professional theatres may have this initial tech day earlier, often the Friday before that last weekend of rehearsals.



    NEW LIGHTS UP!!!:
    Dayton Theatre Guild

    Recently we DTG board members approved contracting Light Fantastic to upgrade our lighting system in the Mirkin Theatre.

    We are more than doubling our dimmers and upgrading to newer models, plus introducing lights that are better suited for our new space and the further distance from the lights to the floor (read: the actors and action).

    I am happy to say that when I arrived at the theatre yesterday, two techs from Light Fantastic were just finishing up an installation day. I don't believe they were finished. But, who knows? See a pic I snapped:

    technician for Light Fantastic eleveated on the lift track, working at the light grid on the ceiling of the L. david Merkin space at Dayton Theatre Guild




    THE BUSINESS OF ACTING ICON

    By-the-way, for those keeping score: my State tax return was "accepted," so the paranoia has wained considerably, though not dissipated completely.



    Sat Apr 21, 2012

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    HRTC 2012/13 SEASON GENERAL AUDITIONS TODAY -- PLUS:
    AUDITION ICON

  • That song book from OhioLINK I needed for the generals today at the Human Race Theatre Company did arrive, but a day late, as it were. When it had not arrived by later Thursday afternoon, I needed to take action. I consulted the head of my department, Marty Jenkins, who also happens to be the university music librarian. He suggested I try Sheet Music Plus, on-line. I did and was able to download the score for the song for $4.99.

    The songbook arrived the next day, and I have checked it out into my account; might as well. I like all the songs in the book. And that $4.99 for the download of the one song is a legit business expense for the 2012 tax return next year.

    For decades, more than forty years, I've been singing the song. I discovered two days ago that I've been singing some of the lyrics wrongly. But no worries; it has not thrown me.       cool smile icon

    As for the song as performed in my audition program, there's a rather long musical introduction that I have cut from the sheet music and edited off the front of the recording I have been singing with. I have also cut an interlude section from both; I think in terms of musical theory it's not technically an "interlude" but it is several bars, about thirty seconds, of music with no vocal, so I slashed it from both; at least I think I have made the same cuts to the sheet as the recording -- my ability to decipher sheet music is almost at a level of musical illiteracy.

    Last night, especially, but also Thursday evening, I have practiced the song. As I said, I really know this song quite well and have been singing it since I was eleven, (and now, of course, with the exactly correct lyrics). However, I have a thing I am doing that has needed practice. It is very much "The Risk" of this audition. That point when you most go out there on the limb and risk looking stupid and being, well, Less than Brilliant.

    I'll give details tomorrow, about the song, the associated risk, and the monologue I am doing. That monologue is newer to me, but not brand-spanking new. I believe I am also risking that I am not the only one to do this one, or something from the play it's from, yet it still seems a good choice.

    The song, on the other hand, I am still willing to bet is far afield from anything anyone will do. It's a choice that I will defend tomorrow when I share the title.

  • No word on that short-subject narrative film, Ember, but I don't believe the production staff is done auditioning actors yet.
  • There's another casting call in about a week for another short. Looking at the character specs at face value, however, there's not a role for me. Still might give it a try.
  • Well, but, as an old mentor used to say: "The game is today." So, it's off to a Guild board meeting, then a little production business, then a few hours before the HRTC audition to prep for it one last time.


    DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote
    DTG Podcast Production logo
    K.L.'s MacbookPro sitting on box office counter at The Dayton Theatre Guild with a DV mini-cassette camcoder hooked into i, and DV footage being transferred into the FinalCut project for the DIVIDING THE ESTATE podcast.
    Dumping footage from the DV mini-cassette tape onto the laptop hard drive.

  • The podcast production seems to be on schedule. I am not wholly thrilled with the footage from last Tuesday and Wednesday. There is a high ringing on the audio track, which is bothersome in the interview sessions.

    The rehearsal footage will be B-roll without the sound, so bad audio in that footage doesn't matter.

    The audio for the interviews is another story. That will need to be sweetened now to filter some of that pitch out; that does matter.

    Beyond that, the quality of the video images isn't as good as I expect and usually get. I have borrowed a camera again for the rest of the shoots; I made sure I did not get the same one. In fact, that one is now on my No list.

    So, Sunday: the rest of the interviews; B-roll of production stuff happening; B-roll and maybe even A-roll of the rehearsal run. Monday & Tuesday: footage of dress rehearsals for the focus on performance and Mr. Foote's dialogue.

  • SOUND DESIGNING ICON

  • The "sound design" is coming along. I have my preferred repertoire of songs for the production -- the open and close music of Acts I & II, and the scene transition music, subject to Directer Ralph Dennler's approval, of course. And I have four hours worth of pre-show music, which I believe I am again going to program for random play, a practice I like, so each pre-show is unique. Intermission will have the same line-up for every show, starting with a rather long track that Ralph suggested.

    I'll run this by Ralph after the board meeting this morning. I'll program it into Show Cue Systems this evening, after the HRTC audition is history.



  • Sun Apr 22, 2012

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    xxxx
    One year ago on this date my amazing costar and I opened for a far-too limited run of this intense and challenging play. It is by far one of my favorite experiences thus far as an actor and certainly one of my favorite roles. And I could not imagine stepping onto a stage as Ray again with any other woman as Una than the lovely and talented Heather Atkinson.

    Our director, Ms. Natasha Randall, was awesome and perfect for the task. And young Miss Melanie Engber was wonderful in her work at the end of the play.







    HRTC 2012/13 SEASON GENERAL AUDITIONS YESTERDAY:
    AUDITION ICON

    I believe the audition went well yesterday. It didn't suck. I took several risks yet did not fall on my ass. A few things I could've done better -- but I didn't suck, and that's the important thing.

    So what were the risks? Well, first is just the fact that I sang. It was dulled as a risk greatly by the fact that my first gig with The Race happened to be in a musical, of course. But yesterday was the first time that I purposefully auditioned with music at HRTC. I don't count Caroline, or Change because that was them calling me and asking if I can sing, then sending me a score sheet from the play in question. It's just different; even if I can't eloquently express why.

    xxxx The second risk was my choice for a song. It was not at all traditional, but it was a choice based mostly on one of the two musicals I'm more interested in, Next To Normal. So my song was Lennon & McCartney's "You Never Give Me Your Money" -- "legally" it's by Lennon & McCartney, but in actuality it's pretty much all a Paul McCartney song.

    It is indeed a big risk to not use a song specifically from a musical when singing for a musical audition. The tradition is you sing one from another show than the one you are auditioning for -- and the other smart idea is to not use anything by Sondheim. But the conventional wisdom is to go with something from a musical not unlike the one you are trying out for.

    Of course, it is very optimum for you to try to do something different for any audition material in your program. So, my first point in defending my choice is that I am quite confident that I was the only one who sang "You Never Give Me Your Money" all day yesterday, and as confident that no one will sing it today.

    The big defense is this: The first part of the song would pass for a ballad in any hundred musicals to have been out in the last forty years. Then it moves into a rocking second half, which suits my target of Next To Normal.

    So here comes the next risk, and one that targeted my other focus from the 12/13 season, Avenue Q. If you are familiar with "You Never Give..." you'll remember the vamp at the very end, where the Beatle's sing, in falsetto, "One, two, three, four, five, six, seven \ All good children go to heaven." So I had the accompanist play the vamp three times. First time I sang it straight, pretty much right off the Abbey Road recording. Then I did my best Kermit/Ernie voice for the second vamp. The last time I did my best Cookie-Monster-like voice, then, after the piano stopped, I added, in Cookie Monster voice: "For Porn!"

    By-the-way, I didn't say I did great Kermit/Ernie or Cookie Monster voices, but I gave them a shot, by god. And if you don't get the "For Porn!" reference, you need to search for "The Internet Is For Porn" on YouTube.

    My monologue was from the top of scene two of David Mamet's Oleanna, clearly due to Race next spring at HRTC. Now, for this one, there is a certain risk that the material made or will make at least one other appearance over this weekend. I felt it was worth the risk.

    What are the few things I could've done better?:

    • I will say again that I was worried that my cuts to the sheet music were not the same as my edits to the recording, *(see image above of my edited version), but I was able, as it turns out, to reason out the measures with my limited knowledge of sight reading -- and as I've intimated before, the word "limited" gives me a lot of credit.

      In audition performance, however, I did, I think, slightly miss the cue into the section that's starts with "One sweet dream." The accompanist, whose name I did not catch, seemed to almost instantly adjust to get me back on track. Now, honestly I'm not sure that's what happened, and I just plowed on through, regardless -- but I am reasonably sure that's what happened. Unless, of course, I didn't miss the pick-up.

    • Also, with that same spot, I didn't hit that high A on "sweet" as on the nail as I could have. The pitch was there but the quality wasn't. McCartney may not have needed to punch that by singing it in falsetto, though he did, but I really do. He's a first tenor; I'm a second tenor. That high A is right on the edge of my mid-range and the jump from middle-C♯ to the A (four whole notes), for me is punched much better in this song if I switch to falsetto for the A. I actually lose a little volume, but the falsetto, if executed fully, compensates by carrying a little better and it is ultimately more effective and a stronger sound. A few measures later, the same thing happens with a second "One Sweet," and you can be damned sure I hit that nail squarely on the friggin' head!"
    • Overall, I had good focus during the song, and, without overdoing it (I think), I gestured in the mood and meaning of the words I was singing; I sang with feeling. At least once, though, during a short musical lead in right before the "One, two, three, four, five, six, seven..." vamp, I dropped character, for lack of a better term, as I waited for the pick-up to sing again. Doing it again, I would have kept a focus and "stayed in the character of the guy speaking."
    • I was pretty pleased with the John monologue from Oleanna, but I did that occasional "looking at the floor" thing I'm too often guilty of. Countless times in the past directors have told me to stop acting to the floor. I eventually break that during rehearsals, but it needs to be eliminated from my acting period. It was only on occasion here, usually when I was accessing words from my memory; mostly I focused on an invisible Carol, off to the left and slightly behind the auditors.

    Despite these notes I have for myself, I was mostly pleased with the audition.


    DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote
    SOUND DESIGNING ICON
    DTG Podcast Production logo

    With the exception of tweaking sound levels, my work for this production is done. And I am happy to report that the production has a sound tech, whom I will be familiarizing to the sound system later today at the show's cue-to-cue and tech run.

    I pick up the podcast production shooting today, as well.



    Wed Apr 25, 2012

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    ANOTHER SHOW ON THE FRONT BURNER:
    DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote

    MISCELLANEOUS ICON
    So, Dividing the Estate opens this Friday and there's a bit of deja vu from The Guild's last production, Going to St. Ives. One of the cast members has needed to drop out for health reasons.

    The change of actors comes not quite as deep into the eleventh hour as last time, the last time the news came on the afternoon of the final dress rehearsal, some thirty or forty hours before the show opened. This time it was at the end of the week before the show opens, the Friday before Tech Sunday.

    Directer Ralph Dennler put the last-minute call out to a few women he knew who might fit the bill. The character needs to be African American. None of those he contacted were a go.

    At the Saturday board meeting Ralph first told us all the situation, and said a woman was coming in the afternoon to audition. I happened to stick around for some Guild related business as well as to do my final prep for my HRTC season audition. That afternoon, in walked a very talented young lady, Lolita Price, who happened to be in the HRTC acting class with me that was to finish up in two days on Monday (just this past Monday). She, coming to audition for Ralph fresh off her own audition for The Race.

    Ralph did cast her; it's been baptism by fire for Lolita but I know from class that she's a talented actor and a can "get it" fast, which she has proved so very well thus far as she is climbing inside the role of Mildred with speed and savvy.

    SOUND DESIGNING ICON
    The "sound design," as it were, is likely tweaked. We got the levels set on Sunday, with the inclusion of one major GREMLIN moment during the day. Coming out of Act I and into intermission, we are using a very long, jazzy funeral march that starts with several bars of a drum roll cadence, then into a sluggish New Orleans march. I need the drum roll up in volume then, when the horns, etc., start, I need the volume to drop. In Show Cue Systems I use what is called the Level Change Cue command, set on automatic, to drop the level just when I need it to. Ralph wanted the volume level dropped even further.

    PRODUCTION GREMLIN ICON Enter The GREMLIN! During the break after the cue-to-cue, I was setting all the levels to the spots ralph wanted. When editing this particular item, I had the software in the edit mode and had the specific Level Change Cue command open. The sound file was running. I adjusted the sound level down even further and

    B A M ! ! !
    the volume level did not drop, it blasted. And I mean it BLASTED!

    And in my frantic attempt to stop it, I found no way to stop it. Eventually it dawned on me to turn the master volume down on the mixing board, probably only after a few moments, but it seemed like several minutes -- and not just to me, I'm sure. I had to close the program to get the sound file to stop playing.

    I still don't know exactly what happened; I'll try to duplicate it at some point, to add it to the list of "Lessons learned" that myself and the other frequent sound designer, Bob Mills, have started. Bob is actually who found this software and set up the new system.

    DTG Podcast Production logo
    I have shot all the footage for the podcast.Last night I really shot very little. the cast was not in costume so there was not as much need. I shot the run on Sunday, when they were in costume and the plan was to shoot Monday and last night to get different angles of the same moments in scenes for cross-cut editing. But with no continuity of clothing that's not as hot on my editing agenda now.

    Today, I am on vacation for the express purpose of editing the podcast to final cut.

    Stay tuned.


    THE FINAL SESSION OF THIS LATEST HRTC ACTING CLASS:
    PROFESSIONAL DEVELOPMENT ICON

    Monday, before the Dividing rehearsal, I and Ms. Price attended the final session of this latest set of acting classes with Kay Bosse.

    We did a showcase for a small handful of invited friends and family.First was a series of monologies or short two-person scenes, there in which I did the Pozzo "Ah yes! The night...." monologue from Beckett's Waiting for Godot. We did all this work off-book, then we did reader's theatre, with blocking for the material from Act I of Jules Feiffer's Hold Me!.

    There were some really very good moments in there. I did well enough with the Beckett piece; I made one error against verbatim but it was really only a minor goof.

    One of our audience members was playwright and publisher Michael London, who is currently teaching a Wednesday night class at HRTC on playwrighting. He is looking for actors to come in at the top of the remaining sessions and read the students' work, so that all of those taking the class can listen and attend, regardless of whose work is up. I had actually wanted to take the class but knew I didn't have the time outside of the sessions, right now, to devote to doing the actual writing. But, I am likely to be there for at least one of the sessions, doing the table read work.

    Michael is, by the way, the one who write that great response a few weeks back to Going to St. Ives and was gracious enough to allow me to republish in my March 26, 2012 blog entry.


    Note Addendum PS icon

    In light of my audition for The Human Race's 2012/13 season last Saturday, and my own discussion and defense of using the song I used, I thought I'd pass this along.

    Someone recently pointed out a post on a social medium by a production person who had just sat through hours and hours of auditions and posted about a few more songs to be added this particular person's Please Never Do This Song At Auditions list. One mentioned was "My Unfortunate Erection," from The 25th Annual Putnam County Spelling Bee.

    Would suck to see a list like that with "You Never Give Me Your Money" on it.



    Fri Apr 27, 2012

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    OPENING TODAY

    DIVIDING THE ESTATE by Horton Foote, at The Dayton Theatre Guild.


    The podcast was finished late Wednesday evening and posted to the Dayton Theatre Guild youtube channel overnight. Editing it together was pretty much an all-day affair, from about 9:30 that morning until just about 11:30 that night. There were a few breaks in there, but mostly Wednesday was all about Final Cut Express in the one room of my current apartment that I have actually "moved into" -- long story.

    I've been to a few of the rehearsals during the final stretch, mostly shooting, of course, and I'll report that the cast is doing good work with the show. As for Lolita Price, who auditioned as a last minute replacement not even a week ago, is impressing everyone. She is caught up to the rest of the cast and is shining in her role. Last night at the Final Dress one would have never been able to tell that a week earlier she had no idea she'd be connected to the project.

    SOUND DESIGNING ICON
    Last night Ralph asked me to tweak one thing as far as sound (music). The song we've picked to come out of Act I and that plays for most of the intermission is a long, live jazz number. I edited the several seconds of audience from the start of the track, but left the band leader announcing all the members of the band at the end of the track. ralph asked me to shave that off; and so, there will be a new AIF file in the program folders on the booth computer before the show tonight. I also have personally decided to drop the master volume for the pre-show music, as it is just a level or two, too high.

    Click here to see the podcast.


    A POCKET OF PROFESSIONAL GIG AUDITION ACTIVITY:
    AUDITION ICON

    There's a little flurry of professional auditions going on for me. Went down to the PC-Goenner Talent Agency Sharonville office yesterday to screentest for the Kentucky Lottery. A last-minute audition was added to the agenda for an on-line industrial.

    It turns out that the second short movie I referenced here on April 21 may have some pay -- with the frequent label in the independent film world of: "Low Pay" I'm willing to bet. That audition is tomorrow and I'll be there, despite that I am not wholly sure I meet any of the types in the specs. I still have contacted the production team about sides for a couple characters.

    Monday, I go back to the Sharonville office to screentest for an educational video series for Sinclair Community College.


    FROM "EXPRESS" TO "X":
    GENERAL TECHIE STUFF ICON

    Earlier in the year, during the sound design work for Wittenberg I expressed here a serious interest in upgrading from Final Cut Express 4 to Final Cut Pro X and, at least Compressor 4, of not also Motion 5. I also expressed these desires around a few other filmmaker types and was discouraged by many of them who told me that the new X version was more of a swing toward iMovie than anything else. That it wasn't worth the bother.

    As the result of these cautionary advisories, I pulled back back on this upgrade ambition. But yesterday I watched the overview movie on Apple's page for the software and think maybe it will be worth the $300, after all.

    There's some sort of a chance that before this day is done I will have purchased at least the FCPX and Compressor 4, if not also Motion 5.



    Sun Apr 29, 2012

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    AUDITION ICON

    Yesterday I did the screentest for the short film Good News for Modern Man for Director & Screenwriter Zachary Severt along with Alex Taylor, whom I believe is the producer.

    This is the one where I am not terribly confident that I completely meet the specs for any of the characters as outlined in the casting call. But I presented myself for two of them, one, a priest that I seem the closest type to, and another, a truck driver, that is a little bit of stretching. Mr. Severt had me read only for the priest. It seemed to be a good reading.

    I'll spend today looking at sides for the Monday audition at the PC-Goenner Talent Agency Sharonville office for the educational video series for Sinclair Community College.


    FINAL CUT "EXPRESS" AND FINAL CUT PRO "X":
    GENERAL TECHIE STUFF ICON

    That "some sort of a chance that before [the] day [was] done I [would] have purchased at least [Final Cut Pro X] and Compressor 4, if not also Motion 5" was, and I imagine as no shock to most of you five reading this, elevated to a certain bet. I bought all three through Apple's App Store Friday afternoon. So now I'm $427.97 lighter in the bank account, but an investment that is worth it. *Someday such purchases will be legitimate tax deductions.

    I have not uninstalled Final Cut Express 4 yet. FCPX is such a different interface than the old Final Cut softwares that I need some playtime to familiarize myself with it. I have another 2011/12 DTG podcast to produce and I may fall back on FCE4 to edit it.

    Principal photography of each podcast gets wrapped very close to opening night. My habit, which is the best choice, is to get footage from at least the first couple nights of Tech/Dress rehearsal week, especially if I have clearance to use text. I would simply rather use such footage, with dialogue from the script, that has a more finished set and the actors in costume. That puts a crunch on editing the podcast final cut in a very compressed period of time if I want the podcast out by the time the show opens.

    This new remodeling of Final Cut is actually very similar to the revamped iMovie. But I have never really worked with that new iMovie interface. There was actually an instance where a friend asked me to help her out with an academic project she had to complete using the new version of iMovie, and I was so ignorant of the software that I was of little use to her. Now, I guess, I learn the logic of this interface system.

    For The Story of My Life I am almost guaranteed be too green with FCPX to get a decent edit. So, FCE4 is the likely post-production editing tool for this last podcast. But, be sure that the 2012/13 DTG season podcasts will be off of FCPX, as well as the auxiliary softwares: Motion 5 and Compressor 4.

    However, I may still not uninstall FCE4. I have used it quite frequently to mix audio and created AIF files. Until I know for sure I can do this with FCPX -- though I actually am pretty sure I'll find that I can -- I'm keeping FCE4 for this purpose, at least.

    Meanwhile, I'm impatient to find time ASAP to play with my new stuff!


    GOOD OPENING NIGHT:
    DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote
    SOUND DESIGNING ICON

    The show had a strong opening night with a virtual sell-out audience, (only shy by a few seats), an audience that was most receptive to the performance. I was the host so, as usual when hosting, I was barely attentive to the performance. The performance was clearly a hit since the audience buzzed and raved both at intermission and after the curtain call.

    I was not there yesterday nor will I be today, but I will be back next Friday, but to again host. I may sit in the audience either next Saturday or Sunday.

    One thing I did do Friday was monitor volume levels for the sound design and found that more tweaks were needed. You five may remember that I had decided that the pre-show music was too loud and I had dropped the master volume. I did that as soon as I arrived on Friday. As I was taking tickets at the door when the house was open I discovered I had erred. I'd failed to take into account the how the audience would absorbe the sound. You could barely tell there was pre-show music playing. So, after the show I kicked the volume up, even a little higher than it had been originally. I wasn't there to monitor it last night, but no one has contacted me to gripe, so it must be okay.

    It also was clear that the curtain call music needed to be louder to compete with the audience applause. So I kicked that up, too.


    Dayton Theatre Guild

    In other DTG news, check out the nice article in today's Dayton Daily News, "Volunteers Make Dream a Reality: cast of unpaid workers has kept show going for 67 years," by DDN staff writer Meredith Moss.



    Tue May 1, 2012

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    SOME DOWN, ANOTHER TO GO:
    AUDITION ICON

    I did the audition yesterday at the PC-Goenner Sharonville office for the educational video series for Sinclair Community College. It went....meh, "okay," but I certainly did not impress myself. I read with Scot Knisley, who is now in rehearsal for The Story of My Life.

    The agency called me later in the day to schedule an audition for today at the Dayton Office -- which I honestly didn't think was still open -- for a local commercial. So, late afternoon I get to do another audition.

    So let there be a freakin' booking from one of these damned recent auditions! Huh?


    PERHAPS WE SHALL IMPROV IN LIVING COLOR:
    Final Cut Pro X icon
    xxxx

    I have as of yet sat down to log any time whatsoever on Final Cut Pro X. I did shoot a couple short HD videos with my Android to see what happens when I try to work with HD footage in FCPX. In Final Cut Express I would have to re-render after each manipulation. It was real a pain.

    You may notice that the Improv Movie Project icon on the right is in color, as opposed to the black-and-white version that I've used since I made the decision to make the movie B&W. I'd made the decision after driving myself close to insane trying to color-correct the footage of each take, from the three different cameras used, while editing Be Or Not.

    When I watched the on-line videos for FCPX Friday, one of the several key points that sold me on making the purchase was that FCPX seems to have simplified color correction considerably, so I may be able to get all the footage to match color without going crazy.

    Further: maybe, just maybe, the new software will motivate me to get to the full-on editing of the movie and get it out of the shop and out of what hair I have to get it out of.


    REHEARSALS ARE OFFICIALLY UNDERWAY:
    DTG Producer icon
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

    Last night the rehearsals for the show officially began, though both Scot and Jeff have each already met a few times with the production's vocal instructor, Reneé Franck-Reed; but last night was the beginning of the blocking rehearsals and scene work. I wasn't there last night but will be tonight, and will give all those autobiographic text deadlines, etc., that are the producer's job.

    DTG Podcast Production logo
    Though I didn't attend, I did text Director Debra Kent yesterday to tell her to let everyone know that I'll probably be shooting a lot of footage through the whole rehearsal schedule, since Neil Bartram and Brian Hill granted clearance for both dialogue from the script and music from the show for the podcast. I will shoot some tonight, in fact.

    *Blocking: The management of the movement and location of actors on stage as tied to moments and passages in the script.



    Wed May 2, 2012

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    AUDITION ICON
    K.L.Storer, in a plaid sports jacket, of various blues, greens, and earthtones, and with a bright gold tie
    K.L. Tarlik.

  • Did what I judge as a really good audition for Shaunn Baker at the PC-Goenner Dayton Office, yesterday.

    Without going into detail I auditioned as a sleazy salesman for a commercial that will be shot in Dayton. I wore a getup that was tacky, even for me. I was going for that Herb Tarlik look, for those of you who remember WKRP in Cincinnati. A cliché, you say; yes, that's true, but still verily apropos.

    This was a chance to go big, loud and big. It was fun. Here's hopin'....

  • AND IN OTHER NEWS!
    K.L.'s facebook status "AVENUE Q BABY!" Got word yesterday from The Human Race Theatre Company that I am slated for a callback for Avenue Q, which pleases me to no end.

    Being greedy, I also wished to be called back for both of Race and Next To Normal, but, what-a-ya-gonna-do?

    The only downside to getting a coveted spot in AQ would be that it would automatically kill any possibility of being cast in The Guild production of Martin McDonagh's Pillow Man since the two shows greatly overlap in rehearsal and performance schedules. At least that period, late spring/early summer, 2013, has a lot of potential for me!

    Plus, if I'm not going to be in the McDonagh show, Avenue Q is the best reason! And if I don't get on The Race stage, doing Pillow Man is decent emotional compensation.

    If I'm cast in neither, then both directors need their heads examined! That despite that one is a friend and colleague.       smiley icon




  • A REPERTOIRE OF CLOTHING:
    THE BUSINESS OF ACTING ICON

    I really do need to have an expanded and more eclectic collection of clothes to wear to auditions. Most specifically I mean screentests for commercials. Sometimes I must really stretch it to dress as the character I am up for. And commercial auditions more so than any other type are where it is appropriate to come "in costume." Other auditions are not so much so; some, for it's a really bad idea.

    Of course, in any audition you don't want to dress against type, unless you're going in for the role of a Knight of The Roundtable, or something else very period or fantasy based.

    But if I'm going in to read for a lawyer or homicide detective I certainly should not be in jeans and a plaid work shirt, no matter whether it's a TV show, a movie, or a stage production. If I'm going in to be a farmer, I may not wear the plaid, but I am likely to be in jeans and some sort of shirt that would work in the fields. If, however, I'm going to read as a Shakespearean character, I'm likely to just wear my generic dark slacks and a solid, light-colored shirt.

    So: if I'm auditioning for the role of John Adams in a stage production of 1776, I'll show up dressed in that generic audition garb I just mentioned. If it's for a commercial for a bank, or whatever, I might be in period costume with a white wig -- sometimes the specs for a commercial audition will actually request such.

    *When I go in for my AQ callback, I will NOT be in a furry, brown monster costume!

    Beyond all that, in terms of what I guess we could call "regular citizen's clothing," I really have very little in my rag-tag personal wardrobe that does not fit inside my own -- and I use this term loosely -- fashion sense. It can't be to my disadvantage to have some clothing at quick reach to suit specific audition needs, and even performance wardrobe needs, for that matter.



    Thu May 3, 2012

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    AND IT'S ON TO THE NEXT AUDITION, SORT OFF:
    AUDITION ICON
    K.L. fb post "Another indefensibly dumbassed casting error has been made -- not that I'm bitter or anything. :}"
    I am really very sorry to say that K.L. Tarlik will not hit the airwaves and assault people's sensibilities. Of all the recent screentests I've done this was probably the one that most enthused me.

    He was going to be fun.

    The up side is that, according to Shaunn Baker, the interested party was "VERY impressed with the audition." He added that the party in question is trying to do more screen type projects and that I am "definitely on their radar." So that has some good emotional merit to it. Yet, Not Cast is still Not Cast.

    BUT WAIT!:
    PROFESSIONAL GIG ICON
    K.L. fb post "In other casting news, I have booked a gig off another recent audition."

    Got a voicemail last night from PC-Goenner that I have been booked for the educational video series for Sinclair Community College. That shoots next week, a week from today, in fact.

    As of the writing of this passage I have not heard back about the specifics, but I don't believe it is the exact role I read for at the screentest because that role was specified as a full-day shoot and I am going in for a half-day shoot. But, a booking is a booking is a booking.


    And all I got to say is:  
    IT'S ABOUT TIME I GET BOOKED THROUGH THE AGENCY AGAIN!



    CAN YOU SAY, "ENTHUSIASM IS ON THE WANE?":
    Final Cut Pro X icon

    I've only played but a little in the new software but I can report that thus far I am wholly unimpressed.

    I'll come back with more detail later; but at the moment, I'll at least say that it appears I erred greatly by not heeding the warnings I was given about a clear step in the wrong direction for a once great movie editing brand.



    Fri May 4, 2012

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    EVERYTHING JUST CHANGED ALL RIGHT!:
    MOVIE PRODUCTION STUFF ICON
    Final Cut Pro X icon

    I only have looked around in FCPX a little bit more, but still am not embracing any upswing back to giddy enthusiasm for the software. Maybe it's just that I am still on the first slope up, before the peak in the hill of the learning curve, but at this point, my inclination toward reaction is, as in my fb post this morning:

    K.L. fb post "Dear Apple developers, and most especially, Final Cut Pro de-evolutionizers: 'Everything just changed in post'...? Sometimes change is an indefensible and foolish thing. You dimwits have jeopardized what was once a great piece of software, one of the, if not THEE best DV movie editors out there. I shure hope you fire all involved with the fiasco of FCPX and bring back the smart guys for v.11."
    *and, yes, in this case, "shure" was an intentional "[sic]," i.e.: an execution of poetic license. Though now that I look at it, "shur," (without the "e") would have been better to illustrate an exaggerated, hard U & R.

    Apple developers actually removed important professional features and made the software compatible with fewer DV file types. The logic behind that would be entertaining to hear an Apple rep justify without a contrite, quivering voice. They then made things "easier" that sophisticated editors don't need easier, and the new version makes users play "Where's Waldo" with frequently needed professional tools! It's mind-boggling that they seem to be thinking so much like Microsoft on this that it's embarrassing and, frankly, awkward to associate the idiots behind this "enhancement" with Apple.

    And the company has the audacity to tack the word "Pro" on this crap product; despite what the company may believe, once-loyal pros will notice they've had their intelligence insulted and their loyalty spit on. Apple is going to see movie makers moving away from it now, and the company has nothing to blame but its own ill-conceived foolishness with the boondoggled Final Cut Pro X.

    Apple may have hurt the Final Cut reputation so badly that there will not be a v.11. The company may have effectively sounded the death null for one of its premiere products. FCPX would have been fine as an enhanced iMovie with the developers then working on a v.10 of Final Cut Pro that made real sense and did not dumb it down and remove features and compatibilities. If they do rally back with an intelligently developed v.11, the PR better be very good and aggressively proactive, because Apple has some fences to mend with a creative group that has been betrayed.

    I have already visited the on-line product pages for both Avid Media Composer and Adobe Premiere. Both have OS X Lion versions and both have legions of fans. Of the two, most film makers and editors I know of use Avid if they aren't on Final Cut; but Premier has its fans, too. I was told by a vid/movie tech on campus that Premier is essentially fashioned after the real Final Cut Pro -- not this identity thief with an "X" behind its name. Both Media Composer and Premier have very hefty sticker prices, but most things connected to making movies do, even if the sticker shock is not always as bad as it used to be, overall.

    And if Apple is going to drive me away from Final Cut, so be it. They have no one to blame but their own short-sighted selves. Of course, perhaps I'll trudge over the pinacle of the learning curve hill and soften my assessment on the downward slope. I suspect that I won't soften my harsh evaluation much. The prospect of my becoming a raving fan of FCPX appears pretty slim.


    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
    DTG Podcast Production logo
    DTG Producer icon

    Principal photography for the "DTG Podcast 1112-10 The Story of My Life" began Tuesday evening. I shot Wednesday evening, as well.

    There's probably a little more than an hour of aggregate footage thus far. Whether that will all be relegated to B-roll is not known just yet. These podcasts have very much of a documentary approach and flavor, so often I must see what all I have before I know how to tell the story.

    And do I need to state that this is a Final Cut Express 4 project? It was already going to be, as I stated in another blog entry, simply because I knew I would not be proficient enough in FCPX to edit well. Now, of course, there's some kind of high likelihood that no DTG podcast will ever be the end product of FCPX.

    With my show producer's hat on, I'm about to arrange a brief production meeting. I need to start attending to finances, too. I need to also start getting bios and headshots, yadda, yadda......

    xxxx
    Jeff Sams (Alvin Kelby) & Scott Knisley (Thomas Weaver)
    xxxx
    Debra Kent (Director)
    xxxx
    Jeff & Scott again, with the dorky producer



    Mon May 7, 2012

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    ARTS' SAKE:
    MISCELLANEOUS ICON

    In some ways this is more or less in the category of...
    In the audience icon

    ...since, though not a performance, it is art for an audience's consumption.

    Yesterday I spent part of my afternoon on The Wright State University campus at the Robert & Elaine Stein Galleries to check out the "Midwest Paint Group with Gabriel Laderman: Realism and Its Discontents"* exhibit, which happened to close yesterday.

    What managed to get me to this local, very convenient art event, that I am close to ashamed to confess I may not have otherwise attended, is that a workplace colleague, Deborah Chlebek, is a member of the Midwest Paint Group and had several pieces in the exhibit.

    How "local" and "convenient" was it? My day job (the rent payer) is in the next building; the Stein is literally a two-minute walk from my desk, tops. Same building, by-the-way, where several times a year there's great college theatre happening that I so, so, so, too, too, too often miss!

    But, about the work in the exhibit: I was most impressed with all the work. Click on Debra's name to see some samples of her work, which is expressionist in style. Some of that work was in the exhibit.

          *(I've made the hyperlink for the exhibit to an article, rather than the WSU event page, because there's less chance of the page going away after it's outdated -- feel free to let me know if the link becomes broken: KL_Storer@yahoo.com)



    SINCLAIR COMMUNITY COLLEGE GIG ON THURSDAY:
    PROFESSIONAL GIG ICON

    Sometime today I am supposed to get more word on specifics about the educational video series shoot for Sinclair Community College I am doing this Thursday. At the moment I have only a general, vague idea of wardrobe; I was also told I'd get the compensation fee number today.


    On another note, I have already received the actor's fee check for the U.D. Law Mock Trail Sequence and the Trail Practice Class exercise. I mention it because I did not expect it until perhaps late May, maybe even June.

    Since, as almost all my actor's compensation has been and will be, it is as an independent contractor, and no withholding was taken out, I have dropped 30% into my Money Market Account -- set up specifically for this purpose -- along with the 30% for the voice work I did for Audio-Rabius in January, because I did not put that in at the time. At this moment, all my record keeping and personal withholdings as an actor for this year are up to date -- *see next.


    2012 ACTOR'S INCOME & EXPENSES   +   :
    THE BUSINESS OF ACTING ICON

    This weekend I played catchup on recording income (not very much), expenses, and mileage for this year for professional acting related events as well as for all my other acting and theatre related volunteer work (which means mileage). Now, the idea is to, as I used to do, enter every item as it comes up so there's no more "playing catchup" necessary.


    FINAL CUT PRO X FOLLOW-UP:
    MOVIE PRODUCTION STUFF ICON
    Final Cut Pro X icon

    Friday afternoon I contacted Apple through an iTunes customer service on-line form and requested my money back for all of Final Cut Pro X, Compressor 4, and also Motion 5. I got a response back not soon after that there would be a refund in five to ten business days posted to my credit card account.

    However, over the weekend I was encouraged to at least struggle through the learning curve period before uninstalling the software. So, yesterday I sent another message to cancel the refund. But I did still give some critical feedback.

    I wrote that the interface is far too different from previous versions and it was unnecessary to make it so drastically different except to feed the egos of those who wrote the new version. I said it appears there are fewer tools on the arsenal such as transitions and generators -- there used to be a very rich array and now there appear to be much fewer, and what there is really not much of a menu for pro editing and that for a "professional" editor that makes absolutely no sense. I added that the old way of adjusting sound was much more intuitive as well.

    Further I wrote:

    If Apple and your developers are not aware, you need to be aware that many loyal Final Cut users are now looking at Avid Media Composer and Adobe Premiere. I am telling you it is wide spread. FCPX is getting trashed and bad-mouthed quite widely. I would suggest that v.11, or even the updates of X fall back to something with the libraries and functionality of legacy FC, and maybe something closer to the old interface. This new magnet feature and the video analyses is a good idea. but most of the rest of the ill-labelled "enhancements" are driving loyal users away. If the FC developers don't take notice, Final Cut will be known as has-been software. It's falling out of favor and there is no one to blame but those who made the bad decisions to make it more like iMovie and less like a premium DV movie editor.

    About canceling the refund, I also wrote that if I end up not warming up to the software, so be it, but if I don't warm up, it's not likely the next version of Final Cut is in my future unless the developers wise up. I suggested that if a new version does return to former glory that Apple best pull out all the stops if they want to win back those who have been alienated.

    In other words, that message was much like my rant here on Friday.


    FILM FESTS?:
    MOVIE PRODUCTION STUFF ICON
    PART 2

    'BE OR NOT' icon
    'THE CHORUS FOR CANDICE' a short movie by K.L.Storer, featuring Kimberly J. Reiter with Charity Farrell and Benjamin T. Sadai

    Whereas, neither may be the most fabulous product out there, I really ought to be sending out both my finished shorts as submissions to film festivals.

    In the past month alone I have received twenty-one FYI emails from without a box about forthcoming festivals.

    I'm sure not all of these festivals are viable options for me, but I have not even opened any of the emails yet to see if any might be magically perfect. The emails keep coming, too. So eventually coming across films fests that are good fits for one or the other is inevitable.

    I'm self-conscious about the production values; that is the crux of the matter. The actors' work is all fabulous, but the big problem for me is mostly some of the photography, that being my camera work as opposed to that of D.P. Fred Boomer and second camera operator Dara Bornstein (both on Be Or Not), both who know much better than I what they are doing.

    It was once pointed out to me that telling a story well can often trump production values, that some really pretty movies have no substance. Still, there are some visual problems in my movies that bother me, especially in Be Or Not, despite that the work from Natasha and Craig is excellent.

    On the other hand, both works really deserve to be submitted. What's right about them both outweigh any shortcomings. I need to get over myself and put them out there!



    Fri May 11, 2012

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    THE SINCLAIR COMMUNITY COLLEGE EDU-INDUSTRIAL:
    PROFESSIONAL GIG ICON

    The shoot yesterday went quite well. I had the privilege of working the scene with Bryant Bentley, who played Caesar in the recent HRTC production of Gem of the Ocean, so, "theoretically" we almost worked together before. Our part was wrapped ahead of schedule, which I am sure pleased the production team. Several shots were done in one take and I don't think any went over four (maybe five).

    By 12:45, Bryant and I were getting in our cars. I could have then actually went into the office at the rent-payer, but elected to not. Though, due to being off sick from that job on Wednesday, and time I have to spend this afternoon waiting for the cable repairman, my vacation time for yesterday has bloated up from 0 to probably 7.5 hours. In retrospect, I perhaps should have gone in.

    Regardless, it was good to actually do an agent-booked acting gig after a horribly long dry spell.


    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
    DTG Producer icon
    DTG Podcast Production logo

    Wednesday evening, despite not feeling well, (having been home sick in bed all day), I shot a bit more podcast footage of rehearsals in the board room office area. That was really the last time to do that, since the rehearsals take the main stage on Monday. It still would have been the last time I shot in there. I have more than enough of that footage. I need main-stage rehearsal footage. Since we are doing both dialogue and music from the show in the podcast I really want more of my rehearsal footage to be on the back end, when the performances and the set are both more evolved.

    As the producer, I am starting to gather things: info, pictures, bios. We have our production meeting Monday evening.

    And, perhaps I ought to start attending to what money is being spent, hmm?


    DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote



    Sun May 13, 2012

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    CLOSING TODAY
    DIVIDING THE ESTATE by Horton Foote, at The Dayton Theatre Guild.

    The Cast of Dividing the Estate

    CHARACTER
               ACTOR
    Stella Gordon            Gayle Smith

    Lewis Gordon            Greg Smith

    Doug            Franklin Johnson

    Son            Jeff Sams

    Lucille            Barbara Jorgensen

    Mary Jo            Julie Hauwiller

    Bob            Geoff Burkman

    Emily            Claire Alemdar

    Sissie            Lori Grissom

    Pauline            Wendi Michael

    Irene Ratliff            Burnadette Rose

    Mildred            Lolita Price

    Cathleen            Tori Easterling Doby



    Mon May 14, 2012

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    AS THE COUNTDOWN TO "OPENING NIGHT" TICKS -- REHEARSALS, THE PODCAST, AND SET CONSTRUCTION:
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
    DTG Producer icon
    DTG Podcast Production logo

    The show opens in eighteen days. Including tonight, there are fifteen scheduled rehearsals left before the show opens. Mr. Knisley & Mr. Sams are up to the task -- no worries.

    Mr. Grandiose, self-important Producer dork has scheduled a brief -- (a "BRIEF") -- production meeting this eve, before the rehearsal. It shall be a quick gathering to be sure all ducks are in a row, or to facilitate making it easy to get such later.

    Mr. Producer did spend the weekend getting what I would call the "third-millennium paperwork" finished, i.e.: mostly meaning the different sheets in the Excel workbook up-to-date. Tonight I'll plug in some numbers on the budget sheet, I am sure. I'll likely be unhappy as the result, too.

    I have as much pre-set for post-production editing of the podcast as I can. Though I have some mixing to do on the underscore music. The habit for over a year now has been to go to D.A.W.N. Music and purchase some royalty free music that fits the needs of the podcast -- thanks to the tip about the site and service from Peter Wine. This time I'm going another route. Since Bartram and Hill granted permission to use the music from the show in the podcast, I am going to use the piano accompaniment of the show's music, which we recorded so our actors could rehearse the songs on their own. I'm going to tie a few of the songs together to run low, underneath, (as the underscore music is always used in these DV movie podcasts), in the spots where we don't see and hear the actors actually singing moments* from a song in the forefront.

    *I will not be placing any whole song or large continuous portion of a song, with the vocal included, in the podcast; that would absolutely be an abuse of Mr. Bartram's and Mr. Hill's generosity.

    I'll shoot tonight, since I'll be there, anyway. Not sure I shoot again this week. I may shoot set construction this coming weekend, as I have occasionally done for other podcasts, as B-roll.

    Which brings us to another item: Our set designer Greg Smith only has one weekend, this coming weekend, to work on the set. Tech Sunday is Sunday, May 27. Beyond that fast-approaching date, Greg also can't work on the set the previous day, so set must already be done. The set will not be a major, elaborate set, but the more who can help, the better. Certainly as many as can be there this weekend, the merrier it will be. The times this weekend will be about 11:00 Saturday morning then about 10:00 Sunday morning until mid to late afternoon both days -- (maybe later). Greg also will be working during this week (starting today), and anyone who can drop by........

    If you want to help out with set construction, that would be great. If you know Greg, you can call him or email him about when he's working during the week; if you don't know him well enough to have contact info, email me here and I'll forward your email on to him.

    KL_Storer@yahoo.com


    YESTERDAY'S CLOSING PERFORMANCE OF DIVIDING THE ESTATE:
    In the audience icon
    DIVIDING THE ESTATE & Dayton Theatre Guild combined logo. Play by  Horton Foote

    Finally actually sat in the audience to see the show, yesterday. I seem to have a habit of picking the closing Sunday since I try to be there for strike* for our shows, if I can.

    The production was pretty entertaining with a lot of very good performances. Congratulations to the cast (in alphabetical order): Claire Alemdar, Geoff Burkman, Tori Easterling Doby, Lori Grissom, Julie Hauwiller, Franklin Johnson, Barbara Jorgensen, Wendi Michael, Lolita Price, Burnadette Rose, Jeff Sams, Gayle Smith, and Greg Smith; congratulations to Director Ralph Dennler.

    What's really great about this production us that just shy of half the cast members made their debut on the Guild stage, and one other, Gayle Smith, returned after a long absence.

    *Strike: the process of razing a theatre set to remove it from the stage after a production has wrapped. This is usually done with as much disassembling and as little demolition as possible for the constructed elements, such as the walls of rooms, etc. All flats and platforms that made up the set structures are removed and stored in their appropriate places. All set pieces (furniture, appliances, wheelbarrows, or whatever) and all props (hand guns, type writers, tchotchkes, or whatever) are also removed and returned to storage or to the people or other theatres any may have been borrowed or rented from.

    Greg Smith needed to get started on set construction for The Story of My Life after Dividing the Estate closed yesterday. After the set strike for Dividing he got some preliminary set-up work done. The sooner we could get the Story set started, the better. Here are some pics of the strike.
    xxxx
    xxxx
    Scott Knisley & Jeff Sams, helping tear down this set to make room for their set for Thomas & Alvin in The Story of My Life.
    xxxx



    SOUND DESIGNING ICON

    Saturday I migrated the sound files for the sound design for Stephen Temperley's Souvenir into Windows 7 in my Fusion virtual machine where they are now ready to be used in the Show Cue Systems software. You may know I originally designed the Souvenir sound for our DTG production earlier this season. Director Saul Caplan has arranged to take the production -- pretty much in tact -- to the Brookville Community Theatre for a July mounting. As I have previously said, I won't be running the sound myself, and there's a need to find a laptop that SCS can be temporarily installed on for the execution of the show. I haven't programmed the cues yet, but will soon.


    Final Cut Pro X icon

    After an initial visceral bad reaction to this mediocre de-evolution of a once fine piece of movie editing software, I have reconsidered and communicated to Apple that I was going to give the program another chance, and to cancel my refund. However, I didn't seem to get to them in time. The refund was still credited and for all of Final Cut Pro X, Compressor 4, and Motion 5. I feel no obligation to uninstall them, however. I was most timely in getting back about my change of heart, so this is on them.


    AUDITION ICON
    FutureFest 2012 new play festival at The Dayton Playhouse

    AND in other discouraging news, I have, through new avenues, received FYI's about the auditions for two short films.

    The two I've done screentests for in the last month.

    This suggests the directors have not seen what -- or much of what -- they are looking for.         frown icon

    Meanwhile, The Dayton Playhouse's FutureFest 2012 auditions are coming up the first weekend of June. I know nothing at the moment about any of the plays, but then, I didn't last summer, either, even the day I auditioned. I do know that the weekend passes go on sale later this week. Either way, I will be at The Dayton Playhouse July 27-29.



    Tue May 15, 2012

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    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
    xxxx
    Reneé Franck-Reed, Becky Childs, Scott Knisley (Thomas) & Jeff Sams (Alvin) workshop some songs last night.

    DTG Producer icon

  • Mr. Producer Dork -- TWENTY-MINUTE PRODUCTION MEETING, BABY! I'm tellin' ya: "30 minutes or less or the pizza is free!" Okay, yeah well there was no pizza, but the meeting was no longer than it needed to be.

    It was loose but productive and I am most happy about a particular budgetary discovery revealed -- not going to go into detail but as producer I am pleased as pleased can be that several hundred dollars will not apply to the creative budget line.

  • DTG Podcast Production logo

  • Self-impressed Podcast Guy -- The rehearsal last night was virtually all musical woodshedding, with the two actors working with Musical Director Reneé Franck-Reed and accompanist Becky Childs. I did shoot footage but not a large amount. Certainly a few moments of this type of work is good material for the podcast.

    I shot a total of about twenty minutes but lost the first five or so. The first minutes would not track when importing into Final Cut Express, which was a problem I ran into with a few minutes of footage shot last week, as well. My best guess is that it is because I re-used some video tape mini-cassettes, which I had "erased" by recording over the original video information. I did so recording over the whole span of the hour-long, used tape with the shutter closed and a jack in the mic insert, this gives me black video and blank audio. This isn't a new practice on my part, but I have never had this event of video that won't track right and import from the camera to the computer before.

    Though it's never happened before, I still believe it is the result of re-using the tape, rather than being a mechanical problem with the camera, since these two separate occurrences of the same problem have been with two different DV camcorders. Clearly, it's wise to go back to the practice of only recording once on a cassette, then retiring it.

    Tonight I drop in to shoot with a fresh cassette tape in the carriage.

  • SOUND DESIGNING ICON

  • Delusional Sound "Designer" -- there's one sound effect that shows up five times in the script. That will not be a problem. It's the door chime in the book store that rings when a customer comes in or leaves. I'll be using a sound file I have of a bicycle bell, which I will slightly edit and process.

    Beyond that all that is needed is pre-show and intermission music. That will be a mixture of ballads from other musicals, adult contemporary pop songs, and standards. Some of this music I have, the rest will be easy to get.




  • MISCELLANEOUS ICON

    This will be kind of a rant, maybe a "rant lite." I saw a promotional email today about a forthcoming event featuring a local artist in a particular genre that touted him by saying he "has put Dayton on the creative map."

    I must assume that wording was an unfortunate, and I hope, unintentional, misstatement. This man is a fine artists at his craft, and certainly one of the many artists from the Dayton Community who continue to keep the area on the artistic map -- but Dayton and the Dayton area's placement on the artistic map goes back long before this man ever began his artistic endeavors, and he is only one of many local artists of all genres, from novelists to song writers and musicians through actors and film makers, painters, ad infinitum (some with international acclaim) who made amazing contributions to their disciplines. Some did so int distant past.

    A lot of great art from all aspects of the spectrum has came and continues to come from the local artistic cannon and has kept, and still keeps, Dayton and its environs a vital stopping point on that "creative map."

    It just bothers me very much when all the credit for Dayton's artistic recognition goes to any one artist, no matter who, and I had to make a statement about it.



    Mon May 21, 2012

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    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
    DTG Producer icon

    So rehearsals are just on the brink of the last stretch before tech week*. Next Sunday is Tech Sunday**.

    We started work on the set this past Saturday. Actually, that's not exactly correct. The major push started Saturday; some preliminary work was done prior to that. But over the course of this past weekend we got the bulk of the work done, though there's still work to do.

    Unfortunately I took the publicity photos last Friday evening. It's not unfortunate that they were taken but several aspects are unfortunate:

    1. I am not a "world-class photographer," to say the least, for one thing.
    2. My little cybershot, though not a bad camera, just does not have the capabilities to get great shots under the lighting in the theatre. We did not have the stage lighting on, and shot with the work lights and the house lights on. I tried using the flash once and got really sepia-toned pics that I know from experience cannot be color-corrected well. I played with the color and the contrast of the pictures, but I am still, personally dissatisfied with the pics in general. Our house photographer, Craig Roberts was unable to be there Friday so it was left to me and my various handicaps.
    3. The set behind them was barely there and it's really a background that is clutter and theatre junk. So the environment of the photos is not terribly compelling.
    But the pics needed shot so Publicity could have access over the weekend to start getting them out.

    I also took some other photos to be used as part of a conceptual design for the production's lobby poster. Those pictures suffer from the same maladies as the publicity shots. In fact, I am skeptical that our graphics designer, Wendi Michael, will be able to successfully use them for the intended purpose.

    SOUND DESIGNING ICON
    For all intents and purposes, sound design for this show is done. Scott Knisley (Thomas, in the show) has a home recording studio, so last week two young boys went there to do voice overs of young Thomas and Alvin for a sound cue at the top of the show. That was engineered by Scott, though I did a slight amount of tweaking, for pacing, mostly. I also threw in a little stereo pan so one kid's voice will favor stage left and the other stage right.

    There are five other sound cues, though they are all the same sound: the bookstore doorbell. It took a little bit of searching to find the ring that was appropriate to our needs, but I finally found it on my third visit to SoundRangers, that particular visit being Saturday evening during rehearsal. Technically, the sound file, in its raw form, is titled "dinner bell 03," yet it still has the exact characteristics we need for our store door bell. I did add just a slight amount of reverb to it because the original cuts off far too abruptly.

    I also have a couple-hours-worth of pre-show music, about twenty-five or thirty minutes of intermission music, both set to random play so each will be a different play list for each show. Of course, pre-show will be only thirty minutes, and intermission will be theoretically fifteen minutes (though more probably about eighteen to twenty minutes). So, with both set up at random play, there will be a pretty unique play list for each performance of the show, especially the pre-show music which has a large pool of songs to pull from. Pretty much how I like to do both these incidental music spots for all the shows I design.

    The sound design is programed into Show Cue Systems. I finished it off Saturday night at the theatre. Of course, there will be some volume level adjustments made, but there's not much to adjust.

    DTG Podcast Production logo
    Meanwhile, back at the ranch, podcast shooting is going well, though I've slowed down for a bit. I did shoot some set construction footage over the weekend as I'd planned, but not a significant amount of more rehearsal footage. At this point what I need, as I've indicated before, is the more polished rehearsal performances, what I'll get the Monday and Tuesday evening of Tech Week. Between now and then my other big need is the interview footage, and I need to decide post haste who all I want for that. It could be as many as six people.

    *) TECH WEEK: The last several rehearsals before Opening Night or Preview performances in which all the technical aspects of lights, sound, special effects and all set changes and costume changes are done, I.E.: the show is run as if it was a performance in front of an audience; there will be no stops unless something goes very amiss.

    **) TECH SUNDAY: The Sunday rehearsal day at the start of Tech Week.Tech Sunday will be one or more rehearsals where all the technical elements are first incorporated into the rehearsal performances. "Tech Sunday" is traditional for many community theatres; professional theatres may have this initial tech day earlier, often the Friday before that last weekend of rehearsals that kick off Tech Week.




    AUDITION ICON

    The agency called earlier today about an audition Wednesday at a Holiday Inn in Cincinnati. It's for a commercial and it's a gig that seems to pay reasonably well. There's a callback next Thursday, which will cause a conflict for me as I have a luncheon date at the rent-payer to help send off both my two current employees and other students, all who are graduating. But, if I have to miss that, so be it. The shoot will one or more days in early June.


    KEEPING IT UP FOR THE 2012 TAX RETURN:
    THE BUSINESS OF ACTING ICON

    Thus far I have been keeping on top of recording mileage and expenses both for professional acting and for my theatre volunteerism.


    FutureFest 2012 new play festival at The Dayton Playhouse

    So, I shall at least be In the audience icon for this year's festival.

    I bought a weekend pass last Wednesday.

    As to whether I will be Not in the audience icon for one show, remains to be seen.



    Thu May 24, 2012

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    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
    DTG Producer icon
    SOUND DESIGNING ICON
    DTG Podcast Production logo

    Rehearsals, sound design, and the podcast shoots are all coming along. Sound design is, again, essentially done, save for volume tweaks and the rehearsals are growing toward that golden polished point.

    This weekend through Tuesday I finish principle photography on the podcast. I have a two-camera interview with our principles slated for sometime during Tech Sunday. I've elected to only also get comments from Director Debra Kent, rather than expanding it to other production team folk.

    Since Monday is Memorial Day and I'm off from the rent-payer, I will edit the podcast DV movie as much as I can. I'll have the interviews and all the b-roll. Monday and Tuesday evening will be when I get the better performance footage, as these are both tech/dress rehearsals. Then, wit any luck, my vacation day on Wednesday will be just about inserting that footage, dropping in the underscore music and finishing up all the titles and the credit roll; those last two items may be greatly dealt with on Monday.

    xxxx
    Scott Knisley (Thomas) in rehearsal this past Monday night.
    xxxx
    Jeff Sams (Alvin) at the same rehearsal.
    xxxx
    View from the sound tech's side of the booth, during rehearsal on Tuesday night.



    AUDITION ICON

  • The Commercial Audition Yesterday -- This one went well enough, I think. At least I didn't leave feeling lousy about it. This is one of those cases where I did go "in costume," at the specific direction of Peter at PC-Goenner Talent Agency. I went dressed as a doctor, in a white lab coat, blue shirt and dark blue tie, my stage eye glasses (no lenses) that I first used as Dr. Mayberry for my horrible work in I Never Sang for My Father at The Guild back in 2006. I brought a stethoscope with me yesterday, too. The lab coat and the stethoscope were specified by Peter, the shirt and tie were simply logical, and the glasses were an accessory that I figured would work. The director had me do takes with and without the glasses and decided he liked it better with them. So, good call on my part, I guess, to bring them.

    I saw several other actors I've worked with on stage, seen a lot at auditions, and in one case had an acting class with; all of them were in a white lab coast with a stethoscope, too. At one point there must have five of us in the waiting room, all clearly going after the same role.

    The call back will be next Thursday. I borrowed the lab coat and the prop. I'm keeping them a little while just in case.

    This probably means nothing to anyone but me, and it doesn't mean all that much to me, but, I had thought this audition took place in a Holiday Inn I'd never been to, since it was identified to me initially as "The Riverfront Holiday Inn in Cincinnati." It turns out it was actually the Holiday Inn across the Ohio River in Covington, Kentucky, where I have auditioned several previous times, all of them, including this one, for Clover Casting. Clover is who placed me on the set of Clooney's The Ides of March.

  • The Zoot Theatre Company -- The general company auditions for the 2012/13 season for this most interesting theatre group are Saturday, June 16. I've made an appointment for the afternoon.

    The audition calls for the actor to do a one-minute monologue with a puppet (which Zoot will provided at the audition if need be) and then a one-minute non-speaking movement piece (be it dance, pantomime or other non-verbal), something that tells a story without using words. This is all virgin snow for me, which is good and, of course, a little intimidating.

    Stretching the envelope, broadening the horizon, adding to the tool box, (insert another cliché here), that IS part of the game I want to play.

    I think I know what monologue I'm using; it's one I found a few years ago but have only been able to employ once in an audition, (a screentest back when my agency was still Roof-Goenner). My first thought was to simply show up and have Zoot provide me with a puppet and the wing the monologue using an approach and a character voice based on what I feel about the puppet and the character it suggests. Another actor who has an appointment, and who also has done no puppet work, expressed that he is definitely finding a puppet and working with it beforehand, and I believe I am becoming inclined toward that route myself.

    I think I have an idea for my movement piece, too. Personally, that is the more intimidating part of the audition. Yes, performing with a puppet is an unknown for me, and I know that my skill will be green, green, green, but you five people who follow this blog know how dissatisfied I am with my movement on stage, in general, so that's the part about which I feel the stronger risk. Oh well.

    Meanwhile, I've made a cursory start at finding a puppet to borrow, rent or buy to begin my prep work.

    A problem, however, is that The Hobbit, which runs mid-autumn may be the best fit for me, and I have my eyes fixed squarely on Opus at The Guild, up just a few weeks earlier, which would be a definite schedule conflict. On the other hand: what do I know about what fits me best in a puppet/mask theatre troupe?

    AFTERNOON ADDENDUM: I meant to put this point in, but left the writing for a while and when I came back I let it slip my mind. That point being that there is no reason to pretend my pending callback for Avenue Q at HRTC does not somewhat factor in to my decision to audition for Zoot. However, I will assert that I have been interested in doing a Zoot show for a while; AQ simply is the final nudge.

  • FutureFest 2012 new play festival at The Dayton Playhouse

  • FutureFest 2012 -- The auditions for this are coming up. I am not wholly sure at the moment if I will be auditioning for the festival this year.

    Of course, I will be there for the weekend, but it's still open as to whether I am on stage at any point -- and, that would be true even if I do audition, I realize.

  • OPUS by Michael Hollinger at The Dayton Theatre Guild

  • Opus at DTG -- In mid-July the auditions for our 2012/13 season opener will be held. I have every intention of being there.


  • Sun May 27, 2012

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    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
    DTG Producer icon
    SOUND DESIGNING ICON
    DTG Podcast Production logo

    Today is Tech Sunday. Should be a relatively easy day for me.

    Sound will be a synch.

    I will shoot the interviews and some other footage for the podcast. As already stated, Monday and Tuesday will be when I get the meat of the rehearsal footage I want to feature. I do plan on editing a lot of what can be edited, during the day on Monday, at the apartment. I'll finish off the editing Wednesday, and hope to have the final cut posted Wednesday evening or Thursday morning.

    The show, by-the-way, is coming along.

    xxxx
    Scott Knisley (Thomas) & Jeff Sams (Alvin)
    xxxx
    Director Debra A. Kent
    xxxx
    Music Director Reneé Franck-Reed
    xxxx
    Production Stage Manager Deirdre Bray Root
    xxxx
    Accompanist Raymonde Rougier
    xxxx
    A/V Technician Travis Dalhoff



    SOUND DESIGNING ICON

    Had big plans to get a lot of the Show Cue Systems programming of the Souvenir sound design for the upcoming Brookville Community Theatre performances done yesterday. "Best laid plans...."

    I wanted to at least get the sequence of sounds and sound stops programed. Volume levels, at least the final designations, will have to happen at the theatre.

    Tomorrow, I can spend some of the day on the sequence programming.


    "GREEN" WOULD BE GIVING ME CREDIT:
    MOVIE PRODUCTION STUFF ICON

    Friday night I watched a public access show called Viewfinder, from Cincy, hosted by a film maker named Zo Wesson. The subject was the shooting of The Ides of March. The guests were Kristen Erwin of the Greater Cincinnati and Northern Kentucky Film Commission and two locally-based grips, Jeff Fisher and Brandon Cundiff. It was cool to hear a couple references to the Hollywood crew of Ides, like the chief lighting technician, Rafael E. Sánchez, whom I remember from my two days on the Ides set at the Miami U. shoot. Since he was who worked the most with me in my stand-in work he's one of the folk I remember the most, aside from the principal actors, and the amazing First A.D. David J. Webb. When they were speaking of how Raphael is a giant, the guy is tall and hefty, I was able to say, "yes, indeed, the guy's Goliath!" Pretty cool to be able to hear them talk about a major pro from the movie industry, to be able to hear them comment on how nice the movie crew in general was to everyone, and be able to shake my head and honestly verify they speak the truth.

    But, aside from the talk of that project, they were referencing the technical aspects of making movies (in the big people's arena) and I realized that in all reality I know almost nothing about the intricate, involved process of making movies. I'm having a difficult time not feeling like a delusional joke.

    You can see that whole episode of Viewfinder by clicking here.


    GEORGE IS GEORGE IS GEORGE:
    Note Addendum PS icon

    Thinking of my father, George, and his military service, in light of the Memorial Day weekend we are in, I googled his name and came up with a few hits. None of them were him, but:

      I wonder if George Storer the Englishman who sat in the House of Commons in the late nineteenth century, is an ancestor of ours.

      According to George, my dad, the George B. Storer, of the broadcasting company Storer Communications, is a distant cousin.

    I have absolutely no idea why I bring this up; still............



    Memorial Day
    2012

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    In memory of my father, George Storer(WW2) and our ancestor Archibald Storer (Revolutionary War) and every other man and woman who served and protected.



    Tue May 29, 2012

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    Yesterday was such a nice day out in my little neck of the woods that I decided to not take anything like a direct route to the theatre. Here's some indication of the route I took:
    xxxx
    xxxx
    xxxx
    xxxx
    xxxx
    xxxx



    KUDOS TO SCOTT, JEFF AND THE STORY OF MY LIFE PRODUCTION CREW FOR A VERY PRODUCTIVE TECH/DRESS REHEARSAL LAST NIGHT!:
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
    DTG Producer icon
    DTG Podcast Production logo

    To quote Music Director Reneé Franck-Reed, "I think we have a show!"

    The actors actually ended up with most of the weekend off, or at least Saturday and Sunday. We decided they would not be necessary on Tech Sunday*, that we could get what we needed with a simple dry tech**.

    So Jeff and Scott got both Saturday and Sunday away from the Guild. And it seems they needed it. I wasn't there Friday, but my understanding is that Friday was the "rehearsal from hell" night -- every production has that one. But, apparently, between being mindful of that dog and the two days off, they kicked some serios ass at the rehearsal last night!

    This thing is beginning to rapidly gell into the show we all knew we had.

    As for podcast production, since the cast was not there Sunday I did not get the commentary portion shot. Last night there was bit of a rush to get a lot done so I postponed the commentary interviews until tonight. I did shoot just shy of the first forty minutes of the show and will again tonight, from a different angle. That's what I'm using for in-front performance footage. I don't see any reason to go deeper into the show; as I already wrote, I will not be using anything close to all of any song, either. I actually think Bartram and Hill would not object if I did, but still to me that's an abuse of their generosity and in some ways a sort of spoiler in its own right.

    Tomorrow is still the full-on edit until final cut day, though I have already put together the opening splash and 99% of the closing credits. And today I got a really cool graphic -- a slight redesign of the show logo (for the lobby poster) -- that is most certainly going in after the closing credits.

    So stay tuned for the podcast.

    xxxx
    xxxx
    xxxx
    Jeff Sams (Alvin) & Scott Knisley (Thomas) in last night's most productive tech/dress rehearsal. Also pictured, Accompanist Raymonde Nicely Rougier.

    *) TECH SUNDAY: The Sunday rehearsal day at the start of the final week of rehearsals for a play, all of which will be tech rehearsals (I.E. all the technical aspects of lights, sound, special effects and all set changes and costume changes will be done during "Tech Week" rehearsals). Tech Sunday will be one or more rehearsals where all the technical elements are first incorporated into the rehearsal performances. "Tech Sunday" is traditional for many community theatres, professional theatres may have this initial tech day earlier, often the Friday before that last weekend of rehearsals.

    **) DRY TECH: A rehearsal, without the actors, to run through, and possibly discuss adjustments to, the lighting & sound cues, and the scene changes. It is essentially a cue-to-cue rehearsal with out actors on stage.




    SOUND DESIGNING ICON
    Show Cue Systems icon - http://www.showcuesystems.com/

    In basic raw fashion, I have the Souvenir sound design programmed into Show Cue Systems, for the July mounting at Brookville Community Theatre. I have all the sound cues in the show file and in correct order, but I have also put in a few fade-out commands that I don't remember whether are needed or not. At the moment I don't have access to the sound design copy of the script; it's packed in box with some other theatre related things, done so when I recently moved from my old apartment. For reasons I won't detail here, I have not really unpacked and settled in to the new place, yet; a factor I didn't know about when I was packing. So between digging out and looking at the actual script to see such things as whether a sound file (audience applause in every case) is run till the end or faded on a cue, and the need to be in the Brookville space with the show running off the computer that will be used, so I can program in proper sound levels, this programming has gone as far as it can at the moment.



    Wed May 30, 2012

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    AUDITION ICON

    On the way toward good news: an agent from PC-Goenner called yesterday to let me know I have a callback from Clover Casting for that commercial which I went to Covington, KY to do the first audition last week. I go back tomorrow afternoon.

    Good thing I kept the borrowed lab coat and the stethoscope.


    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
    DTG Producer icon
    DTG Podcast Production logo

      Rehearsal is swimming along very well. All the elements are coming together and the show will be a damn good send-off for the 2011/2012 season.

      And the podcast should (SHOULD) be finished today.


    xxxx
    Jeff Sams & Scott Knisley during last night's rehearsal.
    xxxx
    Scott & Jeff again last night. No, I'm not going to reveal what the heck they're doing in this moment from the show. You gotta come see it to find out.
    xxxx
    Transferring the last of the production footage from the camera into Final Cut Express, last night, for today's major push toward THE final cut of the podcast.



    In the audience - Not in the audience animated gif icon

  • The Laramie Project at Sinclair Community College -- Bought a ticket Saturday afternoon for the Saturday evening performance of this production. At the time I had a slightly nagging lower back ache. As the afternoon progressed it started to be more than a nuisance and about the time I should have been getting ready to leave, the thought of sitting in a theatre seat, even the rather comfortable seats in SCC's Blair Hall, for two hours was not very inviting. So I guess I donated $16 to the SCC Theatre program.
  • Band Geeks at The Human Race Theatre Company -- So tonight is "Can Night" at The Race; for those who don't know what that is, and I'm betting most of you five do, it's the Final Dress rehearsal that is opened for an audience with the admission being a donation of cans of food or of money, which all go to local food pantries and other charitable organizations. I forget which ones exactly. My goal is to have the final cut of the Story podcast done in time to get down town and be in line for a good seat. If not, well, okay, I spend the $30+ later to see this one.

    Yes, that's right, as producer I am planning to miss the second to the last tech/dress of Story. If the podcast final cut isn't done, I'm missing it anyway, as well as Band Geeks.



  • Thu May 31, 2012

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    AUDITION ICON

    Heading down a little after noon to The Riverfront Holiday Inn in Covington, KY, for the callback with Clover Casting, the potential commercial gig.

    Why, thank you! Yes, I believe I shall "Break A Leg."


    Not in the audience icon

    Yeah, I wasn't finished with the Story of My Life podcast editing until 10:30 last night.

    Just about the time Band Geeks at The Human Race Theatre Company was ending at the Pay-What-You-Can final dress rehearsal.

    Not that I am much surprised. Yet, I am a little disappointed.



    Fri June 1, 2012

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    OPENING TODAY AT THE DAYTON THEATRE GUILD:

    THE STORY OF MY LIFE Music and lyrics by Neil Bartram Book by Brian Hill, at The Dayton Theatre Guild.

    Click here to see the podcast



    Sat June 2, 2012

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    THE SCREENTEST LAST THURSDAY:
    AUDITION ICON

    The callback for the commercial seemed to go okay, and seemed to be a good audition. My scene mate happened to be Bryant Bentley, whom I just worked with on the Sinclair Community College industrial a few weeks back, and who, of course, was Caesar in Gem of the Ocean at The Human Race Theatre Company. I think we both gave them what they asked, even took it more subtle when that was the direction. All the people back there at that table behind the camera seemed to like the work they saw. So, now, the wait. But it won't be much of one. In fact, since the shoot is this coming week, there's some chance that I am not cast or I would have heard already.


    GREAT OPENING NIGHT!:
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

    I'm sorry to say the audience was rather small last night. Nevertheless, Scott and Jeff gave strong opening night performances and the audiences was very -- and rightfully -- impressed.

    As I finish this blog entry up, the sophomore performance is underway, so those who live in the Dayton area, or close enough to travel here, you have seven more chances to see a fine production. It's worth the ticket and your time!

    xxxx
    The lobby poster for the show
    xxxx
    The first bows of the run



    Mon June 4, 2012

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    HOPE'S EMBER & OTHER AUDITIONING STUFF:
    AUDITION ICON

    fb post June 4, 2012 - 'Still hoping for that last-minute call to drive to Cincy today for a fitting for a commercial later this week; but as noon approaches, hope's ember fades.'
    According to the audition specs for the commercial for which I had the callback last Thursday, the wardrobe fitting is scheduled for today in Cincinnati. As the time is on its way to noon as I write this, I'm thinking I have not been cast. The shoot is to be one or more days from this Wednesday through Friday.


    In other news, I may audition tonight for The Dayton Playhouse's FutureFest 2012. There is one play that I have an interest in, but I haven't decided whether I am going or not.

    There are several non-acting projects that have needed my attention for a v-e-r-r-r-r-r-y long time; I need to resist going for the stage work, but I have a difficult time doing that.



    Tue June 5, 2012

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    AUDITION ICON
    FutureFest 2012 new play festival at The Dayton Playhouse

    fb post June 5, 2012 - 'note to self, hyperbole is pronounced 'high-PER-boh-lee' not 'HIGH-per-bowl.' Yes, my dyslexic-esque brain went there during a cold read last night at an audition. I did back up and correct it, but stil....'

    Does the above make it clear I acquiesced to my inclination to go for stage work rather than divert my attention toward other artistic ventures which I claim to have a passion? Yes, indeed I have done such.

    Oh well.

    I did, indeed, audition last night for FutureFest 2012. Last night was the final auditions for the three fully staged shows, A Political Woman, Curve, and This Rough Magic. Though I was truly only interested in Curve, and mostly that's still true, I did read for the other two plays when called by the respective directors -- despite that I indicated my limited interest on the audition form.

    The staged readings have their second auditions tonight and I am not going. I'm not as endeared with staged reading as I am fully staged work, and really, I'm sort of hedging my bets toward that theoretical time to work on the other projects -- such as a full-length movie that needs editing and the mixing of a music album that was recorded in the 1980's. If I'd stuck to my guns I would not have read for anything but Curve last night, but I did read for the others, so I guess I've made myself fair game for those. I will be somewhat disappointed if I don't get what I was actually shooting for, however.

    The "Cold Read" part was as interesting and comfort-challenging as always. Beyond the silly-assed faux pox mentioned in the facebook post I quote above, there was that inevitable factor of getting half-way through, or all the way through, a line and realizing I was giving an incorrect reading. The important thing was to make the appropriate adjustment from the point of realization forward.

    As I discussed with one of the other actors after we were dismissed from the audition, I also often have a difficult time getting to the natural delivery in a cold read, especially when there is some obvious character work called for. My only solace is that two of the three directors (Jim Lockwood and Cynthia Karns) should be familiar enough with my work to know I will get to authenticity during the rehearsal process. And the third director (Gayle Smith) happened to have me read a character where I found a natural reading easy.

    So, we'll see whether I sit in the audience for all six shows or miss at least one, maybe two -- as in: miss the one I am on stage for, and possibly another because I have that last rehearsal to attend while this other show is on stage, which happened last year.

    *The playwrights' names are currently unavailable since the festival adjudicators have not yet made their initial rankings


    As for that commercial, the writing is now most clearly on the wall:

    "No booking for K.L."



    WDPR'S ARTSFOCUS FEATURES THE SHOW:
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

    Larry Coressel interviewed Director Debra Kent for today's edition of WDPR's ArtsFocus concerning the production. The segment was first broadcasted this morning at 7:55 and will be re-broadcasted at 4:55 this afternoon. As well, at some point today the segment will be available to hear on-line at dpr.org/artsfocus.html.



    Wed June 6, 2012

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    Someone brilliant that way went -- Ray Bradury 1920-2012



    AUDITION ICON

    FutureFest 2012 new play festival at The Dayton Playhouse

  • FutureFest 2012 -- It's only a little past noon as I post this and the final auditions were only last night, so it may be premature to give up the ghost on being cast in one of the shows. I got the idea from a fb post last night by one of the other actors that he had been cast, but he did not specifically indicate such, so I may be guessing wrongly. Certainly by Friday I'll know whether I miss one or more performances from my seat in the audience.

  • Prepping For The Zoot Theatre Company 2012/2013 Season Audition -- I have yet to get hold of a puppet to use for the puppet monologue portion of the June 16 audition. I have picked the monologue, as I believe I already wrote; it'll be from Tom Stoppard's A Separate Peace. It's been several years back that I picked this particular monologue and I have only used it once, for a commercial audition back when Jim Payne and Marsha Roof still owned and ran Roof-Goenner Talent Agency -- before Peter Condopoulos took over the franchise and it became PC-Goenner. But the monologue will lend itself to many different character readings and interpretations, so it is a good fit for this more unique and stylized audition. Now all I need is to find the puppet.
  • OPUS by Michael Hollinger at The Dayton Theatre Guild

  • Prepping for Opus Auditions -- Have yet to read this play for the July 16 & 17 auditions, but it's on the short list. I haven't been on The Guild stage since Blackbird.


  • Fri June 8, 2012

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    Were she alive, my mother would be Ninety-Five years old today.

    Happy birthday, Mom

    My Mom, June Storer, at my college graduation, 1994
    June Storer
    1917-1997




    AUDITION ICON

  • Puppet For The Zoot Theatre Company Audition -- Headin' out after work to Toys R Us to see if I can get a decent, reasonably-priced puppet for next Saturday.
  • FutureFest 2012 -- It's Friday afternoon and I have not been contacted about any role. I must assume that I will not be on stage at this year's festival.

    So, no excuses for not working on some of them "other" artistic endeavors.




  • REVIEWS AND OTHER PR:
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

    Next Tuesday, Scott Knisley and Reneé Franck-Reed will appear on WDTN Channel 2's Living Dayton program, at noon, to promote the show. I will provide some performance footage from Tech Week and I'll edit and render some files this weekend to that end.

    There's also a good review of the show at Dayton's MostMtreo: "The Story of My Life -- The Joys and Woes of Friendship," by Russell Florence, Jr.



    Mon June 11, 2012

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    SHOULD YOU REMEMBER KATHRYN JOOSTEN? What's important isn't THE WEST WING or DESPERATE HOUSEWIVES. Joosten didn't start acting until she was 42. Didn't go to Hollywood until she was in her 50s. Took the first role you remember her for at 59. By the time she passed away at 72, she had two Emmys and was loved by millions. So the next time you think you're too old to do something big, THAT'S when you should remember Kathryn Joosten.
    The path of this image to here is from a friend's facebook
    re-post of a post on The Pandora Boxx facebook fan page


    "HOW OLD WILL I BE THEN IF I DON'T?":

    As many already know, the wonderful character actress Kathryn Joosten died on Saturday, June 2. Like many others, I remember her best from The West Wing where she was The President's personal secretary, Doris Landingham. Joosten's performance as Mrs. Landingham painted an excellent character, warm but practical, kind but not suffering fools and more importantly, not suffering foolishness, even from the chief White House staff members. I must admit, having never seen even one episode of Desperate Housewives, I didn't see her work on that hit show, but I risk the wrath of DHW fans to say that Mrs. Landingham may have been the role of Joosten's lifetime, though I loved all her work that I saw. Her recurring role on Dharma & Greg was funny, as were her many other guest appearances on other sitcoms, and her dramatic guest appearances on TV dramas were always good work, as well.

    Kathryn began acting in community theater in 1982, at age forty-two, in Lake Forrest, Illinois, a suberb of Chicago. On the bio page at her website (kathrynjoosten.com) it says, "Kathryn never forgot the anger and bitterness her mother expressed on her death bed for having put aside dreams and plans for the future that would never be. After a few successes at Community Theater, Kathryn decided to see if she could follow her dream."

    Ten years after she began acting she got a gig with Disney in Olando as a street performer. Ms. Joosten went to Hollywood three years later and began to book roles on scores of TV shows. Here's a small sampling of her appearances: Family Matters, Picket Fences, Chicago Hope, Grace Under Fire, 3rd Rock from the Sun, ER, Roseanne, Murphy Brown, Boston Common, Seinfeld, Frasier, Profiler, Home Improvement, Buffy the Vampire Slayer, Providence, Spin City, The X-Files, The Drew Carey Show, Curb Your Enthusiasm, Gilmore Girls, and Will & Grace. This is by no means an exhaustive list, and does not take into account many TV movies. Though her first credited screen work at IMDB.com is in Grandview, U.S.A., a 1984 movie starring Jamie Lee Curtis and Patrick Swayze, and she has several other screen credits that precede her stint with Disney. That Curtis/Swayze movie, if you'll notice, is only two years after she began acting. I'm sure her role was small, but still.

    Of course, she appeared in the first two seasons of The West Wing, with two more appearances as a guest in flashback segments after Mrs. Landingham's death at the end of Season 2. Since she left The West Wing her already burgeoning career became even hotter, with some of the credits I've already listed above and eventually her role on Desperate Housewives, as well as full-length features, including Wedding Crashers and Alvin and the Chipmunks: The Squeakquel; and, of course, a whole lot of other credits I've not listed.

    The point of this abridged recounting of Ms. Joosten's career success is essentially that which is illustrated in the graphic above. When I heard over last weekend that she had passed from this world, I had intended to do my occasional thing of creating a memorial image to post here -- and, the last few years, on facebook, too -- but I became preoccupied with other things and did not get to it. A few days ago, another local theatre person (actor, etc) re-posted the image above to facebook, and since it was creative commons, and since I would not be able to improve upon the elegant import of the message, I figured, what the hell, let's just share that image; I can't get much more poignant than its message, anyway.

    For me, the message hits close. Having returned to acting at forty-five, after over a quarter century away from the craft, going several years after that without any bone fide professional credits, and not making it onto an Equity stage until I was fifty-three, I find great solace in the points the image makes about Joosten. There is an apocryphal story that may be moldy, dusty, stale and tired to many, but still demonstrates the point here with acuity.

    The story says that a man went to a wise friend and said, "You know, I've been thinking a lot lately about going to medical school, but with all the pre-med, the medical school itself and the residency, I'll be almost fifty before I'd actually become a board certified doctor."

    The friend thoughtfully sat for a moment, then said, "Well, how old will you be then if you don't go through pre-med, go to medical school, do your residency, and take the medical boards?"

    Often I suffer great doubt about this whole game of entering into acting in middle age. "Returning" is a luxurious word to use after having been away from May 1977 -- my high school senior musical, A Funny Thing Happened on the Way to the Forum -- to the start of rehearsals for The Cripple of Inishmaan in January of 2004 at The Guild. Essentially, I was, indeed, "Entering" into acting at forty-five.

    There's just no way to avoid the fundamental truth that by-and-large, the game of breaking into acting as a career is predisposed to be a young person's game; at least it is far more likely to get a break when one is younger. The odds are already against you, even if you're twenty, gifted and beautiful. Start adding numbers to your age and the odds tilt even further the other way.

    Another general rule is that you have more opportunity if you are in a show-biz hub: New York, L.A., Chicago, or the like. My theory on this rule is that it applies more-so if you are younger. Once I had a conversation with a SAG actor who was visiting locally and was part of the panel of an acting seminar I attended. Though it was only his personal opinion, he told me something that was already my own suspicion.

    He said that a new actor in my age range probably has a better chance of getting cast in a SAG project outside of the established industry towns. If I were to go to a casting call in L.A., there will be dozens, or more, men of my type, at my skill level, all with rich résumés, and unless I was exceptionally brilliant, I was going to be overlooked by the casting directors as a matter of course, simply because there would be equally talented men that meet the type and dwarf me with experience.

    He said I have a better chance of getting cast in some sort of principal role, though most likely a smaller one, in a production shooting on location in my local area. So far that has mostly seemed difficult, too. Most screentests I have done for SAG films, all that have been independents, have still seemed to have most all principal roles cast out of a major industry hub; though I know that at least some of the smaller principal speaking roles were local talent for The Ides of March, and I at least was afforded the opportunity to screentest for a small principal role, though I did not win it.

    Granted, Ms. Joosten went to Hollywood in her fifties, but she had some SAG credits on her résumé. On the other side, I once met actor David Dwyer, who has appeared in over one-hundred movies (83 titles at IMDB) and has never lived in L.A., New York, or Chicago. I can't say I have any inclination to live in either L.A. or New York, myself, but I might be persuaded toward Chicago, if I could ever toughen up my winter-weather tolerance. And I certainly would commute for good work at good pay to either coast.

    Of course, the argument against this concept of staying in south-west Ohio is that of shear numbers. There are more SAG movies casting in any given week in an industry hub city than all year where I live.

    The yin and yang of it is that whichever way I look at it, often I feel a great hopelessness about it all. Often it's: Jesus! You really think that an average-looking, middle-aged mug like yourself can get anywhere as an actor? You really think you have a chance to make a career of it? Often the feeling nags under the surface -- or not so much underneath -- that I blew my chance, it's too late.

    During the late eighties and early nineties, when I finally went to college, in my thirties, I would have this same recurring nagging sense creep into my psyche -- Really? Just what do you think you're doing? You know how old you'll be when you finally finish? That was when I would summon up the medical-school-musings story. The shortcut would be for me to ask myself, "How old will you be then if you don't?" I still need to ask that question, sometimes on a fairly frequent basis.

    Perhaps almost eight years ago I was with two other actors during the strike of a show, The Guild's first run of Sordid Lives, I believe. We were at the storage facility the theatre was renting at the time, dropping off larger set pieces. One of those I was with said of all three of us, to a sculptor leasing space next to ours, "We're all actors," and it rather took me back a bit, to think that at that point I would be called an "Actor." Of course, I was one. If this was indeed after the wrap of the first Sordid Lives run, I had only been on stage once, thus far, but it was as Johnnypat in Cripple and I certainly do believe I proved I had the chops. If it was after the second run, I had only a couple more credits added, but still, I had stage-cred.

    I remember a smile inside myself at having been identified by another actor as a "fellow actor." Yeah, I thought, I AM an actor!

    I'm not going to rehash the whole story of how I came back to acting in middle age after all that time away. If you don't know the story, but for some reason want to, you can read the first blog entries from early 2004 here, and/or read the 2003 essay, "The Knowing In Me: the artist becomes himself." However, I do want to touch on that almost twenty-seven-year hiatus between Forum and Cripple. When I graduated from high school in 1977, I was voted my class's most talented student, like my then music partner, Rich Hisey, had been voted so the year before for his class. I also got the Best Actor award for my performance as Psuedolus. Most people assumed I would pursue an acting career and some supportive folk believed I would be on TV or in movies in no time.

    Why did I not pursue acting? I was seduced by Rock-&-Roll. At about seventeen I started writing songs. By the time I graduated high school I had partnered up with Richie and we were looking to do a sort of Hall & Oats or Steely Dan (Fagen & Becker) thing. We did not collaborate a lot as songwriters; mostly we wrote songs on our own. But we were definitely artistic collaborators and we complimented each other with enough in common musically, and enough in contrast musically to make a solid team.

    I believe my plan was to become a major recording artist, then circumvent paying my dues as an actor and move straight into lead and major supporting roles in movies off the muscle of my....
    Stardom....No EGO there!     big grin icon

    And, well, um, yeah, I guess we all know it did not work out that way. Today I will adamantly defend my right to have serious regrets about not going after an acting career right after high school graduation in June, 1977. Some say, "Oh no, don't do that. Regrets are useless."

    I disagree with that. Mostly because I find those who might say such to me to have a different concept than I of what regrets can be. It's not, I believe, the regrets that might be useless, but one's reactions and treatment of his or her regrets. If you focus on them in an obsessive way, or allow them to keep you sad or in a bad vibe -- that serves no good purpose in your life. If, on the other hand, you take the lesson they have to teach you and implement it and use the cold hard truth that can be garnered from those things, those actions, those moments you regret, that is another thing altogether.

    The simple truth is that when I was twenty, it was viable for me to play Romeo, and I had Lear to look forward to. Now, or in a few years, it will be viable for me to play Lear; Romeo is off the table. I denied myself almost three decades of experience and a big cannon of work by not pursuing the craft when I could have. There was a place set at the table for me thirty-some years ago, and I let the chair sit empty. I regret all this very much.

    That regret, though, I utilize in two major ways. First, I keep it and the undeniable truth it belies in my mind and remember now to look for, try to recognize and seize opportunities. I'll eat my meal at the table today, by god, while the meat is still hot and the milk is still cold. I also will share my regret with youngins whenever it seems opportune to do so. Most may not attend to the lesson offered, but some will. So "Regret" is not an albatross hanging around my neck, it's a useful part of who I am.

    The important thing for me to remember is what's on today. I made the mistake of not acting for twenty-seven years, but I AM acting Today! If I give myself a lot of credit -- maybe a bit too generously -- I am at about what can be called the sophomore level of experience; mind you, I am talking experience, not talent and ability; I am mostly happy with my ability as an actor, though there are a few things I know I need to improve upon greatly. But, I am doing it, now. I am on the path, now. It certainly is later than it could have been; I certainly am earlier on the journey than I would have been. But I am on the damn road heading toward the emerald city. I am acting, damn it! Isn't that the real point? The real game?

    The hard reality is that if I ever, indeed, do make it to the place where I am a bone fide, full-time actor, working regularly on Equity stages and SAG/AFTRA sets, I may be in my sixties before I get there. There's something about that which is frustrating, yet, it is the craft that is the most important thing, and I am in the craft, right now. So, I may never be able to call myself a full-time professional actor, or film maker, for that matter -- but that's a whole other essay. And if I ever can, it may still be a while off.

    Enter that all-important question, re-affirmed recently by the life of Kathryn Joosten:

    HOW OLD WILL I BE THEN IF I DON'T?

    Still, regardless of that poignant question, I am in the game today.




    PUPPET FOR THE ZOOT THEATRE COMPANY AUDITION:
    AUDITION ICON

    Toys 'R' Us, several Goodwill stores, the St. Francis Thrift Store, Meijer, Foy's Halloween Store and a couple novelty-type stores were all a bust for a puppet. Looks like a rush purchase on-line is my only bet if I'm going to not do cold work with a puppet next Saturday at the audition. And I really would rather not do that puppet work cold.

    I do have a couple options at the house, but I'm trying to avoid using those.

    As for the movement piece, where I must tell a story without using words, the concept is becoming clearer to me all the time. I am excited to take that particular risk.


    MORE PR TOMORROW:
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

    I have edited and made available several clips of performance footage from Tech Week rehearsals for the producers of Living Dayton for the interview tomorrow at noon with Scott Knisley and Reneé Franck-Reed on local television station WDTN. I also sent a few photos for possible use as cut-aways.



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    AUDITION ICON

    Currently I am in prep for Saturday's audition for The Zoot Theatre Company's 2012/13 season. I have the monologue some 90+% memorized. I have not yet started real work on the movement piece, but I will likely start work on that tonight. and I do have a very strong concept of what I want to do.

    I spoke yesterday with someone who works parttime at the same Toys 'R' Us I went into a few days back to look for a puppet. She said they do have muppets, so I went back yesterday afternoon. I think there was a miscommunication; what they have are stuffed toys of the muppets, not operational muppet puppets. So, that was a bust, still again. I'm back to either doing cold work with a Zoot puppet on Saturday, or utilizing one of my options I have at the apartment. I have thought of a way to maybe augment one of those home-spun options so it's not quite as Tinkertoy as I'm concerned it might be.


    TUESDAY'S PR ON WDTN'S LIVING DAYTON:
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill

    It turned out that only Music Director Reneé Franck-Reed was able to appear on yesterday's broadcast of Living Dayton on WDTN TV Channel 2. But she did a bang-up job talking up the show as well as Jeff's and Scott's work.

    Click here to see the segment.



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    Collage of photos of K.L. at various ages, with the text - 'I think it's time we redefine when middle age begins; let's make it 65.'
    Rumor has it that I have a birthday today. Perhaps that is true. Meanwhile, today is Flag Day, you know.


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    AUDITION ICON
    Famous sock puppet K.L. Shnorrer, on a slightly overcast day, on the front landing of a building with a ranch aprtment in the background and a few trees as well.
    K.L. Shnorrer

    The prep for the audition tomorrow afternoon for The Zoot Theatre Company has revved to full power. Wednesday night, and while hunting a few other items, I looked for one of the puppet possibilities at the apartment. I moved recently and most of my things are not yet unpacked, including the puppet viability I was thinking about falling back on if I had to: that would be K.L.Shnorrer, the sock puppet I created for Fuddy Meers, which closed the old Guild back on Salem Ave. (aka: Hinky Binky, in the play). I did locate Shnorrer/Binky and once found, I tweaked him a bit by adding a stick to his left hand, so I could control that. It worked but I was still not 100% on board auditioning with a sock puppet, even one that was a tad more elaborate than sock puppets usually are.

    While doing my initial work with Shnorrer Wednesday night I found it a little more difficult to successfully animate him while doing the monologue than I would have guessed, which now gives me even greater trepidation about using a Zoot puppet cold on Saturday.

    There was another possibility that I investigated yesterday, and I am happy to say it panned out. I was able to borrow a puppet from what is called The ERC, or, Educational Resource Center, located on campus. This is not as elaborate a puppet as what Zoot builds and uses, but it is better than a sock puppet, even K.L. Shnorrer. It also has a stick for the left hand/(arm) so the principle for operating it will be the same as with Shnorrer.

    I have had to adjust the vernacular of the monologue a little bit; the original vocabulary and idioms are very British, and such British language use, even without a British dialect, just doesn't fit the puppet I'm using. So, the message is the same, but I've tweaked the language a little.

    Last night I switched off between rehearsing the monologue with the puppet and rehearsing the movement piece, that which requires the auditioning actor to tell a story without words. I'm "relatively" happy with both, though the puppet work is much more iffy.

    Am I ready for tomorrow: Meh. I want to think so; I think probably yes, but I have some concerns -- which is the way it ought to be: keeps me on my toes.

    * By-the-way, just to set the record straight, it was Fred Blumenthal, the director of Fuddy Meers, who named the sock puppet K.L. Shnorrer. He even wrote a faux bio for Mr. Shnorrer for the program playbill.



    SOUND DESIGNING ICON

    This past Monday evening there was a basic line/sing through rehearsal of Souvenir, in preparation for the July re-mounting of the show at Brookville Community Theatre. We met in the home of Chuck Larkowski (in the role of Cosmé McMoon). I did bring my laptop and fired up Windows 7 in VMware Fusion 4 to run the sound design in Show Cue Systems, but I did not have my script with the sound cues, so mostly I ran nothing. I did try to run a couple cues, but I kept forgetting to make the window with SCS in it active, so the cues did not play when I hit the space bar. Won't be an issue when the show is actually up.

    A computer to run the show has not been located yet, but there are a couple lines on possibilities.

    At the same time that I was looking for Hinky Binky (K.L. Shnorrer) in the mountain of boxes in the living room of my apartment, later ion the week, I also looked for the script with said sound cues noted. I successfully found this, too. At least I don't have to reinvent the wheel, as it were.

    The Tech Rehearsal is June 29, at Brookville. I don't know that I need to be at any rehearsals before then, though I might be. The production staff needs to find that computer for me to do a temp install of SCS so the sound tech run the show, and I hope that search is finished sooner, rather than later.


    In the audience icon

    1) Band Geeks at The Human Race Theatre Company Saturday night.

               Ticket bought.

    2) The Story of My Life at home at The Guild Sunday -- have to be there for strike anyway; I'll be there tonight, too, but I'm hosting.

               Ticket bought.

    3) Much Ado About Nothing at X*ACT next weekend.

               Ticket not yet bought, but likely will be.

    Not in the audience icon
    i) Had plans to attend the 2012 Big Lens Film Festival at The Neon, featuring student films from The Wright State Motion Pictures Program, but I had a really bad headache, so I slept instead.

    ii) I have some interest in seeing Wicked at the Victoria but I don't have the cash nor likely the time to set aside. I may reconsider; if I do, I'd better hurry up.



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    CLOSING TODAY
    THE STORY OF MY LIFE Music and lyrics by Neil Bartram Book by Brian Hill, at The Dayton Theatre Guild.

    The Cast of The Story of My Life

    CHARACTER
               ACTOR
    Thomas Weaver            Scott Knisley

    Alvin Kelby            Jeff Sams

    The Podcast for The Story of My Life

    xxxx
    xxxx
    Two shots from this past Friday night: the show before the unscheduled hiatus night.
    NICE RUN FOR A GOOD SHOW WITH GREAT PERFORMANCES!:

    First, let's talk about last night....

    After my audition for Zoot -- *(see below) -- I went back to the Guild to hang out and was actually going to at least the start the blog entry about the audition. So, I set my laptop up and was about to start writing the entry. At this point there was a torrential downpour going on outside, with lightning.

    "Lightening!"

    One rather loud lightening crack at just about 2:30 and the power in the lobby, in the theatre building, in the neighborhood, in much of the East Dayton went out, about two-and-a-half hours before the scheduled curtain, ninety minutes before the doors were to open.

    The call I subsequently made to the power and light company only garnered a promise of power "today"; a more precise commitment was, and quite understandably, not forthcoming.

    After other DTG board folk began arriving, about an hour later with still no power restored anywhere it was out, we decided to move curtain down an hour to 6:00. All those with ticket reservations were called. We still opened the doors at 4:00 and put the refreshments usually designated for intermission out.

    At 5:15, when there still was no power, the decision was made to make 6:00 the kill point: if we still had no power at 6:00 we would cancel the June 16 performance.

    At 6:00: no power.

    We sent the hopeful audience members home. At about 6:05, just enough time for those people to almost all have vacated the theatre and left the parking lot...

    THE POWER CAME ON!            Damn you, Murphy!

    This major GREMLIN-episode aside, the run has been mostly really great. We have not had the audiences the show deserves, but those who have been have by-and-large loved the shoe and Jeff's and Scott's work.

    Must admit a little envy, this would have been a nice musical to have been in; but I simply was not right for either role.

    BUT HERE'S TO A FABULOUS PRODUCTION AND ALL THOSE WHO CAME TOGETHER TO MAKE IT SUCH: SCOTT KNISLEY (THOMAS WEAVER), JEFF SAMS (ALVIN KELBY), DEBRA A. KENT (DIRECTOR), RENEÉ FRANCK-REED (MUSICAL DIRECTOR), DEIRDRE BRAY ROOT (PRODUCTION STAGE MANAGER), REBECCA NICELY CHILDS & RAYMONDE NICELY ROUGIER (THE MUSICAL ACCOMPANISTS), GREG SMITH (SET DESIGNER), NICK VANDERPOOL (LIGHTING DESIGNER), TRAVIS DALHOFF (LIGHTING & SOUND TECHNICIAN), LINDA SELLERS (COSTUME DESIGNER), DAVID SLIVKIN (PRODUCTION ASSISTANT), WENDI MICHAEL (PRODUCTION'S GRAPHIC ARTIST), JACKSON SMITH (VOICE OF YOUNG THOMAS), LUCAS SANSOM (VOICE OF YOUNG ALVIN) AND CAROL FINLEY & DENNIS KENT (SPECIAL CONTRIBUTIONS TO COSTUMING).

    In the audience icon
    I will sit in the audience today.

    I've seen the show, a lot, of course, but it will be nice to see it from this exact perspective for once.

    So, no closing performance pictures -- least not from me.


    AUDITION ICON
    xxxx
    My audition puppet, "Lazy Dude," and me.
    ZOOT AUDITION, YESTERDAY

    My audition for the Zoot Theatre Company 2012/2013 season, went pretty well. Not sure I'd say it was fabulous, but it weren't horrible, either. I certainly did not fall on my ass or embarras myself. The auditors seemed to enjoy both the puppet monologue and the movement piece.

    As I wrote a little while back, I used some text from A Separate Peace by Tom Stoppard. It was a little speech by the character Brown, all about how he loves being a patient in the hospital because he gets all his meals in bed and is not expected to do anything except be in bed and lounge around. As I said, since the puppet I borrowed from The ERC, on campus, is a construction worker, I decided the very British vernacular of Stoppard's text didn't work -- not that there aren't construction workers in Great Britain, but just the cultural context of the audition seemed to suggest that an American English vocabulary would work better.

    So I changed such things as "But in hospital," which is most British, to "But when you're in the hospital."

    I believe the puppet monologue worked, as well some dramatic gestures and movements I had the puppet, whom I named "Lazy Dude," make.

    I kept the movement piece simple. It was a guy showing up some place he'd never been before and trying to use a security card to get into a locked door. He had no success. He tried to use his leg in the wall and his shoulder on the wall to get leverage. He texted some person for further instructions. They gave him a code to punch in; no success. He finally realized the door opens in, not out.

    Got a laugh      big grin icon


    In the audience icon

    Saw Band Geeks at The Human Race Theatre Company last night.

    Cute show with nice music.

    Very fine performances!



    Mon June 18, 2012

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    Happy Birthday Paul




    NO STORY OF HIS LIFE FOR ME:
    THE STORY OF MY LIFE & Dayton Theatre Guild combined logo. Music and lyrics by Neil Bartram. Book by Brian Hill
    Not in the audience icon

    fb post - 'Well gee. Was going to actually sit in the audience for this afternoon's performance of THE STORY OF MY LIFE at Dayton Theatre Guild, but I seem to have almost no breaks on my car. A 20 mile drive on the highway just seems like a bad idea.'

    Yes indeed, yesterday, as I put my foot on the brake to stop at the end of the parking lot at my apartment, to turn onto the road; I barely stopped. The ensuing addition of brake fluid -- that which the dash indicator said was low -- did not improve the braking.
    Never mind the fact that the facebook post has the wrong
    homophone, "breaks," rather than the correct "brakes"

    There was simply no way I was going to travel down the road at highway speeds with such poor braking response. So I missed the closing performance and my opportunity to be an audience member for the show. Also, I missed strike* and I missed the wrap dinner party yesterday evening.

    Today, I potentially and unfortunately burn valuable vacation leave hours while I have my car looked at.

    *Strike: the process of razing a theatre set to remove it from the stage after a production has wrapped. This is usually done with as much disassembling and as little demolition as possible for the constructed elements, such as the walls of rooms, etc. All flats and platforms that made up the set structures are removed and stored in their appropriate places. All set pieces (furniture, appliances, wheelbarrows, or whatever) and all props (hand guns, type writers, tchotchkes, or whatever) are also removed and returned to storage or to the people or other theatres any may have been borrowed or rented from.



    MANY YEARS AGO, IT SEEMS
    xxxx
    For the heck of it, here's a photo taken in the spring of 1977 on the stage at Wilbur Wright High School, on the east side of Dayton, Ohio. I and some cast mates in A Funny Thing Happened on the Way to the Forum. That's Preston Welch as Marcus Lycus, me as Pseudolus, Scott Creech as Senex, and Robert Hughes as Hysterium. My next role on stage would be just less than twenty-seven years later: Johnny Pateen Mike O'Dougal in The Cripple of Inishmaan at The Dayton Theatre Guild in March, 2004.


    Sun June 24, 2012

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    LIVE THEATRE: providing 3-D entertainment for more than 2600 years.
    Just in case you see this floating around in facebook or otherwise out there in cyberspace, be aware that I created it and I originated it on-line as a facebook post at about 9:30 a.m. (DST) on June 20, 2012.


    MY OFFICE, THIS WEEKEND:
    xxxx
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    I don't think that for any of you five who actually (for whatever god-for-saken reason) follow this blog, it's a secret that often parts, sometimes large portions, of an entry on a given day were actually not composed, or not wholly composed on that day. Some particular sections of a dated entry may have actually been several days or more than a week in the making, especially if that section is more essay in form. In this light, some of this entry was started and almost wholly written before yesterday -- then edited to update time references if necessary. A good portion of it was written yesterday, and finished this afternoon. Both yesterday and today I took advantage of the lovely summer days, grabbed my laptop and headed to John Bryan State Park. It's simply one of the greatest offices around!


    AUDITION ICON

  • Indy Movie -- Tomorrow afternoon I'll do a screentest at the PC-Goenner Talent Agency Sharonville office for an independent movie shooting in Northern Ohio in several weeks. The agency gave us breakdowns of all the characters being cast and asked us to give them one (or two) characters we thought we might be typed for. I picked on supporting principal and one smaller supporting role. I am sort of both hedging my bet as well picking two characters that at least I think I am typed for.

    The monkey wrench here is that my car -- with its brake-system problem -- was not fixed as of the end of business on Friday, but there's some chance it will be ready to pick up, oh, say tomorrow afternoon. That will mean dropping of the rental, which will have racked up a week and a day of rental fees (I am hoping they give the week discount rate rather than eight, one-day rates). It does seem unlikely I will get my car back tomorrow, though. In fact, the mechanic hadn't even called yet to consult on the repairs by the end of day Friday. So even if the car is ready on Monday, it would not be in the morning, and that is the only way to not have a rental charge for another day. If I don't return the rental by late Morning Monday, I get charged another twenty-four hours. So, returning it Tuesday morning, at that point, makes no difference.

    This is actually why I scheduled my screentest for Monday afternoon. A Monday morning appointment would have interfered with getting the rental back on time to save the extra day, if the slim chance I could return tomorrow morning is even realized. Tomorrow afternoon it becomes moot; return in the afternoon or on Tuesday morning and it's still the same charge.

    Usually, you see, I go to the Sharonville office for an audition in the morning if I can. Only when there's a schedule conflict do I divert from that. Now, if the audition is at the PC-Goenner Dayton office, which is less than fifteen minutes from the rent-payer, I'll schedule those for after work. For many months now, however, there has only been one at the Dayton office, and that, I believe, was on the weekend.

    This evening is about studying the two sides I have for the screen test tomorrow.

  • Zoot? -- I have heard nothing from last weekend's audition for Zoot Theatre Company's new season. That may not mean anything, or it may mean:
    "No Zoot for YOU! "
    Sorry; couldn't resist.

    Based on my conversation with the audition panel after I was done with my program, I got the sense that there was some interest in me for the company's first production of the season, The Hobbit. I was forthright and out front in letting them know I have a strong interest in Opus, at home, and would not know if I am available for The Hobbit until mid-July. That probably did not work for them and that is quite understandable. Whether there is or will be interest for any other productions remains to be seen; ain't it the way?

  • Opus at The Guild -- As of yet I haven't taken a concentrated look at the script, but I did do a cursory look several days ago and I very much liked what I read. My agenda must quickly have studying this play fully at the top of the list: the real start at prepping for the July 16 & 27 auditions.



  • I MAY NEED MY HEAD EXAMINED...:
    Dayton Theatre Guild

    ...because I have agreed to come back to the house manager position for the Guild. Actually, there's a change-up, and it will now be the "house committee chairman," or, what I like better: the house management chair. And I will not at all be interested in having to invest the kind of time in this that I have had to in past seasons as the HM, so I will have a committee.

    And I may just allow things to not get done if I am getting no one else to do them. I'm not going to be placed in the position where I am constantly picking up slack within this monumental task of keeping the theatre house in shape. Honestly, it's never been as in shape as it could be, and when I was house manager before my hiatus, I allowed myself to be perhaps too committed to the duty over other parts of my life; I need to avoid that this time in.


    TWO SHOWS YESTERDAY:
    In the audience icon

    Yesterday was a very nice theatre day for me:

    • Much Ado About Nothing at X*ACT -- I saw the 3:00 matinee of this Bard show at X*ACT: Xenia Area Community Theater. It was pleasant afternoon expenditure with some good work on the stage. Director Lisa Howard-Welch quite cleverly and effectively incorporated some Gershwin standards into the production. And it was nice to see fine work from those I know as well as many I did not know.

      As for who I know: Jared Mola (who happened to play Hamlet in Wittenberg at DTG earlier this season); Liz Dillard, who is actually away at college but back for the summer and whom it's nice to see on stage again (Liz, whom I first met when we both were in the staged reading of Work Song: Three Views of Frank Lloyd Wright at The Westcott House for Springfield StageWorks); Josh Katawick (like Liz, a veteren of several Springfield StageWork productions, including the Bond version of Sweeney Todd, in which we appeared together); and Cher Collins (who worked with me on stage in A Woman on the Cusp last summer at Futurefest 2011).

    • Chicago at Beavercreek Community Theatre -- Then, last night I managed to get in to what has been touted as a very fine production of this show. And the touting is correct. It was fun; it very well performed; it was a great way to cap off a Theatre Day.

    So, yesterday was a fun "audience-member day" for me.


    Film Dayton icon

    This coming Tuesday evening is the June Film Connections meeting, conducted by Film Dayton, and I believe I will be able to attend, not as invited actor, brought in to help with a demonstration or a table reading, but as an aspring -- if horribly green -- film maker.

    Film Connections is regularly scheduled on the last Tuesday of the month at WPTD: ThinkTV (Channel 16) on Jefferson Street in Dayton. Sometimes it's at another location or scheduled for a different night. It will be at ThinkTV this month. It's $5 for non-members. I am not ready to join yet, but I really ought to.

    Although, often my Live Theatre  involvement keeps me from the Film Connections meetings; I've only made a whole two, and they were both as the afore-mentioned "invited actor." As a wannabe film maker, I really need to start enriching my know-how in major spades. Film Dayton and Film Connections is a valuable avenue to that end.

    If you were to compare what I know about film making to all there is I have yet to learn: I know pretty much nothing.


    SOUND DESIGNING ICON

    Looks like we have the laptop for Souvenir at the Brookville Community Theatre. I will be at the rehearsal tomorrow night, at least to get the pc and load both the Show Cue Systems temp install and the temp load of the necessary files for the sound design for the show. I do have to run through the sound script from last production to be sure my programing in SCS is in line with what's needed. When we ran the show at DTG, SCS was not in the mix, yet, so is was all manual operation of mini-disk players, CD players, and Quicktime & iTunes off my MAC. I ran it. This time it's simply, hit the space bar when the cue comes up.

    I'm not running it.


    SOME "YAYS!" DUE:
    GENERAL THEATRE STUFF ICON

  • TAPRENA AUGUSTINE -- This beautiful, major stage talent, who was wonderful as Dotty in Caroline or Change at The Human Race and even more amazing as Shug Avery in the touring company of The Color Purple, has landed on Broadway in The Book of Mormon at the Eugene O'Neill Theatre. She started rehearsals this past week. I know I speak for all of us from Caroline when I say:

    Yay! YAY! YAY! YAY!

  • BRITTANY CAMPBELL -- The sexiest washing machine I have ever seen (Caroline or Change at The Race), has just successfully raised her budget for a summer EP though Kick Starter. Her first EP, Nerd shows that this young woman may be a big ol' recording star before it's all over. Check out her YouTube channel.

    And, once again from all of us CoC folk: Yay! YAY! YAY! YAY!



  • Tue June 26, 2012

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    BUNGLEBLUNDERGAFFATION:
    AUDITION ICON

    In terms of the screentest yesterday, all I gotta say is: meh. There was the unfortunate circumstance where I had to watch the damn playback of the audition -- not a good thing for me.

    Of course, I was wholly unimpressed and cannot imagine why a casting director would want the guy that gave the performances I was subjected to witnessing in that playback.

    Never mind that the first booking I ever got through the agency was off an audition I felt was horrible. Never mind that on Wednesday, January 21, 2004, I opened an email from Greg Smith that had me in the list of cast members for The Cripple of Inishmaan off of an audition I felt was horrible...

    ...Just trying to bolster my spirits, here...

    ...was unimpressed with the audition, yesterday, nevertheless.


    In other audition news, got an email yesterday from Dawn Roth Smith, the outreach manager for The Zoot Theatre Company, that email which said that the directors would be making casting decisions soon and that a follow-up was coming in a few weeks.

    So, there is that.


    Film Dayton icon

    Still on track to attend the June Film Connections tonight at WPTD: ThinkTV (Channel 16). I'll probably see most of the several people who warned me about Final Cut Pro X, and I'll have to confess to them how I ignored their prudent advice. Though to be fair, even if moving again further off this section's main topic, there are some who are not unhappy with FCPX, as exemplified here.


    SOUND DESIGNING ICON

    The PC Windows laptop, on loan for Souvenir at the Brookville Community Theatre, now has Show Cue Systems temporarily installed on it as well as all the necessary files for the sound design of the show. I went to the rehearsal last night and picked it up. My intention had been to install SCS there, on site in Brookville, but I didn't have the registration key code handy. I had not saved it anywhere on my laptop hard drive. I went home to find it and was unsuccessful, so I contacted Bob Mills, who was able to give me the magic numbers.

    Now it's installed and ready to drive. I did a cursory test just to be sure everything was working and it all seems fine. The only possible concern had been that the sound card would not be quite up to snuff, but I don't believe that is an issue.

    All that's left now is the tweaking.



    Thu June 28, 2012

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    THE VALUE OF A DEFINITE AND OFFICIAL NAME:
    'Improv Movie Project is now _Vignettes_in_Bellcreek_ Post Production' Icon -- black and white photo of DP Fred Boomer behind the DV movie camera with Director K.L.Storer standing next to him, watching the action they are shooting

    In her book on the process, craft and art of writing, Writing Down the Bones, Natalie Goldberg writes of how one should not just put a "dog" on the page. If there's going to be a dog, what kind of dog is it? Give it an identity, make it something more than "a dog." To further that, if it's someone's pet, what's its name? The idea is that the more integrity and respect you give the elements of your work, the more integrity the work as a whole has and the more respect and verisimilitude it commands.

    There is a similar principle at work here.

    I have just found the title for the full-length feature that will be the final cut of the improv movie project: Vignettes in Bellcreek. I will readily admit Bellcreek Vignettes sounds a bit less awkward but it's also more toward predictable and on the verge of sounding generic.

    So Vignettes in Bellcreek it is.

    My emotional, my visceral reactions of the moment are that the project now having a proper name will energize me to start moving with true vigor and push myself toward that elusive final cut. I guess we'll see if this current motivation is more than pan flash.

    Whatever this immediate outcome, there is great value in the work finally having a proper title, even if it changes later.


    "LAW IN THE FILM INDUSTRY":
    Film Dayton icon

    I did make it to Film Dayton's Film Connections meeting Tuesday night at WPTD: ThinkTV (Channel 16). The session had a guest speaker, Brian Sullivan, a copyright and patent attorney who taked about the proper use of others' intellectual property rights, visual or audio, in one's own motion picture.

    There really was no new information for me in Mr. Sullivan's presentation but it was still interesting and it was a reminder to me about how I have to edit some outside crowd shots -- quite simply, no one can be recognizable; I already knew that, though.

    I really need to do what I can to set time aside for these meetings, and to go ahead and pay the membership dues.


    AUDITION ICON
    Have an appointment Saturday morning to screentest for the forthcoming web series, Freak Club, produced by Film Dayton. This is the project of which I was part of the table reading at a Film Connections meeting back in February. The role I read then, however, is gone from the script now. But I do have sides for another character for Saturday morning.


    MORE "YAYS!" DUE:
    GENERAL THEATRE STUFF ICON

  • BRITTANY CAMPBELL -- Ms. Campbell (the Washing Machine in Caroline or Change at The Race) not only has her summer EP financed, see above, but she has been cast in a short run of the new musical, Born Blue. with book, music and lyrics by Caren Tackett. The production runs July 27-29 at Manhattan's Cutting Room theatre.

    See the Playbill.com article "New Musical Born Blue, Directed by Anthony Rapp, Will Play Cutting Room; Casting Announced," by Andrew Gans.

    And let me say again: Yay! YAY! YAY! YAY!

  • TANESHA GARY -- Our fabulous Caroline Thibodeaux, in the Race's Carline, or Change, has just had two very fine actor's reels posted to Vimeo, and I share them here:
               https://vimeo.com/44710542 - legit
               https://vimeo.com/44710541 - commercial

    Yay! YAY! YAY! YAY!




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